February 2008
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21ST CENTURY MUSIC FEBRUARY 2008 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 per year; subscribers elsewhere should add $36.00 for postage. Single copies of the current volume and back issues are $10.00. 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. email: [email protected]. Typeset in Times New Roman. Copyright 2008 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 February 2008 Volume 15, Number 2 INTERVIEW An Interview with Frederick Carrilho 1 TOM MOORE CONCERT REVIEW Honesty and Dishonesty in Opera 4 MARK ALBURGER CALENDAR Of February 2008 5 CHRONICLE Of December 2007 5 ILLUSTRATIONS i, 5 Karlheinz Stockhausen iv Elliott Carter 1 Frederick Carrilho 3 Road to Sao Paulo, Brazil 4 Igor Stravinsky - The Rake's Progress (San Francisco Opera) 6 Andrew Imbrie 7 Lucas Foss - Griffelkin (Chandos) 8 H. Wiley Hitchcock 9 Philip Glass, Robert Wilson (Robert Mapplethorpe) 9 Paul Chihara 11 Led Zeppelin 12 Chuck Close - Self-Portrait Editorial Staff Mark Alburger EDITOR-PUBLISHER Harriet March Page ASSOCIATE EDITOR Patti Noel Deuter ASSISTANT EDITOR Erling Wold WEBMASTER Alexis Alrich Ken Bullock David Cleary Jeff Dunn Phillip George Jeff Kaliss Michael McDonagh Stephen Moore William Rowland CORRESPONDENTS An Interview with Frederick Carrilho Tom Moore Composer Frederick Carrilho was born in 1971 in the state of Music in the smaller churches was done with piano or organ, Sao Paulo, and has studied guitar and composition, most and congregational singing. In larger churches, there would recently at UNICAMP in Campinas. His music has been heard be an orchestra which accompanied the congregation. at the recent biennial festivals of contemporary music in Rio, Parallel with this there were songs which were more with the Profusão V – Toccata making a strong impression at vernacular. So you had a mix of more traditional church the Bienal of 2007. We spoke in Portuguese in Botafogo, music with music from the 60's, a situation which continues Brazil, on October 24, 2007. until today. MOORE: Let's talk about the influences of adolescence, the MOORE: What sort of music were you listening to as an family, the musical environment. Where were you born, and adolescent? Even a composer who is working in the area of where did you grow up? classical music often listened to rock, progressive rock, jazz, Chick Corea, John McLaughlin... CARRILHO: I was born in Penápolis, a city in the interior of the state of Sao Paulo, but when I was a month old, we moved CARRILHO: Yes. Since I was born in the 70's, in addition to to Sao Paulo, where I lived until 16. Then I moved to a city my father's discs, I used to listen to the music on the radio. near Campinas, named Indaiatuba. My mother is a pianist, What made an impression when I was an adolescent in the and my grandfather was the pastor of a Baptist church, who early 80's was Jethro Tull, Led Zeppelin, Queen, Pink Floyd -- played sax in the services. From a very early age, I was used music which had and has quite an influence on me. In terms to seeing my grandfather and mother playing at church. At of jazz, there was John McLaughlin -- I used to listen to a lot about five or six, my parents gave me guitar lessons. My of his records, including the trio with Paco de Lucia and Al Di father had lots of records, of instrumental and orchestral Meola. This made a great impression on me during guitar music, and when I was home by myself, I would listen. Since study, around 1983, ’84. Before this, there was the I didn’t have much to do, I would turn on the enormous Mahavishnu Orchestra, which I heard somewhat later, since I Victrola (78rpm), and put something on. I got to know music would have been too young when the music initially come out. by Handel, other composers from baroque, classic and This music is part of my vocabulary; it's in my genes. romantic eras. MOORE: What type of literature were you working with when MOORE: What year was this? you studied guitar? CARRILHO: 1976, 1977. CARRILHO: The traditional repertory -- Bach suites (the study of every guitarist), Sor, Giuliani. And later music from MOORE: A period by which 78's were already old-fashioned. the 20th century -- Leo Brouwer, Villa-Lobos, of course, since all Brazilian guitarists play Villa-Lobos. Then I became CARRILHO: Yes. The Victrola played at both 78 and 33, but interested in more experimental music for classical guitar, the disc were old ones. So I started guitar, and entered a composers like Berio, various others. conservatory at 11. After graduation, I dedicated myself to performance for the next 10 years. My first experience in MOORE: Did you have classes in popular music and jazz at composing was at 12. I was listening to an aria from Handel's the same time? Messiah, and made a sort of variation/arrangement. I started to dedicate myself to composition at 23 or 24, with music for CARRILHO: I was listening to this music, but did not have guitar, and then for groups. formal instruction. Brazilian harmony was also something that was familiar. And there are connections between bossa MOORE: What was the music at your church like? American nova and jazz, so I didn’t study formally, but learned about gospel? Brazilian? these other styles on my own. CARRILHO: There is a musical style which you find in the MOORE: You did your baccalaureate work at the more traditional churches -- Baptist, Presbyterian, Lutheran, conservatory in Sao Paulo? Methodist. They have their own repertoire in their hymnals, which is primarily music from the late 19th century, and still is very important. I was born during a transitional period for church music. In the 60's you had the Beatles and rock'n'roll, and this is something which made its way into the churches, whether in Brazil or elsewhere. So church music began to be made based on these influences, which were not the traditional sources. CARRILHO: Yes, in guitar. I studied with Professor Enrique MOORE: Your piece at the Bienal, Profusão 5 – Toccata, was Pinto, maestro Abel Rocha, and with the conductor Naomi received very well. The integration, mixture, cannibalism of Munakata. Rocha was the director of the symphonic band of influences from popular music and classical music was very the state of Sao Paulo. Maestrina Munakata was the director interesting, and extremely well-done. Too often you hear of the chorus of USESP, and Enrique was one of the most compositions with influences from popular music which are important figures for the guitar in Brazil. not very well-digested, which remain as a sort of objet trouvé, where the popular music is alien to the rest of the style. In MOORE: What is the situation with the conservatory in Sao your work, it was impossible to say where one style ended and Paulo? Is it conservative? Does it follow the French the other began. Could you say a little about the structure, the tradition? motives, the rhythmic references of the piece? CARRILHO: In Sao Paulo, they are a little more diversified CARRILHO: Integration was one of my principal objectives in the sense that each discipline has its own methodology. For in the piece, fusing various elements. You have a classical guitar, for example, you have something which is more way of thinking, with influences from other musical styles. traditional. We used the Schoenberg treatise on harmony, You have the influence of rock, which is clear, and the from the first part of the 20th century, and counterpoint from influence of Brazilian rhythm. It's difficult for a composer to the same period. speak about his own work, but the principal motive is the quintuplet. Although the piece is impregnated with the MOORE: You studied performance at the undergraduate influence of rock, at the same time it has elements of the level.