Best of DTM (3: European Classical Music)


Some of my history with the fully-notated side of the tracks is found at the NewMusicBox discussion with Pat Zimmerli. Zimmerli himself was very important to my development, as were Gregg Smith and especially Sophia Rosoff and Mark Morris.  I couldn’t have played The Rite of Spring with the Bad Plus if I hadn’t worked with Mark first.

At Sonatas and Études one can find the longer DTM pieces about formal composition. It’s kind of a mixed bag. Probably these essays aren’t as deep as the jazz essays. All of DTM is a kind of “practicing in public,” sharing my haphazard and decidedly non-academic researches into source material, and that amateurism is most evident in Sonatas and Études, possibly because I’ve spent so much less time arguing in bars about classical music than jazz.

Five of my favorites:

Endellion Idyll  is a photo blog of Mark Padmore’s amazing festival in Cornwall.

Mixed Meter Mysterium (on Stravinsky) is less distinctive than most of DTM simply because there is so much Stravinsky reception already. However, as far as I know, this is the only look at the issue of Stravinskian “feel.”

Peter Lieberson on Record This overview took a year of listening to write. Looking at it now I want to take another year to listen again…

Glenn Gould plays Byrd and Gibbons (and Sweelinck) Why not find the scores for the famous record?

The Gate Is Open (on Charles Rosen, with Matthew Guerrieri) Rosen is a godfather to DTM, and I’m influenced by Guerrieri as well.

I certainly could write about Ligeti, although he’s reasonably covered (perhaps not with fellow jazzers though). Schnittke is another big one, although in his case there is so much to hear that I don’t know yet. On the other hand, not knowing everything about Wuorinen didn’t stop me from weighing in for Charles’s 80th birthday at NewMusicBox.

Lera Auerbach and Thomas Adès are two of my favorites from roughly my own age group; if the opportunity arose I’d certainly love to interview them.

What’s more likely is further writing about pianists and 20th century piano music. This is my deepest bench. Well, we will see what the future brings…