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I love the ritual

from Thursday, March4th of the year2010.

I love the ritual of arriving in Iceland. For some confusing reasons, you have to go through security again upon landing; this slows down the whole process and, weirdly, relaxes some of the typical anxiety about rushing off the plane and through the duty free. I have the habit of walking just past the arrivals hall, into the transfers area, to buy an orange juice to make sure my Icelandic card still works (this time, no: my old bank, Kaupþing, has turned into something called Arion with a distressingly Navajo logo; apparently, I have to go “in” and speak with my service lady). While one awaits one’s bags, the halogen glow of the duty free beckons; also one’s cellphone starts buzzing with requests for Red Lucky Strikes and Whiskey. All of this achieved, hop into the car, turn left then right then left then right then around the corner into the dark, slow, anglerfish-observed curve of the road into Reykjavík. I’m in bed now, preparing for a nap, with the windows open, the fan on, and the promise of a long day.

Chrism

from Friday, February26th of the year2010.

I hope everybody bought Daníel’s album and Valgeir’s album! Daníel is playing a show with Sam Amidon on the 3rd of March at LPR in New York; I’m totally gutted that I can’t be there, but everybody should go, and clap riotously. One thing that drives me batshit crazy is how Icelandic names are encoded on iTunes; sometimes they will render Valgeir’s name Sigurdsson, which is an alright substitute for what it really is, which is Sigurðsson, which is to say, the Son of Sigurður, which is his dad’s name. Poor Valgeir is occasionally written up as Sigurrósson, which is an abomination, because Sigur Rós is (a) a girl’s name and (b) the name of an Icelandic band, and it doesn’t even make any sense b/c it would have to be Rósarson, and so the whole thing makes less sense than “Jumbo Shrimp.”

Classical Music encoding on iTunes is such a riot, too. Have any of y’all ever bought an opera off of iTunes? If you sort your library by album, you end up with one artist called “Anna Gonda, Brigitte Poschner, Czeslawa Sania, Eva Randová, Hans…” and it’s like…oh! Right. It’s the old Solti Lohengrin recording. Hip-hop is even worse: “Busta Rhymes, Mary iGrec Blige, Missy Elliott & Rah Digga.” Isn’t that just the Touch It Remix? Can’t somebody get on team common sense up in iTunes? I know about four people who would be great at this; Apple, call me.

You should call my friend Matthew to separate out the two; it’ll take him approximately two days to go through the entire catalogue and discern who’s talking about what (that is, until my opera comes out at which point it’s anybody’s game.) (j/k!)

And also: you need to distinguish between cum as it is used in Latin (it means with) and cum as in skeet as in nut. I can’t deal with looking through these expurgated versions of psalms titled C*m Dederit or Peccavimus c*m patribus nostris. It’s silly, and it’s just going to make people think about skeet when they should be thinking about Christ.

Speaking of skeet & Christ, last month, I read, with great relish, Gayle Haggard’s memoir, Why I Stayed. The basic thrust of the narrative is that her husband, Ted Haggard, who was the pastor of an megachurch in Colorado, was involved in a gay sex scandal, where it was alleged that he either did or did not have a three-year relationship with Mike Jones, an escort in Denver, who either did or did not buy crystal meth for Haggard, and either did or did not give him Erotic Rubs-Down with or without Happys Ending. Now. Gayle Haggard’s book essentially narrates her thought process during the first 72 hours after her husband told her that “some of the accusations were true” through the deliciously bureaucratic process of the church’s overseeing body basically banishing this family from the fellowship of the church. Haggard portrays herself — as she, to a certain extent is — as a victim of not only her husband’s infidelities but also of the corporate and very un-Christian process by which she and her husband were removed from the embrace of the church. (Keep in mind that these huge churches are the new 16th century Catholics: we are talking very complicated political overseeing bodies, lawyers, presidents, Ralph Reed de’ Medici etc.) This is something I found genuinely touching, as I found the same thing in The Eyes of Tammy Faye; in the eyes of sexual misconduct, the warm embrace of the church really does vanish into a series of writs, subpoenas, formal documents, obliquely legal agreements. This stuff is awful and fascinating and, for women of faith, it always does seem to come as a surprise that church highers-upp will reach for the litigious mode a lot quicker than they will hug you and talk about Grace. Gayle Haggard’s book — from start to finish — is genuinely touching as she navigates her relationship to her personal faith and to the faith-structures she herself helped organize.

