Archive for November, 2014

Zimerman Plays Munich

Sunday, November 30th, 2014

Krystian Zimerman at the Herkulessaal, Munich, in November 2014

By ANDREW POWELL
Published: November 30, 2014

MUNICH — Along with the whole U.S., this city was on Krystian Zimerman’s “avoid” list. His Bavaria visits would take in Augsburg, Nuremberg, Regensburg, any place but the capital, following a harsh review of a performance he gave a dozen or more years ago. Somehow Munich’s musical life went on without the principled Polish pianist — until this month, when, just like that, he was back, holding Mariss Jansons’ hand for a benefit concert in support of the Süddeutsche Zeitung’s Adventskalender für gute Werke. Perhaps the noble purpose did the trick; the calendar annually raises €5 million for the disadvantaged. Or perhaps it was the tie-in with a two-week East Asia tour, ending today.

The chance to hear Brahms’s D-Minor Concerto (1858) from this long-absent artist appealed widely enough to overfill the Herkulessaal Nov. 5 at benefit prices. Results were gratifying, at least in the grand first movement. Zimerman brought out its rhetoric and delicacy, power and logic. He conveyed passion but preserved clarity and never allowed the brief reflective passages to turn somber. Along the way, his work was braced tightly, flatteringly, by Jansons and the Symphonie-Orchester des Bayerischen Rundfunks on fine form. Then the soloist awkwardly held back the tempo of the Adagio, so that it barely had a pulse. (His 2003 Berlin recording suffers the same fate, but not his 1983 Vienna version.) The Rondo, when it finally came, consequently sounded detached, and, although expertly played, it was taken at a showy pace much beyond allegro non troppo, compounding the estrangement.

Shostakovich’s Fifth Symphony (1937) after intermission typified Jansons’ approach to music: preset, conventional ideas about the score; lavish attention to the realization of those ideas, leaving nothing to the moment; and cultivated support from players long treated as colleagues. The formula has well served him and his much-miked radio orchestra. What was missing at this immaculate performance, as usual, was a sense that the symphony meant something in particular to the conductor, that a uniquely Jansons view might rear its wayward head, and therefore the reading, while never routine, felt ever so slightly like a waste of time.

Photo © Robert Haas for Süddeutsche Zeitung

Related posts:
Levit Plays Elmau
Nézet-Séguin: Hit, Miss
Muti Crowns Charles X
Jansons! Petrenko! Gergiev!
Petrenko Hosts Petrenko

Noted Endeavors with Members of Imani Winds: Have a Plan and Be Excellent!

Tuesday, November 25th, 2014

Flutist Valerie Coleman and bassoonist Monica Ellis of Imani Winds talk to Noted Endeavors about how Imani became the world-famous group it is today. Advice for young ensembles: have a plan and be be patient waiting for commitments.

Noted_Endeavors_LogoThe only full-time touring American wind quintet, Imani Winds has been together for 17 years, and travel the globe giving concerts while also creating workshops, residencies and performing in special collaborations. With two member composers and their Legacy Commissioning program, Imani Winds is expanding wind quintet repertoire while meaningfully mixing traditional European and American music with that of their own African-American and Latin heritages. Dedicated to education and to mentoring talents of all ages, their summer chamber music festival is one of their most important projects.

To learn more about Imani, go to:
http://www.imaniwinds.com

A 25th Anniversary Tour for Wim Vandekeybus

Tuesday, November 25th, 2014

By Rachel Straus

In the 1980s, punk rock, Ridley Scott’s “Blade Runner,” and Mike Tyson’s boxing championships made the ear-splitting, the nocturnal, and the hard-hitting de rigueur. Contemporary dance followed, becoming faster, more brazen and muscular. When the Belgian Wim Vandekeybus arrived on the scene with his first work, “What the Body Does Not Remember” (1987), New York Times dance critic Anna Kisselgoff began her review with these six slamming words: “Tough, brutal, playful, ironic and terrific.” So it was with great anticipation that I attended, at Madrid’s Teatros de Canal on November 23, the reprisal of the dance, which is making a two-year world tour in celebration of the work’s 25th anniversary.

