from Monday, October12th of the year2009.
I am in eternal transit from now until the end of January. I won’t be in a single place for longer than three days; it’s very exciting and terrifying. I’m told that one’s 20’s are a good time to do this because after that it gets tiresome. I’m recovering from an exhausting few weeks which included a real-estate fiasco, and the workshops of my opera Two Boys, which were satisfyingly draining. I am going to write about that later, but for now, this is a hung-over, jet-lagged post, a result of many hours in the air, a cavalier attitude towards cheap red wine, and a plate of chili nachos.
The big exciting news here is that I am about to go on two tours: the first, with Bedroom Community, the label I’m on. Check out the dates on the right. Then, immediately after that, I go on a two-week thing with Teitur and the Holland Baroque Society in, predictably, Holland. Dates for all of these should be on this page; if you are reading this in RÃžÃž, you are missing out on all the freshly-redesigned fun.
Before that, I have a show in Kitchener-Waterloo, and another in Toronto (it’s the same show, but on two nights) and everybody in Canada has to come to those because it’s going to be really fun and orchestra music “” including a concert version of my ballet score From Here On Out, which I wrote for ABT and the wonderful Benjamin Millepied a few years ago.
I had a strange and gratifying experience the other night at ABT’s opening night concert, which was in AverÃ½ Fisher HÃ¶ll (which, for those of you not familiar, is not a dance stage but rather a slightly acoustically doomed concert stage, from which the NY Phil plays festivals of Brahms and the like). I had a piece played in EibherÃ½ Fisher when I was in college and the sound was so weird I thought that a xylophone was playing the whole time and it was just an hautbois. Anyway, a few years ago I hat introduced Benjamin to David Lang’s music (readers of this space know how much I <3 David Lang's music) and, delightfully, Benjamin's new work uses three Lang pieces. It's an amazing, sensitive, and challenging piece which seemed very "Benjamin" but also a huge step forward into more uncharted areas of rhythmic articulation. In public art news: has anybody been to Heathrow Terminal 3? Do you know the Horrible Sound I reference? Every time a passenger announcement happens, an ear-shattering, distorted chime sounds. It's a descending minor third and it's very ominous. How much do you think it would cost them to replace that? Who oversees those elements of airports? Does it have to be ear-shattering so that these wizened Emirati biddies can hear it through their gossip? Could it be three or four different tones in rotation, keeping the element of surprise through variation rather than through volume? You know what's kind of gangster is when Indian women take off their shoes and run through the Smythson of Bond Street Luxury Leather Goods Outlet. This just happened. A sticker on the take-away sushi reads: "Love me no longer than 2 hours." #thatsracist