In my slightly buttoned-up understanding, to be shunned from a parish is a very extreme form of punishment. The particular brand of charismatic Christianity that the Haggard family belongs to prides itself on being inclusive, and Gayle Haggard takes great pains to both address and avoid the inclusiveness of her church. They welcome everybody into the church — the young, the old, the straight, the narrow, the gay, the intersex. This is, in my experience, true; I spent a few weeks in Colorado and I went to a bunch of megachurches and was literally welcomed with open arms. These people are not messing around in the context of worship. What she never says, despite her frequent dippings into scripture, is that crazy right-wing Christians will banish the fuck out of you if there is any implication that your husband was some kind of Gay. See, these people Я Stupid, like, in a Ruminant sort of way, but they are also savagely defensive of what they view to be the sanctity of their community and family (vis gay marriage, etc). So when you, Gayle Haggard, stand by your man, who may or may not have gotten his salad tossed on the regs by a hustler, you are not allowed to be surprised by people shunning you. What your ass needs to do is reach back all the way to college, all the way back to your childhood, and think about every nasty, un-Christlike thing anybody near you said about a gay person, and think about all those moments you did not correct them. You need to think about how you told your kids about homosexuals and homosexual behavior. You need to put down that New Revised Standard Edition and do a real reckoning from A to Þ, and realize that you, your man, and the community of which you were once pillars, are freaked-out bigots, and they can smell the pong of lube and ‘tina on your coochie that was there transferred by your man. It’s on you, Miss Þing. Tammy Faye got fucked over big time, but remember that it was her ass hugging AIDS victims on national TV while you were still having your Ken & Barbie courtship with your gayfaced babydaddy.

Gayle writes,

Before Ted revealed his deepest problems to me, I wouldn’t have wanted to touch the topic of homosexuality in any forum. I didn’t want to even think about it. If someone had told me that her child or husband struggled with same-sex attraction, I would feel compassion, and I’d promise to pray for her. I wouldn’t reject her son, daughter, or husband, but I wouldn’t have wanted to invest myself in understanding the person’s battle. I could give sympathy, but empathy? I didn’t want to think about it that much.

This is good. This is a good step, and I like how she distinguishes between sympathy and empathy even though it’s stupid because you shouldn’t need to feel empathetic for people with lesbian daughters. Notice, though, how she avoids the idea that she would have to deal with the homosexuality of a peer, right? It’s always the husband or son, and then she slightly expands it to include Mary Cheney. But then she goes into this whole exegesis about desire and sin and all this folded-up connection between homosexuality and ingrained behavior and all this pseudo-science that completely ignores that probably 10 out of every 100 women she knows has gotten it ate by another woman. She links homosexual desires to OCD and bipolar disorder — holla! I have a trifecta! — and then quotes James, talmbout:

Temptation comes from our own desires, which entice us and drag us away. These desires give birth to sinful actions. And when sin is allowed to grow, it gives birth to death.

Translated:

But every man is tempted, when he is drawn away of his own lust, and enticed. Then when lust hath conceived, it bringeth forth sin: and sin, when it is finished, bringeth forth death.

K fine. She concludes, “That’s why, as strange as it might sound, we can rejoice when our sin is exposed.”

So like…tell your man to get off of twitter talking about lie detectors and tell him to tweet about his sin! I want to know what it is so that I can meeklie processe ytt.

Gayle writes, eloquently,

The Bible addresses how to confront a believer who’s sinning and how to apply discipline if that person won’t repent. But that wasn’t the case with Ted. It wasn’t just that he had broken down in tears before me, his staff, and the overseers, confessed his sin, and asked for help. He had also chosen to cooperate fully with the overseers, even though we didn’t agree with the way they were handling the situation. And he didn’t resist the idea of going to Phœnix for counseling. It seemed clear to me that Ted had repented.

To support this, she quotes Galatians 6:1-2:

If another believer is overcome by some sin, who who are godly should gently and humbly help that person back onto the right path. And be careful not to fall into the same temptation yourself. Share each other’s burdens, and in this way obey the law of Christ.”

Now let’s check out the KJV, because I don’t even understand what Bible she’s on about:

Brethren, if a man be overtaken in a fault, ye which are spiritual, restore such an one in the spirit of meekness; considering thyself, lest thou also be tempted. Bear ye one another’s burdens, and so fulfil the law of Christ.