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The first scene of “What the Body Does Not Remember” did not disappoint. Maria Kolegova and Livia Balážová, of Vandekeybus’s company Ultima Vez, treated the floor like it was a wrestler, bouncing off and being mysteriously pinned down by it. Meanwhile Zebastián Méndez Marín’s thudding and scraping sounds on a miked table produced a vision of an invisible combatant seeking to destroy the flailing dancers with what sounded like a sledge hammer and a whip. Francis Gahide’s lighting furthered the sense of gladiatorial imprisonment: horizontal streaks of light produced the illusion of a series of bars that the dancers appeared to be caught in. This physical and sonic intensity could not, and did not, last for the 90-minute duration of the work.

Photo by Danny Willems

Photo by Danny Willems

What ensued, instead, was a series of theater games, which were a letdown. White bricks were thrown and expertly caught by the eight dancers. In another scene, dancers wrapped in brightly colored towels walked across the diagonal and then were stripped of this covering by another passerby. With little on except underpants, the dancers’ near nudity created titters among the audience seated in the sold-out house. Later, in a series of tableaus, or proto group-portrait selfies, Vanderkeybus turned the ensemble into perfectly posed families, each person more confident than the other. The center of the work involved three men continual frisking three women, who were standing in a wide leg-and-arm “X” position. The experience of watching this wasn’t frightening as much as confounding. As the frisking was repeated, two female performers pretended to begin to enjoy the act. Their occasional erotic overtures to their aggressors, however, were hardly convincing. It’s difficult to portray the Stockholm Syndrome without providing motive.

Wim-Vandekeybus-2

All of the scenes related above demonstrate aspects of human aggression. But the treatment of this subject in its various iterations felt jejune rather than profound. They possessed in aggregate the impact of the mundane, such as the different pieces of clothing that the performers put on and cast off. In contrast, the expertly shot, minute-long promotional video of the dance is riveting (https://www.youtube.com/watch?v=18pe0-8fjpY).

Why did the live performance not deliver? Part of the reason could stem from performance fatigue. These eight dancers have been reenacting “What the Body Does Not Remember” for two years. In the work there are no dance steps to hide behind. The performers must interact with each other like it is the first time. To convincingly do so, night-after-night, they need to be brilliant actors. They are brilliant physical artists, and that is saying a lot, but for the purposes of this work, it is not enough. Some works can’t be performed too much. If they do, they lose their punch.

I haven’t mentioned the music yet because I’m trying to erase it. According to the plentiful literature produced by Vandekeybus about “What the Body Does Not Remember,” which includes this resource pack (http://ultimaveztour.co.uk/UltimaVez-ResourcePack.pdf), composers Thierry De Mey and Peter Vermeersch responded to what they saw in the dancers’ rehearsal process. What they came up with sounds like a cross between an action movie sound track, an amateur garage band improvisation, and the music of Theodor Adorno.

 

 

 

Pollini Seals His Beethoven

Monday, November 24th, 2014

Beethoven Piano Sonatas played by Maurizio Pollini

By ANDREW POWELL
Published: November 24, 2014

MUNICH — It took him 39 years, but Maurizio Pollini has now completed his recorded survey of Beethoven sonatas here in the Herkulessaal, where the project began. The final sessions, for the Opp. 31 and 49 pieces, were held in June this year, and the resulting CD set is due for U.S. release on Dec. 2, according to Amazon.

In all, twenty-three of the sonatas were taped in the 1,270-seat shoebox hall, part of Munich’s Residenz arts complex and a favorite venue of the 72-year-old Lombard pianist since he used it for his legendary Chopin Etudes disc in 1972. First built in 1842 as Bavarian King Ludwig I’s throne room, bombed during World War II and reopened for concerts in 1953, the stately but drab Herkulessaal remains this city’s one acoustically satisfactory venue for symphonic music and is a home to the Bavarian Radio Symphony Orchestra.

Pollini’s slowly deliberated cycle, involving no second passes, started with the Opp. 109 and 110 sonatas in June 1975, when he was 33. Munich sessions continued in 1988, 1991, 2002 and 2007, while nine sonatas were recorded in Vienna and Lucerne. The record label is Deutsche Grammophon.

