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Leonard Rosenman's Music for Films and the Concert Hall 21ST CENTURY MUSIC MAY 2000 INFORMATION FOR SUBSCRIBERS 21ST-CENTURY MUSIC is published monthly by 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. ISSN 1534-3219. Subscription rates in the U.S. are $84.00 (print) and $42.00 (e-mail) per year; subscribers to the print version elsewhere should add $36.00 for postage. Single copies of the current volume and back issues are $8.00 (print) and $4.00 (e-mail) Large back orders must be ordered by volume and be pre-paid. Please allow one month for receipt of first issue. Domestic claims for non-receipt of issues should be made within 90 days of the month of publication, overseas claims within 180 days. Thereafter, the regular back issue rate will be charged for replacement. Overseas delivery is not guaranteed. Send orders to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. e-mail: [email protected]. Typeset in Times New Roman. Copyright 2000 by 21ST-CENTURY MUSIC. This journal is printed on recycled paper. Copyright notice: Authorization to photocopy items for internal or personal use is granted by 21ST-CENTURY MUSIC. INFORMATION FOR CONTRIBUTORS 21ST-CENTURY MUSIC invites pertinent contributions in analysis, composition, criticism, interdisciplinary studies, musicology, and performance practice; and welcomes reviews of books, concerts, music, recordings, and videos. The journal also seeks items of interest for its calendar, chronicle, comment, communications, opportunities, publications, recordings, and videos sections. Typescripts should be double-spaced on 8 1/2 x 11 -inch paper, with ample margins. Authors with access to IBM compatible word-processing systems are encouraged to submit a floppy disk, or e-mail, in addition to hard copy. Prospective contributors should consult "The Chicago Manual of Style," 13th ed. (Chicago: University of Chicago Press, 1982) and "Words and Music," rev. ed. (Valley Forge, PA: European American Music Corporation, 1982), in addition to back issues of this journal. Typescripts should be sent to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. e-mail: [email protected]. Materials for review may be sent to the same address. INFORMATION FOR ADVERTISERS Send all inquiries to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. e-mail: [email protected]. 21ST CENTURY MUSIC May 2000 Volume 7, Number 5 MARK ALBURGER The Paul Dresher Electro-Acoustic Interview 1 SABINE M. FEISST Serving Two Masters: 19 Leonard Rosenman's Music for Films and the Concert Hall CONCERT REVIEWS A Bolcom View from the Opera House 26 JAMES L. PAULK More Nemtin Concerts 27 ANTON ROVNER Contrasting Concerts of 28 Pleasure in Artaud and Justice MARK ALBURGER 415 Batting 1000 30 MARK ALBURGER RECORD REVIEWS New Voyages from New Albion 32 CRYSTAL ELIZABETH The Late, Great Shostakovich 32 PHILLIP GEORGE Society of Composers, Capstone 33 BRYCE RANKIN CALENDAR For May 2000 36 CHRONICLE Of March 2000 38 COMMENT Kinds of Literary Magazines 47 RICHARD KOSTELANETZ WRITERS 48 ILLUSTRATIONS i, 5 Electric guitar 2 Paul Dresher Ensemble Electro-Acoustic Band 7 Paul Dresher 8-17 Paul Dresher Ensemble Electro-Acoustic Band members 23-25 Star Trek IV 26 William Bolcom 28-29 D.J. Spooky (a.k.a. Paul Miller masquerading in headphones as Princess Leia) 31 Set 4 of the 2000 Opus 415 Marathon 32 Steven Scott - New Music for Bowed Piano (detail from CD cover, New Albion) 36 Elliott Schwartz (Capstone) 46 Mauricio Kagel on the set of Ludwig Van 47 Richard Kostelanetz beset by books The Paul Dresher Electro-Acoustic Interview MARK ALBURGER Composer / guitarist / ensemble director Paul Dresher has DRESHER: Oh yes. It was day and night. been long active on the West Coast and around the world as a progressive voice in both music theatre and the concert hall. ALBURGER: How much of Terry Riley would you have heard in '68? In C? A Rainbow in Curved Air? I drove the winding road to Paul Dresher's Berkeley Hills home on February 8, 2000. The maids were cleaning the DRESHER: I first heard In C, and then I heard Rainbow, and house, so we took shelter from the noise (and lamentably, the they both changed my life. I had applied to Cal Arts the year spectacular view of San Francisco Bay) in Dresher's cluttered, it opened, and I got into Cal Arts the same time that I got into cold, windowless garage studio, where the real work is done. a very "big" band -- a band that was doing stuff. I was I brought a collection of CD's and tapes, and we began there. replacing Jerry Garcia, actually, in this band. ALBURGER: The