Oh, honey. The spirit of meekness. Why didn’t you call out the fact that the spirit of meekness is not found in the fact that you observed that “the atmosphere at New Life had changed from one of life and freedom to one of suspicion, fear, and control”? Why did you allow yourself to be subjected to such Roman laws? Was it because you were ashamed? Both of y’all immediately obfuscated what sin we were even talking about, by throwing up these smoke screens of the generic words “Sin” (which, let’s not forget, is translated in the KJV as “fault” in this instance, which is a little different) and also of these lie detectors? She says that she knew that their instructions were going against the bible; why not speak out then?

The reason I bring this up today is because Ted Haggard (@tedhaggard7, on twitter) has been bringing up the fact that he passed four lie detector tests about “what went on” and that Mike Jones, the escort, “failed one.” Now. If you’re as obsessed with this as I am, you can read Jones’s own account of this test, which is a slightly over-dramatized tale of sleep deprivation, depression, and stress. But what @tedhaggard7 will never do — can never do — is tweet, in 140 characters, What He Paid To Have Happen To His Body. But that’s what we need to hear! If he’s gonna publicly be on there talking about lie detector tests, I want to hear his version about what exactly happened. I want him and Jones in a room, together, arguing about what went down. Gayle has made this into public property, and I’m sick of this pussyfooting around the issue. All this talk about lie detectors, as we all know from watching as much SVU as there are days in the year, is aside the point. Ted Haggard is somebody who made it his business to hide a part of his life deeply; surely he can keep it together enough to pass a lie detector!? You so know President Clinton could pass a lie detector test about anything. A lie detector test — and all the noise around the results — is just as litigiously informed as all the contracts that banished the Haggards from their parish, community, and friends. Ted & Gaÿle Haggard know as well as anybody that after the last trump, they are going to be held to account for all the people they helped through hard times, for all the stuff they taught their kids about forgiveness and about damning, and for all all the words both printed and tweeted that are true, or false, or misleading.

I‘ma end this on a positive note. A boy from my high-school whom I always found to be, like, one DB too passively Christian has involved himself in what seems like the exact right thing, which is a farm in San Francisco that’s supported, loosely, by the Anglican Diocese. I love projects like these, because I think the Anglican church has exactly the right attitude about community gardening (at least in this instance) which is free from a lot of the meshugena veganism and backwards ideas about community (that always, always, play out on message boards or in passive aggressive notes about somebody’s dry lemon bars and somebody else’s undercooked lentils) that normally plague such a community garden. I am going to donate to their truck fund and urge everybody to do the same. This is the one weird place where I kind of support faith-based charities — except those ones that h8 abortion — because I think that’s one thing the church can be really wonderful at. Don’t h8, donate to Haiti. Etc. Dot com. Bar and Grill.

New Bedroom Stuff

from Saturday, February20th of the year2010.

Guess what! While everybody was sleeping, Bedroom Community has put out two super-exciting new releases.

First, Valgeir wrote the soundtrack to the film Draumalandið, which itself is an adaptation of a wonderful book. Check out the book/film website here. The soundtrack is a crazy amalgam of electronic sounds, acoustic sounds, long melodies, and short repetitive patterns. I play a lot on it, conducted it, and co-wrote one of the trax. Nadia played on it too; we threw her on a plane to Iceland for three days to lay down what turned out to be some iconic viola solos. Get into it here.

<a href="http://valgeir.net/album/draumalandi">Grýlukvæði by Valgeir Sigurðsson</a>

Then, a new addition to the Bedroom Community Roster: Daníel Bjarnason and his first album Processions. It is a series of works in assorted sizes, from the intimate to a giant piano concerto. I adore Sæunn Þorsteinsdóttir, the cellist, who is all over this album. This album is exciting for a variety of reasons, not least of which is that it has chamber and orchestral music under the same roof. This doesn’t always happen. Also, electronic content is elegantly folded into the texture of the music just as, say, an oboe would be; it’s not electro-acoustic music, it’s just music.

I went last night to the Philadelphia premiere of Tan Dun’s opera Tea: A Mirror of Soul. As with the best pieces, its triumphs and problems are encapsulated by the title. What I believe he means is Tea: A Mirror of the Soul, right? The libretto, which the composer co-wrote, is in a very stylized version of English. What you end up with is lines like “though bowl is empty, scent glows… though shadow is gone, dream grows.”