Photo © Rosanna Sibora

Related posts:
Volodos the German Romantic
New Hall for Munich?
Ives: Violin Sonatas on CD
Bretz’s Dutchman, Alas Miked
Poulenc Heirs v. Staatsoper

BMOP Records Scott Wheeler

Sunday, November 23rd, 2014

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Crazy Weather

BMOPsound 1038

As evidenced by Crazy Weather, Boston Modern Orchestra Project’s latest recording of music by Scott Wheeler, the composer really knows his way around percussive sounds. Even on pieces for strings like the title track, there is the ‘thwack’ of pizzicatos and bow slaps to help propel the proceedings. Pacing is another strong suit of Wheeler’s. The shadowy passages of City of Shadows are balanced by flurried gestures that enliven the music and help to articulate the work’s overall architecture. The outer movements of Northern Lights give the impression of intense and quicksilver slalom runs, while the middle movement, marked “Still and Granitic,” provides a portentous counterpart.

How Is Copyright Infringement Like An Ugly Car?

Thursday, November 20th, 2014

By Brian Taylor Goldstein, Esq.   

Dear Law and Disorder:

What rights does a translator have? I translated a non-English script into English. All of the prior translations were very bad, which is why I did my own.  Everyone agrees mine is the best, even the original author. However, now that I am getting offers to produce my English version, the author and his publisher are insisting that, if I want to proceed, then they will own the translation and just pay me royalties for English productions using my translation. That doesn’t seem fair. The translation is all my work. I thought translators own the copyrights in their translations, so, don’t I already own it?

Robyn always tells me I never met an analogy I didn’t like, and I feel one coming on now.

Let’s assume I own a car which drives well, but is a hideous colour of besmirched baby blue (which, as it happens, was, in fact, the hideous colour of the first car I ever owned—a ’72 Buick Skylark which had belong to my grandfather, but I digress). You believe that you can re-paint my car and make it look like a Ferrari and offer to do so. Assuming I accept your offer, just because you paint my car doesn’t mean you now own the car or have any rights to drive it. I might owe you for your time and materials, but even if you make the car look better, the car itself still belongs to me. More importantly, let’s assume that I decline your offer, but you break into my garage and paint my car anyway. Even if you were somehow successful in turning my Buick into a Ferrari, you would still not have any ownership rights or control. You’d also be guilty of trespassing. (Incidentally, my mother did this very thing, erroneously believing that I would be touched and delighted with her thoughtfulness in having my car repainted, without my knowledge, from besmirched baby blue to her choice of vibrant puce. I was not.)

A copyright is like a car. The owner of a copyright has the exclusive right to determine who uses it and how—including the rights to edit it, make copies of it, perform it, record it, re-arrange it, re-orchestrate it, translate it, or create derivative works from it. A “derivative” work is anything that “derives” from the original work, such as a play or novel made into a film, a composition used to create a toy music box, etc. In short, there is nothing you can do without the owner’s permission and, in exchange for such permission, the owner can set any terms, reasonable or unreasonable, that the owner wants—including the right to refuse permission entirely. (Ok, there are one two minor exceptions, but they don’t apply to your question.)

If you want to translate someone else’s work, you must have the original author’s permission. If you don’t like the terms of the author’s permission, don’t do the translation and move on to another project. You are correct that, if translations contain a sufficient amount of creativity (as opposed to, say, a Google translation), then the translation is, itself, subject to its own copyright owned by the translator. However—and this is a BIG “however”—if you didn’t have the original author’s permission to make the translation in the first place, then your copyright is meaningless. It doesn’t matter how artistically nuanced, sensitive, or authentic it may be. As an unauthorized translation, any use of the translation would constitute an infringement of the original author’s copyright. Owning the copyright in the translation merely gives you the right to stop others, including the original author, from using it, but it doesn’t give you any right to use it without the original author’s permission.

Learn from my Mother—step away from the car!

_________________________________________________________________

For additional information and resources on this and otherGG_logo_for-facebook legal and business issues for the performing arts, visit ggartslaw.com

To ask your own question, write to lawanddisorder@musicalamerica.org.

All questions on any topic related to legal and business issues will be welcome. However, please post only general questions or hypotheticals. GG Arts Law reserves the right to alter, edit or, amend questions to focus on specific issues or to avoid names, circumstances, or any information that could be used to identify or embarrass a specific individual or organization. All questions will be posted anonymously and/or posthumously.

