On Friday, May 18, The Boston Modern Orchestra Project gave its Jordan Hall audience a theme-based concert, four 20th-century works works, tied by our understanding of Apollo as "Apollon Musagè," from his role as leader of the muses. One of the muses is, of course, Terpsichore, and this is the muse underpinning the first set of pieces, 5 Greek Dances by the Greek composer, Nikos Skalkottas.
Composer, pianist, teacher Eric Moe is a busy man. Not only does he compose, quite often on commission; teach composition and theory at the University of Pittsburgh; and occasionally lend his keyboard talent to the cause of other composers, he is also codirector of the Music on the Edge, a new-music series that brings many of the leading lights of contemporary music to the city.
We don't tend to think much about the "classical" in classical music, the art form's links to ancient Greek culture. But as Robert Kirzinger reminded listeners in a program essay for Friday's Boston Modern Orchestra Project concert in Jordan Hall, the phrase classical music itself — while today almost meaningless in its catch-all nature — still acknowledges its implicit debt to more ancient pasts.
Let summer officially begin! Boston's last major "regular season" orchestra, the Boston Modern Orchestra Project (BMOP), closed the books on its 2011-12 season on Friday night with a program of music inspired by Greece and Greek mythology. Dubbed "Apollo's Fire," BMOP presented a mix of older contemporary fare (read, all-20th century) featuring pieces by Nikos Skalkottas, Elliott Carter, Igor Stravinsky, and Lewis Spratlan, all conducted by music director Gil Rose.
Rounding out its concert season, Boston Modern Orchestra Project under the direction of Gil Rose presented a concert entitled "Apollo's Fire" in Jordan Hall on Friday night. The four works on the concert took their inspiration from Apollo and the Muses, either explicitly or implicitly; the other link in this program – one not expressed in the program notes but one I found to be omnipresent – was the idea of dance. The evening began with a pre-concert talk presented by The Score Board, largely in conversation with Lewis Spratlan.
Friday night's concert of the Boston Modern Orchestra Project was all about the Greek debt.
Ours to them, that is. The program at New England Conservatory's Jordan Hall, titled "Apollo's Fire," celebrated the continuing power of ancient mythology in Western thinking and art of the 20th and 21st centuries.
To mark Good Friday, the Boston Modern Orchestra Project brought together two contemporary Passion settings: David Lang's "The Little Match Girl Passion" and Arvo Pärt's "Passio Domini Nostri Jesu Christi secundum Joannem."
It did not look much like a BMOP concert – only a few instrumentalists were present. But it was an appropriately grave lineup for the darkest day of the Christian calendar.
People who like the sound of straight-toned voices singing intricate counterpoint at close intervals had a feast at New England Conservatory's Jordan Hall on the evening of Good Friday, as the Boston Modern Orchestra Project presented works with "Passion" in the title by David Lang and Arvo Pärt.
A most uncommon acknowledgment of Good Friday recalling the crucifixion of Jesus Christ occurred at Jordan Hall. It involved the Boston Modern Orchestra Project, a slate of guest soloists, and the Harvard-Radcliffe Collegium Musicum. Two reenactments of the passion, one allegorical, by David Lang and the other, from Biblical texts, by Arvo Pärt, adopted a similar, now familiar musical language of minimalism. Both passions were fittingly in minor modes commonly associated with all things sorrowful.
The Fromm Music Foundation at Harvard presented the first of two explorations of some of electronic music's seminal large-scale works Friday evening at Paine Hall, engaging Boston’s preeminent new music ensemble, the Boston Modern Orchestra Project, to tackle challenging works by Charles Wuorinen, Gérard Grisey and Jonathan Harvey.
Say hello to Hans Tutschku before the concert, and he will direct you to the "sweet spot" of the room. This past weekend was Tutschku's second "festival" of the year, where space and technology would share the limelight. Last fall, he curated "Sound in Space Festival: The Art of Interpretation of Electro-acoustic Music" at the Fenway Center in Boston. This spring, Tutschku was curator of a two-day festival "Jour, Contre-jour" with the Fromm Players at Harvard, held in the university's John Knowles Paine Concert Hall Friday night and last night.
Kick & Ride proves an apt title for composer Eric Moe's recent BMOP Sound release, highlighting his use of drum set and percussion throughout the three compositions represented. The high energy works, characterized by Moe in the liner notes as "cantankerous sisters," indeed deliver shots of dramatic flair and suspenseful anxiety that could nearly persuade a listener to skip that all-important morning cup of coffee.
When a composer has written well over 500 works, one can assume that there will be some unevenness in his production. Despite the fact that a number of Alan Hovhaness's pieces have entered the standard repertoire and that recording projects turn up interesting, little-heard music by the composer on a regular basis, Hovhaness's production is indeed uneven. Remarkably, those 500 works are just the tip of the musical iceberg.
Warning: Consuming Kick & Ride (the Boston Modern Orchestra Project's newest recording that features three drum-heavy works by Eric Moe) while in anything even hinting at a bad mood could lead to broken mugs at Starbucks, holes in apartment walls or shoving matches on a downtown 6 train platform.
On Friday, January 27, the Boston Modern Orchestra Project (a.k.a. BMOP) presented Strange Bedfellows: Unexpected Concertos, showcasing instruments don't get to be concerto soloists as often as their ubiquitous cousins, like violin or piano. Here, the spotlight was on viola, electric guitar, mandolin, theremin and French horn. All but one of the pieces were written in the last six years, and together they showed that contemporary classical music is thriving — don't let anyone tell you different!
Tales of thwarted love frequently do well on stage, and the story of Heloise and Abelard is no exception. This dramatic tale, discovered by scholars through recovered love letters, is all the richer for being true: passionate love between a tutor-philosopher, Abelard, and his brilliant student, Heloise; an unexpected pregnancy; a violent castration. It is cinematic or—as composer John Austin ’56, LL.B. ’60, thought—operatic.
The Boston Modern Orchestra Project called its program of five "unexpected concertos" at Jordan Hall Friday "Strange Bedfellows." None (well, almost none) of the music induced slumber, however. Created for an odd array of solo instruments (viola, electric guitar, theremin, mandolin, French horn) accompanied by instrumental ensembles of various size and composition, the works prodded at the frontiers of traditional concerto form. Electronic and acoustic sounds engaged in conversation - sometimes in rancorous argument - across the centuries, forcing us to rethink this venerable genre.
Leave it to the Boston Modern Orchestra Project (BMOP) to completely revitalize the concept of a concerto concert. This past Friday night at Jordan Hall, the orchestra, conducted by music director Gil Rose, presented a thoroughly energizing and invigorating concert of five concerti written by composers born between 1923 and 1979.
Billed as Strange Bedfellows: Unexpected Concertos, the program featured concertos for, respectively, viola, electric guitar, mandolin, theremin, and horn.
If you're one of those concertgoers who look forward most to the concerto, the Boston Modern Orchestra Project, led by its artistic director Gil Rose, had a concert for you Friday night at Jordan Hall.
For Andrew Norman, the acts of playing music and composing music have always been intimately linked - at least since he was 6, which is when a piano arrived in his family's house, their first musical instrument.
"I was always making up things," said Norman by phone during a recent call from London, where he was having a piece performed. "No one in my family was musical, so I was able to fool my parents into thinking I was practicing."