21ST CENTURY MUSIC JANUARY 2004 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. e-mail: [email protected]. Typeset in Times New Roman. Copyright 2004 by 21ST-CENTURY MUSIC. This journal is printed on recycled paper. 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Box 2842, San Anselmo, CA 94960. e-mail: [email protected]. 21ST CENTURY MUSIC January 2004 Volume 11, Number 1 INTERVIEW Doubletalk: Ten Years of 20th- and 21st-Century Music 1 PHILLIP GEORGE CONCERT REVIEWS Afternoon Delights 3 Shedding Light on "Night" 3 Hit Woman at San Francisco Opera 4 MARK ALBURGER RECORD REVIEWS Daniel Boom 5 Cold Compressed 5 Suspended Sanctuary, Indeed! 6 Another Dellaira Delight 7 Sex, Sounds, and Rocco(co?) 7 Dresher for Success 8 Deep Stringy 8 Umzwangedwa 8 Intrusions and the Fury 9 Songs from Invisible Days 9 Somehow He Can 9 MARK ALBURGER MUSIC REVIEW Dmitri Dmitry: A Little Waltz Music MARK ALBURGER CHRONICLE Of November 2003 10 COVER ILLUSTRATION Mark Alburger, in his "Delusions of Beethoven" period With Thanks, to Our Print Supporters Michael Matthews Chen Yi HARMONIE PARK PR SF CONSERVATORY HK BAPTIST U Zhou Long U MICHIGAN Belinda Reynolds H-L de La Grange Max Lifchitz CEN MICHIGAN U Dan Becker BIBLIO G MAHLER NS CONSONANCE U IOWA COMMON SENSE Anton Rovner C.F. PETERS MILLS MUSIC LIB SF STATE U Martin Buess Tony Scafide Philip Blackburn Ernesto Diaz-Infante KARGER LIBRI GENERATION MEDIA AM COMP FORUM Patti Deuter Evelyn Glennie JEFFREY W. JAMES MACALESTER COLL Nancy Bloomer Deussen AMHERST COLLEGE SUNY STONY BR Shannon Wettstein NACUSA, SF SMITH COLLEGE Peter Kermani Michael Henoch Tom and Martina WILLIAMS COLLEGE Andrew Culver NORTHWESTERN U Heasley John McGinn SYRACUSE U Patricia Morehead STANFORD U NE CONSERVATORY SUNY - BUFFALO NE ILLINOIS U Margaret Dorfman HARVARD U EASTMAN SCHOOL U ILLINOIS Ric Louchard Stan Hoffman CORNELL U KANSAS STATE U Bill Susman LONGY SCH OF MUS U PITTSBURGH SE LOUISIANA U Jeff & Susan Dunn David Cleary Paul Stouffer S METHODIST U Kurt Erickson Adam Olenn Geo & Bette Alburger U NORTH TEXAS Owen J. Lee Hayg Boyadjian SWARTHMORE COLL BAYLOR LIBRARY Erling Wold DARTMOUTH COLL Jim & Dorothy Freeman Richard Nunemaker Marilyn Hudson Elliott Schwartz ORCHESTRA 2001 U HOUSTON Martin Rokeach U HARTFORD Kile Smith RICE UNIVERSITY Aaron Bennett Tom Moore FREE LIB PHILA Steven Paxton SONOS WESTMINSTER COLL CURTIS INSTITUTE U COLORADO James Meredith PRINCETON U Harry & Eliz Hewitt LACMA Clark Suprynowicz Mark Zuckerman PENN SOUNDS U CAL, LA Amanda Moody Sorrel Alburger NACUSA, PHILA Mary Lou Newmark Paul Dresher Steve Reich U PENNSYLVANIA GREEN ANGEL MUS PAUL DRESHER ENS Steven Swartz Anthony B. Creamer III Jim Fox Don Buchla BOOSEY & HAWKES SWETS BLACKWELL COLD BLUE MUSIC U CAL, BERKELEY David E. Gamper WEST CHESTER U Rod Butler DOMINICAN U Richard Kostelanetz LIB CONGRESS CAL ST, DOMINGUEZ Deniz Ince RILM Laurie Hudicek CLAREMONT GRAD Clint Bajakian CITY U NY PEABODY CONS Tom Flaherty David Barry Francis Thorne Garrison Hull U CAL, SD U OF CAL, SC AM COMP ORCH U VIRGINIA John Curtis Browning Herb Gellis Frances Richard F. Gerard Errante Bruce Hamill Diana Tucker ASCAP DUKE UNIVERSITY Sondra Clark Deborah Kavasch JUILLIARD SCHOOL U SOUTH CAROLINA Anne Baldwin John Marvin NY PUBLIC LIBRARY Alvin Singleton Lorie Griswold Lisa Prosek Michael Dellaira Nickitas J. Demos John B. Hersch Harriet March Page Richard Einhorn ROLLINS COLLEGE Michael Kimbell GOAT HALL ENSEMBLE 21 FLORIDA INTL U I'lana Cotton NEW MUSIC Jason Eckardt HK BAPTIST U ACF, BAY AREA NOW MUSIC FEST Steve Gerber POKFULAM U SF CONTEMP MUSIC SF COMP ORCH COLUMBIA U Mark Francis SF PUBLIC LIBRARY CMS MANHATTAN SCH HUMANITIES INDEX Michael Tilson Thomas U CAL, DAVIS Aaron Jay Kernis BEREA COLLEGE SF SYMPHONY Terry Riley Evelyne Luest OHIO STATE UNIVERSITY Michael McDonagh D'Arcy Reynolds Barry Cohen Rocco DiPietro Gang Situ Joel Deuter NM CONNOISSEUR Burton Beerman Pamela Z THE TENTACLE Earle Brown BOWLING GREEN U Anne and John Doherty Christopher