__________________________________________________________________

THE OFFICIAL DISCLAIMER:

THIS IS NOT LEGAL ADVICE!

The purpose of this blog is to provide general advice and guidance, not legal advice. Please consult with an attorney familiar with your specific circumstances, facts, challenges, medications, psychiatric disorders, past-lives, karmic debt, and anything else that may impact your situation before drawing any conclusions, deciding upon a course of action, sending a nasty email, filing a lawsuit, or doing anything rash!

 

Noted Endeavors with LPR: Clear Ideas for Raising Capital

Tuesday, November 18th, 2014

Co-founders of Le Poisson Rouge, David Handler and Justin Kantor, talk with Eugenia Zukerman and Emily Ondracek-Peterson of Noted Endeavors about the practical realities of making a living as a composer or instrumentalist.

Noted_Endeavors_LogoCalled by Time Out New York “a forward-thinking venue that seeks to showcase disparate musical styles under one roof,” Le Poisson Rouge continues to present cutting edge events as well as traditional classics, pop, jazz and almost any genre of performance you can think of. “The venue is a downright musical marvel,” as the New York Times dubbed it. Its co-founders, David Handler and Justin Kantor, are downright candid in their belief that experiencing music from completely different perspectives in a dynamic environment is a thrilling experience. Judging by the huge volume of concerts and vast number of attendees, audiences agree.

Lei Liang on Bridge Records

Monday, November 17th, 2014

Lei Liang

Bamboo Lights

JACK Quartet; Rootstock Percussion; Cicada Chamber Ensemble; musicians from soundSCAPE; Awea Duo; The Callithumpian Consort, Stephen Drury, conductor

Bridge 9425 CD

[soundcloud url=”http://soundcloud.com/psny/lei-liang-listening-for”]

 

Composer Lei Liang knows how to pick performers; or perhaps, wisely, they select his works. Either way, when their paths cross, as they do here on a portrait CD released on Bridge Records, the results are noteworthy. Whether it is Tony Arnold singing Lakescape, JACK Quartet’s elegant recording of Gobi Gloria, or the Callithumpian Consort’s energetic rendition of the title track, every performance is committed and convincing.

To suggest that Liang’s music is primarily a fusion of Asian traditional music and contemporary classical is overly reductive. The composer integrates various influences respectfully and thoughtfully. His incorporation of disparate textures and points of inspiration in no way diminishes Liang’s individuality. Whether it is Buddhist contemplative practices in Lakescape, Guqin (a Chinese zither) in Listening for Blossoms, a Mongolian fiddle player in Serashi Fragments, or, in Bamboo Lights, the memory of relatives who passed away during World War II, each is a starting point from which Liang creates music that is deeply personal.

The Mesmerizing Underworld of Rocío Molina

Thursday, November 13th, 2014

By Rachel Straus

Splash. From atop a cantering horse, the avant-garde flamenco artist Rocío Molina plunges into a dark river. This opening film sequence that precedes the live dance work Bosque Ardora (Ardor in the Woods) was seen November 7 at Teatros del Canal—the host of the 2014 Madrid International Dance Festival. Molina’s descent into a dark river is symbolic of her subsequent descent into the underworld of the psyche. There, the thirty-year-old choreographer embodies female archetypes: the goddess (Artemis of the hunt), the vixen (in which she wears a fox mask), and the modern day victim (who is physically punished by high-heel stilettos). Molina never settles too long into one vision, and thus never becomes trapped by female, cultural stereotypes. Molina outfoxes preconceptions: she is a petite, brown-haired beauty; she performs like a chameleon giantess.

Molina in Bosque Ardora

Molina in Bosque Ardora

The film short at the beginning of the work provides specifics: the woods in twilight, the rush of the hunt, and the violence of a fall. Then the dark river, seen on a proscenium-size screen, is reconstituted and abstracted as the curtain rises: On a black floor bordered by 16 real trees, Molina crouches. Like the fox with long hind legs and a slinking neck that leads its body furtively forward, Molina shape shifts into this animal, and looks out at us from beneath her fox mask with glowing eyes. Some of the trees on stage are hanging upside down, as is the case when seeing a forest’s reflection in water. Molina’s set makes clear that we are in the river with this dancer-choreographer-director. Her artistry is like an under toe. It drags us down and into her dark world.

