Daniel Goode

Composer & Performer

Tag: cars

Goebbels (H.) Does Gertrude (S.) at the New Tully Hall this Eve

March 19, 2011 1:40:25 AM EDT

Estonian conductor Anu Tali’s platinum ponytail over her musician’s-black uniform beating a metronomic 4/4: was mesmerizing. Heiner G. said in an interview that he knows he’ll always be confused with Joseph G., Hitler’s minister of propaganda. So he’s inoculated himself from this by setting passionate cantorial singing, sampled in his Sampler Suite, from Surrogate Cities. It began with a lighting blast on a male bass drum player smacking the instrument, two handed, with giant switches. It did take the breath away. Was the piece, as a whole, brilliant imagination or crap with brilliant lighting?… He “micromanages” the lighting according to one orchestra member. The whole stage dramatically changes its illumination at apt musical moments. In the Stein piece, it is in the score that the downstage part of the orchestra is all women (dressed in solid colors), who recite on mic and also play the orchestral instruments, while at the back are the men players dressed in black, who never recite. Stein’s World War II text, “Wars I have seen” was Goebbels 2007 hommage to her 1943 observations of everyday life in her adopted France. A friend in the audience, a holocaust survivor, was revolted by Stein’s line that “you could always get butter.” He said butter was unobtainable, and he only tasted peanut butter after the war. He fried it with an egg; called Stein “superficial.” I suggested that maybe in southern France she had a neighbor with a cow. Butter was next door. Spectacular playing by the London Sinfonietta, and a newer ensemble, Orchestra of the Age of Enlightenment. The latter (women) did the Stein aided by the men from the Sinfonietta. Not like American, Canadian, or even most European music said another friend. Orchestra as theater. Not since Fellini’s hilarious, “Orchestra Rehearsal.” But Goebbels is suitably serious, even “Germanic.” And NOT boring. Interesting that both orchestras were 20th Century versions of the 16th-17 century “broken consort.” (Approx. one of each instrument.) The festival of the new hall ends, demonstrates that the social redesign of this high-art temple is successful: the new Tully Hall is fun for mingling, and for listening to music. Some eating and drinking too. Thumbnail review. Spring means music overload.

Roi Reviews: more H. Goebbels

March 19, 2011 10:50:53 PM EDT

3/18/11 Tully performance

Orchestra qua Theater. But why? It is (they’re) the medium, not the message. I have a feeling that he’s spinning his wheels waiting for a suitable text or libretto to come along. His wheels are well oiled. The Surrogate Cities raised that question most. But in the G. Stein, it was so over-the-top all the time. But the Stein is so intentionally flat. A mismatch spiritually. Still, along with cantorial music samples, he is associating himself with Jews, and with lesbians. Well inoculated. I thank him for that.

He doesn’t need more than an acoustically thin “broken consort” (or the Schoenberg kammersymphonie/radio orchestra) sized orchestra because he adds a mesmerizing layer of sampled invariably THICK drone-ish, or rhythmic texture which distances and interprets the chamber orchestra’s sounds. These drones and samples become electronic hooks themselves—that’s possible now, ever since techno, and before that, electronic music and radio. H.G. has beautiful white hair and a large frame dressed in musician’s black. I complimented him on giving new life to the “broken consort” (he even had a theorbo in the mix). At first he looked puzzled, but then got it, and thanked me for coming.

The chamber orchestra is being re-contextualized with lighting and concrete sounds. And you hear right away not to focus on the instrumental orchestration, melody, etc. But what are all the bells and whistles focusing you on? They were beautiful bells and whistles. The new Tully sound system and lighting were spectacular. So resources count. At times I thought of it as an “uptown Richard Foreman.” Instead of a mad cacophony of actual bells and whistles in Foreman, we had smooth, elegant textures of fabulous instrumentalists doing difficult imaginative music. Flashing lights and breathtaking cuts.

Re: Musicworks Coverage of Philip Glass

May 4, 2012 6:41:29 PM EDT

Good to hear from you, Micheline. We should talk some time about what’s happening in New York. Actually, I’m not sure “what’s happening in NY.” I try, but come up with issues, venues, and generations, and of course, economics just as often as a name or a piece of music I like or don’t like. I’ll never forget hearing Phil Glass’s Music in 12 Parts (one or two of them) in his Bleecker St. loft, with the four loud speakers at the four corners, the listeners in a circle next, and the musicians, mostly, but not all amplified, in the center of that circle. Must have been early 70’s. So, everything’s good about that Phil Glass, and really nothing bad at all. It’s just that the brand, Phil Glass or another brand, is what rules new classical music. I have a problem with this! Because of what that means in practice. And the cover of the Musicworks with that familiar brand, in face form, well: is he going to be like Elliott Carter?—every 5 years (Carter’s about 103) it’s time for another round of THE birthday festival. That jumped out at me while I was writing to the circulation department with which I’ve had some lively correspondence now and then. I decided because of that “threat” (the 5-year festival threat), that I would only celebrate my prime number birthdays. Next one’s 79. This does not a brand make!

Anyway, thank you for taking the time to write.

Regarding Below

Dear Daniel,

I received your e-mail concerning our choice to cover Philip Glass from our Operation and Circulation Manager, Andrea Warren.

As you know, we endeavour to cover Canadian and international artists at various points in the development of their crafts.
Last issue we made the decision to cover Glass in light of the major remounting of Einstein on the Beach—a seminal piece in 20th-century opera.

We regularly cover U.S. and international artists both known and well known between our covers.

Recent profiles include:
Nico Muhly (U.S.)
Clint Conley (U.S.)
STEIM and Michel Waisvisz (The Netherlands)
Tristan Perich (U.S.)
Miquel Azguime and Casa da Musica (Portugal)
Jörg Piringer (Austria)
Nadine Byrne, Mattias Petersson, and Henrik Rylander (Sweden)
Elodie Lauten (U.S.)
Yannis Kyriakides (The Netherlands/Cyprus)
Avatar Orchestra Metaverse (worldwide/internet)

We hope that this puts our recent coverage of Philip Glass in context of what we do.


Micheline Roi
Editor, Musicworks Magazine