I am going to be really honest here and just say that I don’t really know where to file this re: like, Race & Language. This shit was written IN ENGLISH; the music is gorgeous, poetic, and fluid; surely this Mr. Miyagi-ass grammar is a hindrance to the flow? Or should I say: Pidgin: A Hindrance to Flow? The “bowl is empty” line occurs six or seven times over the course of the opera; each time, the vocal line would actually be helped by adding “the” to it. I will confess here to Not Getting It. All of this reaches a particularly distressing point with the climactic sex scene:

rubbing the…
oolong, dark dragon, rises.
squeezing the…
moli, jasmine flower, opens.
pressing the…
loonching, dragon well, overflows.

Okay. I think I just have to leave that alone. The commas, the dragon…I think it is speaking from a Place to which I Have No Access. Does anybody else know what a dragon well is? Because I didn’t. Apparently it’s Longjing tea? So then that line should read as, “pressing the Longjing tea, Longjing tea overflows?” If that’s what it means, what does that mean? The lines are translated inside themselves? Do I need to file this under “is you is or is you ain’t my lotus blossom?” I will leave you with my overall impression which is that the music is beyond gorgeous, an overflowing stew of textures, lines, and geologically percussive textures, all in the service of a libretto that literally sounds like a series of fortune cookies strung together in order to teach us the age-old lesson that Str8 Men Will Kill Each Other 4 Pussy.

(I will add here that it was fabulous to see that the three onstage percussionists were Haruka, Chihiro, and Yuri, all three my gurlz from Juilliard, whom Tan Dun employed with a series of Dada-esque tasks: ripping paper, spanking water, molesting giant scrolls).

What I am interested in, here, though, is the idea that maybe I’m crazy and maybe what occurred, vis-à-vis That Libretto, is totally great and fine and I’m just having a strange reaction. But the other thing is this: thousands of people have seen this opera, in a variety of stages. Did anybody every perhaps lightly interrogate the libretto? This is an issue particularly close to my heart at this time; my opera which is happening at the ENO in two years and at the Met in four had a workshop in October. We (that being me, the Met, the ENO, the director, the librettist) invited a small group of friends and trusted advisers to come and hear it, and before we started, I told everybody that one of the conditions of their presence was that they be completely frank about anything that struck them as weird: length of sequences, specific words, vocal quirks, plot issues, believability — literally all of the possible things. At the end of it, I got a series of emails from said friends & advisers which addressed a lot of those little details, and then some bigger things: “That whole section is way too long.” “That lady’s character is under-developed.” This is good to hear! I need to hear this stuff! And anybody, anywhere, who is ever invited to a piece of work in a developmental stage, is under a Literal Moral Obligation to make her comments known. That’s the whole point of the Process, of Life, of Making Art in the first place. Interrogate your friends and they will do the same for you; it’s about a project of complete honesty and gut reactions; between friends, wound heals quickly; with audience, much stifled laughter.

End of an Era

from Monday, February15th of the year2010.

So, this morning, I packed up my apartment in London and am headed back to New York — here is a list of the detritus accumulated during the month’s stay: 1 map of London, affix’t to the wall with blu-tak, 15 wine corks fallen behind the computer, £16 in loose change, 1 bottle of ginger wine (unopened), 1 bottle of Dubonnet (one last sip left, but at 9 in the morning I wasn’t about to fuck with it), a USB cable with the word “TONY?” scrawled on it, a promotional pamphlet for the Diva Cup, a tube of somebody’s tinted lip chap, an envelope that used to contain a phone number on it until Jónsi wrote all over it in marker, a toenail clipping (!), a note I wrote to myself on a picture of the Queen that says, “Warshing Upp Liquid,” and a piece of manuscript paper with four notes written on it (G, C, B and E, descending from the top of the staff to the bottom line.)

I am proud of this.

I am also proud that my opera is finally announced and organized; you can read about it in plain-speak here and in slightly plainer speak here. I got a slew of really nice emails and notes from people — thank you! I also made the mistake of reading some really horrible comments about “me,” which I stopped reading about six in, but which Danny addressed here. I’m excited about new opera, anybody’s new opera! And so should we all be. Putting on an opera is an Herculean Feat and I stand in awe of any composer who has forded that particular river, from Corigliano to Floyd to Adams to Glass to Adamo to Monica to Erica to Rita to Tina.

Has everybody been reading John Adams’s blog? There’s something very wonderful about the design of it, I think, even though it reminds me a lot of Candyman?