When Molina exchanges her fox mask and black high priestess dress for a man’s white button down shirt and six-inch, fluorescent yellow heels, it’s as unexpected as the moment when trombonists José Vicente Ortega and Agustín Orozco play jazz and Molina briefly Vogues. In her new costume, which could be called porno executrix, Molina connects with dancer Eduardo Guerrero buttock to groin. He pins her underneath him on the floor, but there is no emotional reaction from either of them. Later Molina in her spikes spins around drunkenly. She is manhandled and she handles this tall, strong man. Their flamenco dancing comes in spurts as if they are finally speaking to each other. Their unemotional sexual acts appear to signify the repressed thoughts of the characters they portray.

Bosque Ardora premiered in Seville in September, and has since toured to France and the U.K. Freud should get a program credit. Molina’s work isn’t linear, or logical. Freud formulated the idea of the ego and the id. In Bosque, Molina is all id (the subconscious): She dances beyond flamenco, or for that matter the safe conventions of most contemporary dance. Whereas in the majority of dance theater works women and men are seen as heroes or cruel victims of tragic fate–or just dancers in space–they are rarely seen as unstable, radioactive figures. Molina is such a dance-actor. One gets the sense that anything is possible when she is on stage.

Throughout the seventy-five minute work, six male musicians loom under the trees. They produce an ever-changing aural landscape that is not only acoustic (birds and liquid vibrations), but also includes instrumentation and song: There is José Angel Carmona’s silvery cante jondo (occasionally accompanied by his electric guitar playing) and the aforementioned trombonists Ortega and Orozco, who dress identically and look like twins. There is also Pablo Martín Jones’s propulsive drumming, on a traditional kit, and his soft finger gliding on golden discs. It’s notable that the guitarist Eduardo Trassierra is the only flamenco traditionalist in the group; and so he sits on a wooden chair as opposed to the other musicians who hover, as if sleepwalking. Though Bosque Adora is far from your typical flamenco show, Molina returns to her Flamenco roots in the finale. With Trassierra as her accompaniment, she becomes the ángel, the gypsy dancer spiritually possessed by her fiery footwork. It’s important to note that the musicians do not play together. Instead they provide highly different landscapes for Molina, and her marvelous male dancers Guerrero and Fernando Jiménez to move through.

Molina has been compared to Pina Bausch, but her work is more in the vein of Martha Graham, especially her Greek period, in which she explored the female psyche and continually casted herself as the Greek goddess, surrounded by strong bare-chested men, who became her erotic architecture. In one section of Molina’s work, the shirtless Guerrero and Jiménez dance on either side of her like twin columns. Their unison footwork is as astonishingly precise as is their concentration on Molina. And this seems right. Molina is the breathtaking one. She directs our eyes on her electrifying footwork, then her snaking buttocks and back, and up to her head, where her changing expressions read like different tragic Greek masks. This profound dancer, who thinks large and moves in dreams that can’t quite be understood, is currently and hauntingly appearing on the world’s stages. She far from a flamenco traditionalist, but she is my kind of goddess.

 

“Leave Here and You Die!” Unenforceable Non-Compete Agreements

Thursday, November 13th, 2014

By Brian Taylor Goldstein, Esq.   

Dear Law and Disorder:

The management company where I work has asked me to sign a non-compete agreement saying that, if I ever quit or am fired, I would be prohibited from working as a manager or agent anywhere in the world for one year after I leave. The owner also contends that the names and addresses of all venues belong to him and that I cannot contact any presenters or venue where I booked an artist for him. Do I have to sign this? Is this reasonable?  

You never have to sign anything. Can an employer require an employee to sign a non-compete or be fired? Under certain circumstances, yes. Are the terms you describe reasonable? Hardly. More importantly, even if you signed it, I doubt very much that such an agreement would be enforceable.  

In most instances, parties can use a contract to negotiate and agree to just about anything: how and when artists are paid, how commission are calculated, how rights are transferred or licensed, who files and pays for visa petitions, how royalties are calculated, whether the artist gets still or sparkling water in the dressing room, liability, insurance, benefits, salaries—the list is practically endless. However, there are certain instances—albeit rare—when a contractual term will be rendered void or unenforceable. Such instances include:

(1) When a contract either requires a party to do something which would be illegal or refrain from doing something which they have a legal obligation to do.

