{"id":164,"date":"2009-01-07T12:11:23","date_gmt":"2009-01-07T12:11:23","guid":{"rendered":"http:\/\/www.artsjournal.com\/lifesapitch\/wp\/?p=164"},"modified":"2009-01-07T12:11:23","modified_gmt":"2009-01-07T12:11:23","slug":"inote","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/lifesapitch\/2009\/01\/inote\/","title":{"rendered":"iNote"},"content":{"rendered":"

‘Twas the week before Christmas, and I went to see my friend Rob Moose<\/a>
\nand his string quartet OSSO perform at (le) poisson rouge<\/a> in the West
\nVillage. They played just after pianist Gloria Cheng, whose program
\nAllan Kozinn from The Times<\/i><\/a> describes:<\/p>\n

\n

The
\nprogram Gloria Cheng played at Le Poisson Rouge on Monday evening was
\ndrawn from her most recent Telarc recording, a compilation of the
\ncomplete (if slim) piano music of Esa-Pekka Salonen<\/a> and Steven Stucky, along with a Lutoslawski rarity, the youthful Sonata (1934). <\/p>\n

But
\nother threads bind the works as well. Ms. Cheng is friends with Mr.
\nSalonen, who composed “Dichotomie” (2000) for her. Mr. Salonen, who as
\na conductor has been a champion of Mr. Stucky, persuaded Ms. Cheng to
\ninclude Mr. Stucky’s “Four Album Leaves” (2002) on her disc. Mr.
\nStucky, who published a monograph on Lutoslawski, put her onto that
\ncomposer’s Sonata. And as it turns out, the piano music of all three
\ncomposers draws heavily on the harmonic language and textures of the
\nFrench Impressionists. <\/p>\n

“When you play works by composers you
\nknow,” she said at the start of her set, “you see more in the music
\nbecause you know the person; but you also see more in the person
\nbecause you know the music.”<\/p><\/blockquote>\n

The
\nthreads that bind a program of music by living (and recently deceased)
\ncomposers that Kozinn details above are useful to include in a review. 
\nThey are also, of course, useful in program and liner notes, either written by
\nthe artist or written by someone who knows the artist and the composers
\ninvolved well enough to write an approaching-first-person account.
\nKozinn only mentions Cheng’s verbal introduction to her set, but in fact she talked
\nthe whole time, which was fantastic. She talked about being backstage
\nwith Salonen at the LA Phil and him saying, “I want to write a little
\npiano piece.” (I believe the final piece was 17 minutes long in two
\nparts.), she talked about how in one part of piece she thought the
\nmachines – the general subject of the composition – “go nuts”. It was
\nthe kind of backstage intel I feel so privileged to discuss with
\nmy artists, and there it was, all over the concert. Of course it helped
\nthat Cheng was extremely articulate, clearly serious, and very funny
\nwithout that familiar “Thanks folks, I’ll be here all week” tinge. <\/p>\n

My
\nfriend from IMG who’s a friend of hers was there, and he introduced us
\nafter the concert. “I loved the way you talked about the pieces!” I blurted, of course. “Really?” she replied, “I just found out today that
\nthere wasn’t going to be a program!” But this was far better than a
\nprogram: Some branches of trees were saved, no one was reading
\nduring the concert, the familiar paper shuffling and crinkling was
\ndecidedly not missed, and most importantly, the audience got a sense
\nof the artist’s personality, musical perspective, and role in the
\ncreation of contemporary classical music in an organic way. <\/p>\n

I recently learned at a visit to MOMA that you can now download an MP3 from their website
\nor connect via WiFi on your iPhone\/iPod Touch<\/a> at the museum rather than pick up an audio guide to an exhibition. So let’s say I was going to the OSSO\/Gloria Cheng concert, and wanted
\nto know what I was about to hear in the artist’s own words. I could download an audio file of
\nCheng talking about the pieces, telling little anecdotes about hangin’
\nbackstage with EPS, put in on my iPod, and listen on the 1 train en
\nroute to the performance. I, personally, would do that for every concert I could –
\nnew music or otherwise – and actually, venues could charge for it: add
\nan audio program note package to your subscription, buy the program
\nnote with your ticket, etc.. If more venues’ sites supported this, an
\nartist could produce one “note” at the beginning of a recital tour, or
\nfor a concerto they were going to play throughout a season, and their
\nmanagement or publicist could distribute to presenters. If this wasn’t
\nsomething an artist could pre-produce, perhaps presenters could team up
\nwith local classical radio stations and produce them while the artist
\nis rehearsing. Audience members would learn that, on the day of a
\nconcert, an audio program note would be available for them to download
\nfrom the presenter website to listen to in\/on the car\/walk\/bus\/subway on their way the
\nconcert.<\/p>\n

If we wanted to take the artists out of the equation, since schedules, interest in participation, and personalities often get complicated, why not have members of an organization talk about programs? This is the dramaturg discussing the play you are about to see and here is a clip from the play; here is the artistic administrator talking about why (s)he booked this show; here is the music director of the orchestra…so on, so forth. Again, this could be something a local radio station would probably be happy to produce in exchange for sponsorship credit. <\/p>\n

And if your artistic director sounds anything like Philippe de Montebello, you’ve struck gold.<\/p>\n","protected":false},"excerpt":{"rendered":"

‘Twas the week before Christmas, and I went to see my friend Rob Moose and his string quartet OSSO perform at (le) poisson rouge in the West Village. They played just after pianist Gloria Cheng, whose program Allan Kozinn from The Times describes: The program Gloria Cheng played at Le Poisson Rouge on Monday evening […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[9],"tags":[],"class_list":{"0":"post-164","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/lifesapitch\/wp-json\/wp\/v2\/posts\/164","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/lifesapitch\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/lifesapitch\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/lifesapitch\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/lifesapitch\/wp-json\/wp\/v2\/comments?post=164"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/lifesapitch\/wp-json\/wp\/v2\/posts\/164\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/lifesapitch\/wp-json\/wp\/v2\/media?parent=164"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/lifesapitch\/wp-json\/wp\/v2\/categories?post=164"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/lifesapitch\/wp-json\/wp\/v2\/tags?post=164"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}