And we’ve all been dealing with how the Philadelphia Orchestra, bless their hearts, launched this weird campaign online, called Unexpect Yourself? Read Amanda Ameer about it here. The whole thing breaks my heart, not just because it’s appalling to look at, but also because it just pongs so acutely of corporate groupthink. I much prefer a doomed campaign to have at least a human touch, rather than this, which is just so awful. I’m going to Philadelphia in a few days to see Tan Dun’s opera Tea, and I will investigate the physical reality of this campaign. The thing is this, and this relates to my opera haters, too. We’re all in this together. We all want the world to be a beautiful place, where music radiates out and touches the ears of the rich, the poor, the monarch and the slave, right? So when we criticize each other, let it be in the interests of this project, rather than just to spit bile. If I say something nasty about an arts organization, I’m not trying to booty shake on its grave. I’m also trying to do it publicly, and with my name on it, so that there is some kind of personal responsibility, which is precisely what the Philadelphia campaign lacks.

There is probably room here for a brief aside about the (necessary) corporate structures that support arts organizations versus the public faces of them; I think that in general, organizations that have somebody from the management with a name, publicly visible, are very smart, because you can feel a Curatorial Hand guiding you through your season there. The Wigmore Hall is like that; John Gilhooly sort of escorts one through the concerts. This applies to other brands, too; I think that Virgin are wise to have Richard Branson be so public — this way, criticism can be directional. Instead of spending all that money on stock photos of white people, surely what Philly needs is any human being who can go to the world and be an advocate for what’s going on there. Perhaps that’s Allison Vulgamore? Questions, questions. I guess what I’m loosely getting at here is that I want everybody — artists, people who hate their art, presenters, producers — to be good advocates, griots, and ambassadors for their work & ideas.

I know it’s really considered rude to bite the hand that feeds, but a good example of a doomed campaign that at least has a human touch is the New York Philharmonic’s new logo, right? It’s shocking, and the thing is we all know it. Urrybody. It’s nobody who thinks this thing is alright. I showed it to my web designer and he looked like somebody hat opened the Arc of the Covenant. I mean, look at the M! Look at the W! This is really some entry-level Adobe™ Illustrator put-text-on-a-line shit right there. But what I like about it is that you can tell that somebody hunched over a desk really loving on that W. Somebody really cared for that H, and its busted twin. Somebody manipulated that raggedy-ass K by hand and somebody else walked by the desk and said, “good work, team!” It’s touching, in its way. But I would actually like to ask if there exists a sentient being somewhere who thinks that logo is even remotely okay, and if so, please announce yourself (by Name) to the concierge’s desk and tell me WHY. It’s by the same lady who did the Met’s logo, which is gorgeous! So it could be one of those things like how every composer has one fucked up piece that nobody likes, or that just takes a little more time to get used to. I would take a bullet for Steve Reich but for years I couldn’t bear to listen to that Anatevka-tastic slow movement of “You Are.” And eventually I came ’round when a singer told me, at (drunken) length, how much she loved it. I was convinced! Maybe I can be convinced of this logo! It just is gonna take a face, a smile, and a good argument.

What is actually amazing is the New York Phil’s iTunes season pass. Everybody should get this. It auto-downloads randomly, so it’ll be like four in the morning and all of a sudden, it’s the Sinfonia Concertante, with Dohnányi, and Cynthia Phelpz sounding hot hot hot! I don’t know if it’s the same team that did the logo as does the accompanying PDF booklet, but the booklet is very well-designed, informative, and reads well as a PDF (as in, it’s designed well for the screen and you don’t have to esquint or reduce/enlarge, even on a laptop).

To summarize: Arts organizations, stop the corporate groupthink. We’re on2 u. Everybody buy the Philharmonic’s Seezin Pass. Invest in Blu-Tak; it truly is a versatile adhesive. Be an advocate for your ideas, even if they are criticisms.


I’m going to add this here at the bottom; it’s a comment from my very sage boyfriend, Ben, who writes:

I said this on Amanda’s blog and I’ll say it here, because people from arts organizations may read this and they should know, tactically, what is wrong with the Philadelphia Orchestra’s campaign.

The organization, and their firm, opted for a gimmick but clearly did not consider their audience. I lived in Philadelphia for (5) years, god help me, and the project reeks of something that is not audience appropriate.