(2) When a contract term violates an existing law or policy which courts have decided cannot be altered.

Contracts are governed by state laws. In this case, most state laws (particularly the State of New York) will not enforce a non-compete agreement which a judge determines to be “unreasonable” or “over-reaching”—even if the parties agree to it. Reams and reams of case law have determined that prohibiting an ex-employee from working with current clients of the employer is reasonable, but only for a reasonable amount of time—such as a year or two (sometimes longer depending upon the specific circumstances.) However, unless an ex-employee was also the CEO or President of the company, prohibiting an ex-employer from being able to work in the industry in which they earn a living is considered inherently un-reasonable and never enforceable. Simply put, no employer ever has the right to force an ex-employee to move to a different state, change careers, or be rendered unemployable. If the situation were otherwise, too many employers could use the threat of termination to induce or force employees to sign unreasonable non-compete agreements.

As far protecting the confidential or propriety information of an employer, a court will enforce such an agreement provided the information was confidential or proprietary to begin with. Under the Law of Agency, when someone represents someone else, all information belongs to the person they represent. With regard to the arts and entertainment field, any information pertaining to an artist—engagement agreements, the names and contact information of any venues or presenters a manager or agent has contacted on behalf of the artist, the terms of any engagements under negotiation or discussion, etc—all belong to the artist, not the artist’s manager or agent. Moreover, names and addresses are never “proprietary.” The term “proprietary” refers to something unique created or invented by an employer and specific to that employer—such as the colonel’s secret chicken recipe, internal operating procedures or budgets, mark ups, etc. Simply because a manager or agent writes down the name and address of a venue does not make it proprietary. To be sure, an employee, much less an ex-employee, is never permitted to take the physical property or download the files of an employer. However, if something such as names and addresses can be found elsewhere—such as on the internet, in a published list, or is otherwise publically available—then you are free to compile your own list of such information.

As for not being able to book or contact any venues or presenters where you booked artists for a former employer, once again, whether or not this would be enforceable would depend on the “reasonability” of the restriction. If were are talking about a prohibition against contacting particular venues in a particular region for a reasonable period of time, that would probably be enforceable. However, if enforcement of such a restriction would prohibit you from being able to book any artists at any venues in the United States or world-wide that would never be enforceable.

It’s frustrating enough when an artist leaves a roster—its even more so when a trusted employee quits and takes an artist with them. In a highly competitive and risky business, its understandable that artist managements and agencies are looking for ways to protect their interests and livelihoods. However, draconian contracts, strong arm tactics, and paranoia, though frequently embraced, are never appropriate or productive solutions.

Just because an agreement may be unenforceable does not mean you should sign it anyway. An angry and emotional ex-employer may still try to enforce it, requiring you to spend legal fees and court costs getting a judge to throw it out of court. You never want to enter into any agreement knowing at the outset that it will lead to a lawsuit—even if it’s a lawsuit you believe you will win. Certainly, if you are ever asked to sign such an agreement as a condition of employment, run away. However, if your current employer is insisting that you either sign or face unemployment, and a calm discussion offering reasonable restrictions and alternatives falls on deaf ears, you may have no choice but to run the red light and tear up the ticket later.

__________________________________________________________________

For additional information and resources on this and otherGG_logo_for-facebook legal and business issues for the performing arts, visit ggartslaw.com

To ask your own question, write to lawanddisorder@musicalamerica.org.

All questions on any topic related to legal and business issues will be welcome. However, please post only general questions or hypotheticals. GG Arts Law reserves the right to alter, edit or, amend questions to focus on specific issues or to avoid names, circumstances, or any information that could be used to identify or embarrass a specific individual or organization. All questions will be posted anonymously and/or posthumously.

__________________________________________________________________

THE OFFICIAL DISCLAIMER:

THIS IS NOT LEGAL ADVICE!

The purpose of this blog is to provide general advice and guidance, not legal advice. Please consult with an attorney familiar with your specific circumstances, facts, challenges, medications, psychiatric disorders, past-lives, karmic debt, and anything else that may impact your situation before drawing any conclusions, deciding upon a course of action, sending a nasty email, filing a lawsuit, or doing anything rash!