Shainin Susan Sollins OBERLIN COLLEGE Brenda Schuman-Post Gavin Borchert Dean Drummond Michal George Alexis Alrich Roger Briggs Richard Brooks MT UNION COLLEGE Ted Blair SIMON FRASER U CAPSTONE RECS U CINCINNATI Fred A. Cline, Jr. Mark and Terri Petersen Sue Bernstein DEPAUW U Thomas Goss WASHINGTON ST BERNSTEIN ARTISTS INDIANA U J.J. Hollingsworth John Luther Adams Doubletalk: Ten Years of 20th- and 21st-Century Music PHILLIP GEORGE GEORGE: Here we are in 2004 and 21ST-CENTURY MUSIC The final element came together with my teaching at publishes Volume 11, No. 1. Dominican University, where I directed the first NOW Music Festival, with Deniz Ince (this was the direct descendent of an ALBURGER: Well, yes, we started ten years ago as 20TH- all-Bay-Area-composers American Music Week which I co- CENTURY MUSIC. directed with Herbert Bielawa). We tried everything to get coverage, but in the end, only the editors of Commuter Times GEORGE: How did it happen? came through, so it was that point that I took matters into my own hands. I reprinted Doreen Burgin's review and ALBURGER: Multiple considerations came together supplemented it by hiring Molly Axtmann Schrag to write up fortuitously. While at Claremont Graduate University, as the remaining concerts (this was the first and just about the assistant to Roland Jackson, who published Performance last time any writer was paid)! Thanks to some research at the Practice Review, I couldn't help noticing that I regularly came Menlo Park Copyright and Patent Library, I learned that, across such journals as American Music, Early Music, Music astoundingly enough, neither New Music nor 20TH- Library Association Notes, The Musical Quarterly, CENTURY MUSIC were being used. While more deserving Perspectives of New Music, and 19th-Century Music. I concerns should have snapped up the names, there they were, became increasingly concerned that there wasn't a monthly so a "chapterectomy" from my dissertation, plus Commuter journal for contemporary-music composers, enthusiasts, Times and American Music Week reviews, and the musicologists, and theorists from around the world. For years, "departments" that had evolved, along with publications and I had been asking people, "Where do you go to keep up with recordings listings, became the first bona fide issue of 20TH- what's happening in new music?" The answers I would CENTURY MUSIC. receive -- "I read The New York Times" -- "I read The New Yorker" -- never seemed sufficient. At the same time, during GEORGE: But that was Volume 1, No. 12, was it not? those Claremont years, I became familiar with music software programs, particularly Encore and Finale. When I returned ALBURGER: Right! We just couldn't wait until January home to write my dissertation, I printed up my earliest large- 1995 to publish, although, ironically, it soon became standard scale work, The Twelve Fingers piano suite. Upon showing practice in the Journal to run at a two-month lag, so the the "published" work to several Southern California November 1-3, 1994 NOW Festival really could have waited. colleagues (Michael Boos and John Browning), the response So in our enthusiasm to publish, we had to come out with was "Looks great. Can we be in your company?" I said, December 1994, but even in the heat of the moment I realized "Well, I really don't have a company, but if you join me, I that it would be awfully tedious to calculate issue volumes and guess I will!" The enterprise initially published under the numbers down the years with a Volume 1, No. 1 in December moniker Happy Music, a name I had been using on my -- hence the No. 12, for ease of calculation. Besides, this also manuscripts for years, inspired by Robert Ashley's Lovely suggested a going concern, instead of looking like a total Music. Meanwhile I began working for Al and Doreen Burgin greenhorn publication of No. 1 or avoiding numeration at all, as Music Critic for their weekly newspaper Commuter Times, as Hugh Heffner did in his first issue.