They had a not-as-doomed-idea: People try all kinds of shit, so they should try the orchestra. So why not find some actual, living-breathing people who attended the orchestra and tell their story, instead of using weird stock photos of people who don’t look like anyone in their target audience? I’m sure there is someone who … say … went to see Mahler instead of an Eagles game on a whim (maybe it was a gift?) and is glad they did. Why not feature them?

The lesson here is simple: If you are an arts organization, and you hire a marketing firm, and they don’t ask you – directly – in the first 30 minutes who your audience is, what that audience wants and why would someone want to see your shit, don’t hire them.

The sub-lesson here is simple as well: Don’t use stock photos! Hire someone.

Want more direct advice. Here’s a great firm (that I used to work for, okay) that does all the marketing for the Philadelphia Fringe Festival, 1812 Productions and others:

http://www.dfsi.org

Also, any designer worth their salt in Philly knows that JJ Tizou is like, the best arts photographer in the area and would have taken something compelling, not some couple in a convertible:

http://www.jjtiziou.net/jj/

Audience>Message>Strategy>Tactics y’all.

Customer Facing

from Friday, February5th of the year2010.

A few days ago, I posted about how difficult it was for me to get a phone up and running in England. I got some sympathetic comments and then one sort of mean thing about being middle-class. That sort of angered me, because I realized: what do you do if you’re a non-English-speaking, non-Middle Class immigrant to London? If I can’t, with my fancy Ivy League education (and whatever Juilliard is — Shochu League?) get a pay-as-u-go phone working, what is it like if you’re Chinese? The end result of the phone saga is pretty great, though. The basic outline is this: I bought, legitimately and from the Apple Store Online, an iPhone linked to an Orange Pay-As-You-Go SIM. It worked. I gave everybody the number. And then suddenly, it no longer worked. There was no message or warning; it simply ceased working. I called them from my American phone. I argued with them. I faxed them my financial details. The Fraud Team had taken over my case. The Fraud Team is not “Customer-Facing.” The Fraud Team leaves work at 4:30 and doesn’t work weekends. I spent a weekend — and $425.44, I later found out — using my American phone to conduct my affairs. I went into an Orange Store. They were embarrassed and horrified and polite and apologetic and all, themselves, immigrants who had gone through similar hoops upon arrival from Pakistan and Bulgaria. An hour later, they made contact with the Fraud Team. The Fraud Team was not helpful; the Fraud Team communicates with the store employees using a little text-only computer terminal very similar to a Minitel. The Fraud Team took off at 4:30, presumably to light kittens aflame or worship Baphomet. The next day I went to another Orange store, and an Australian man told me: your best bet is either to only top up using cash or to have an English person pay for your phone bills; that way the credit card is linked to a UK address. You know how he knew this? Because that’s how he pays his own bill. Motherfuckers. The only way to make my legitimate phone work is to commit fraud? So now I have exactly the worst, most bizarre and illegal kind of phone, whose bill is paid by my friend J—. Doesn’t that sound like some Al-Qaeda pre-paid terror organization shit to you? I’m trying to figure out a way to make Orange, be they Customer-Facing or Not, to realize the error of their ways. If you make the bureaucratic process so opaque that Middle-Class people can’t even navigate it, chances are, your system is certainly not going to work for, let’s say, a Nigerian student who turns up and has his phone cut off and has no recourse to his other phone to call your customer servants.

All of this is not to say that I’m having a bad time! On my walk back from the first of two Orange Stores, I had to pass through the small network of streets in the City, near where the Fire of London started. This area is amazing because every streetcorner offers a quick glimpse of St. Paul’s Cathedral, which looks like a giant meringue on a plinth. When the light hits just right, which, in winter is several crepuscular hours, a walk through that area is unrelentingly beautiful. With a cup of coffee & with the promise of dinner with friends, I felt like the luckiest man alive. Every time I eat at St John — a pie with Alex, an ox tongue with Sigga Sunna, a snail with Jamie — I am filled with an overpowering life-umami.

The new piece I wrote for Mark Padmore and Pekka Kuusisto and the Britten Sinfonia has been happening on tour; I went to two of the first leg of performances (in Eindhoven and Amsterdam) and am heading to Cambridge tonight to hear another. It’s a complete decadence to hear a work so many times in one’s life, to say nothing of in a single month. I’m also excited because the performance in Amsterdam contained one of the most professional trainwrecks I’ve ever witnessed. Something happened — somebody came in early, somebody mis-cued, somebody wasn’t paying attention in the back — and it came dangerously close to falling apart. I like it though: the adrenaline focuses everything that happens immediately afterwards and you end up with a shimmering, taut remainder of the piece. The same thing happened when I went to see Signal play Steve Reich’s Double Seggistett at LPR a few months ago: for one split second — maybe half a bar? — there was a brief clenching of the ostinato, and the whole thing almost broke. Brad Lubman pinched something and relaxed something else, and then everybody was right there for the rest of the piece.