earliest music I have -- ALBURGER: What was the band's name? DRESHER: '79. DRESHER: The band was called The Rubber Duck Company. They used to open for The Grateful Dead. ALBURGER: '79, the songs -- ALBURGER: Hmm, Rubber Duck... I've been Duck blind!.. DRESHER: Night Songs. DRESHER: That's a different duck! ALBURGER: Yet I hear a definite consistency of personality the whole time. ALBURGER: We'll duck that issue! DRESHER: I would say that, yes. I'd say the first piece that I DRESHER: Yes! So that was a big opportunity. I had to wrote which was within what I would consider the lineage that decide whether to go to Cal Arts, or take this gig with the band I think about using now was actually written in '74 -- Guitar and move to New York. We were having a show produced at Quartet. the Brooklyn Academy of Music. ALBURER: You would have been at Berkeley at the time? ALBURGER: And you were 19. DRESHER: No, I was hanging out at Mills College. I was DRESHER: Yes. So I moved to Brooklyn to do the show, never officially a student at Mills -- I was an undergraduate and lived in total, abject poverty. But I was having fun. student at Berkeley and a graduate student at U.C. San Diego. I first went to Berkeley in 1970, and tried to do a combination ALBURGER: In Brooklyn. of music and anthropology, or ethnomusicology, and, at that point, the music department was so conservative that they DRESHER: Yes. So we did the show for five or six weeks at could not conceive that music from a non-classical Western the Brooklyn Academy. The band was made up of a lot of culture had any validity or value! I dropped out of school in people who had been successful in bands like Joy of Cooking, the spring of '70, after about four quarters at U.C. Berkeley. Country Joe and the Fish, and Sea Train. And I just played music and started studying world music. I had actually been playing in some rock bands, and had done ALBURGER: Anyone we would have heard of? well -- really well, at least for a 19-year-old, in pop music. But after my first foray into commercial rock-and-roll, where DRESHER: Tom Constantin was the keyboard player and we were doing record contracts and traveling, I quickly came leader of the band. to hate the commercial music world, because their motivation for doing what they were doing was completely different from ALBURGER: Oh, yes. my own. And I first heard Terry Riley's music in 1968, and I was absolutely in love with it. When I came back from being DRESHER: Of course, Tom has a very, very unusual musical in New York and Los Angeles (doing the pop music thing), I history. came back to the Bay Area, and I heard that Terry Riley was teaching at Mills College, in '71. So I instantly ran over there ALBURGER: He does, indeed, and he has some Mills and just started hanging out (I didn't get to be a student) at the associations, too. Center for Contemporary Music. And Bob Ashley was the director of the CCM. DRESHER: Yes. Before he joined The Grateful Dead, he had been at Darmstadt for four years, and studied with Henri ALBURGER: It would have been day and night: Mills Pousseur and Boulez and Berio. In fact, Berio came to one of compared to Berkeley, at that time. our shows in New York in 1970. ALBURGER: And Tom had a connection with Steve Reich. DRESHER: And for what the Dead did, in terms of where they would go sonically. As much as people like to disparage DRESHER: Yes, and he had a connection to that whole music the Dead, magic things happened. Things happened on stage community at Mills. that were clearly unlike anything that had ever happened in rock and roll, before or since: the feedback, just dealing with ALBURGER: And the other Grateful Dead member-- the ambience of the moment, making transitions and going places that were very special. That's part of why people love DRESHER: Phil Lesh. So Tom had been in Europe, and Phil that band. Performances were very unpredictable. Even got into the Grateful Dead, and Phil said to Tom, "You have to before the death of Jerry, I hadn't seen the Dead for a number come be in this band." Tom was always the odd man out, of years. But I've seen the Dead be completely boring and because his musical world was really not dance music. Tom's awful, and then I've seen moments that were astonishing. world was the serious contemporary classical-music world. In Sometimes in the same set! That was part of the whole fact, much of that unusual music in the Dead's second album, Grateful Dead experience. Anthem of the Sun -- all the prepared-piano passages and all the weird electronics -- is Tom.
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