Entries by Rob Haskins

CD Review: Tristan Perich: Parallels, for tuned triangles, hi-hats & 4-channel 1-bit electronics (2013)—Meehan/Perkins Duo (Physical Editions 5, 2015, 46 minutes)

I first heard of Tristan Perich from NPR, hardly the bastion of cutting-edge arts journalism. But every now and then they report on someone vital and interesting (whether by accident or knowledge, it’s impossible to tell)—that’s how I also became aware of Guillermo Klein. The Perich spot concerned his 1-Bit Symphony (2010), which had just […]

CD Review: Mathew Fuerst: Works for Violin & Piano—Jasper Wood, violin and David Riley, piano (Albany 1530, 2015, 49 minutes)

As I’ve said before, I attended the Eastman School of Music at a time when there was an embarrassment of riches for contemporary music. My graduate and undergraduate colleagues read like a Who’s Who of new music: a short, incomplete list would include Alan Pierson, Stefan Freund, Payton MacDonald, David Crowell, Caleb Burhans, Hannah Lash, […]

CD Review: Dan Trueman: Nostalgic Synchronic, Etudes for Prepared Digital Piano—Adam Sliwinski (New Amsterdam 70, 2015, 44 minutes)

Dan Trueman, who works as a professor of composition at Princeton University, lightly wears the trappings of his prestigious appointment. He describes himself—almost everywhere I can find—as a “composer, fiddler, and electronic musician.” Digging a little deeper, I found his Ph.D. dissertation (“Reinventing the Violin,” 1999, also from Princeton): a refreshing, erudite but unpretentious document […]

CD Review: Bryce Dessner: Music for Wood and Strings—Sō Percussion (Brassland 45, 2015, 71 minutes)

This is my first review of Bryce Dessner’s music here, though I wrote about his Murder Ballades, performed by Eighth Blackbird on Cedille, in the American Record Guide. (Sadly, haste resulted in my number one sin-to-be-avoided as a writer, misspelling the poor man’s name. I acknowledge my ignominy and beg forgiveness.) Born in 1976, Mr. […]

One-Hit Wonders and Kleinmeister

I’m finally beginning to think about the preparation for a long-desired course on rock and popular music from 1970 to 2000. Although I listened to some rock music from earlier (The Who, The Beatles, The Monkees [!], Chubby Checker, Steppenwolf, and a few others), I only began to pay much attention to it in the […]

A New and Consistent World Entirely His Own

The twentieth and twenty-first centuries have witnessed an extraordinary and almost indefinable cross-fertilization among artistic disciplines and styles. New technologies have facilitated new ways of creation and new ways to present works to audiences. Much of this activity has occurred in the theater, and some of the most impressive achievements have included a significant role […]

On Variations V—Mode 258, 2013

John Cage’s work took a profound turn in the 1960s. Having discovered, in the previous decade, the promise of composing with the assistance of chance, and even creating strategies that rendered music indeterminate and thus incapable of replication from one performance to another, he began to pursue the implications of his discovery to their logical […]

John Cage’s Organ Music (Mode 253–54, 2013)

I sometimes find myself wondering why John Cage produced, comparatively speaking, so little organ music. He fondly recalled that David Tudor, having learned all of the organ repertoire by the time he was in his teens, decided to turn all his attention to the piano. Knowing how much Cage esteemed Tudor, I might suppose that […]

John Cage, One9 and 108

The history of Western music shows us that a few composers distinguished themselves in other fields of creative endeavor: Guillaume de Machaut’s poetry is as famous as his music, for instance, and Carl Ruggles supported himself during his final years as a painter. John Cage (1912-1992) wrote poems and prose every bit as distinguished as […]