I’m interested in that tautness. In chamber music, you get this almost all the time. Watch a string quartet and you see every player constantly focused, negotiating, bartering, manic. In larger ensembles, this is not always the case. In the better ones, though, you start to see it creeping in on stage: I saw James Levine conduct the BSO in a Midsummer Overture at a tempo of quarter note equals, like, seventeen thousand, and there was a lot of focus on that stage. Last night, I went to see the New York Philharmonic on their tour in London, and their first encore, Beethoven’s Egmont Overture, was like that: completely focused from the first stands of the violins to the back of the horns.

Sadly, I cannot say the same for some of the other pieces and players. That’s always what I do when I see big orchestras: I look at the back of the second violins, at the back of the violas, to see how engaged people are. It’s fascinating. Berg’s Three Pieces for Orchestra is a giant cauldron of textures, a sort of Szechuan hot-pot affair with little bits of things bubbling to the top covered in other things slicked with a third thing. The performance was great — don’t get me wrong — but Kind and Venerable Sir in the back of the violas: I’m watching u. And y’all phoned it in. That tremolo may not be the most important thing in the texture at that time, but you have to play it like it is — otherwise, what are we all doing with our lives?

All that said, it was great to see the Philharmonic outside of Fisher Hall, where I never go. The playing was great. The programming for the tour was, let’s say, a solid B. First night: That new Lindberg thing, followed by Prokofiev 2nd Piano Concerto which was fucking awesome. Bronfman ate that thing for dinner. Then Sibelius 2, which is always a plecz. Second night: A Haydn Symphony (bad idea), Adams’s The Wound-Dresser (more on this in a sec), Schubert Unfinished (fabulous) and Berg Three Pieces (fabulous). Then Egmont as an encore, then a Bernstein nibblet with the funniest English horn queef I have ever heard in my life. Now you look at these two days of tour programming and you think: okay, fine. It’s all fine. But in the back of my head something is screaming: more new music, more American music, more music by New Yorkers. Get that Haydn off of the stage and do a new American piece for chamber orchestra (Note: nothing’s wrong with Haydn. It’s just dopey to play on a tour and, like, yes, the trio from the minuet is hot shit and shows off the horns’ high notes, but it’s still just dopey). Do the Reich Duet for Two Violins! Commission something! Don’t do Egmont; do Short Ride in a Fast Machine. You already have one of the synthesizers for the Wound-Dresser! And all the percussion from the Berg! I know that I’m always going to back-seat program for the Phil, but I’ve said it before and I will continue saying it until I die: I want my hometown orchestra to be my home team. I want to see the season and scream, “I love my life and I love living in New York.” I don’t want to open up the LA season brochure and start looking into rental properties in Rancho Cucamonga just so I can hear Tehillim.

Anyway, whatever. They sounded great. I’m just saying. And they’re doing something of mine in a few months (for chamber-orchestra, off-venue, watch this space for more information) and I thought Alan Gilbert did a gorgeous job. There was one sort of sad moment in the Adams where Thomas Hampson (who sort of looks like Mitt Romný, has anybody else noticed this?) sings: “Poor boy, I never knew u, yet I þink I could not refuse this moment to d-i-i-ie 4 u” at which point the strings do this unspeakably gorgeous long, descending, Elgar melody, which burrows into the ground into the horns, and then gets picked up by a trumpet solo, Glory-style. It’s a beautiful, heart-breaking moment and Gilbert was doing full 360° DaWinci arcs with his arms and the violins were playing it sort of like, Mezzo-Forte Poco Espressivo Ma Non Troppo. Of course I was looking at the back of the firsts and screaming with my eyes: bitches! It’s about War! It’s about the SIDA! it’s pertinent, it’s gorgeous, it’s a huge American melody. Make me some fucking gravy out of this line, like how you’re gonna out of the Schubert in twenty minutes’ time!

(As I write this, I am now on my way back from Cambridge, on a train that smells like tuna in the worst possible way).

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