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August 18, 2009

Music we've been missing (Part 6); maverick Heiner Goebbels

Last week, I advocated for more performances of music by composers who tend to scare American audiences: Schoenberg, Berg and Webern. I figured I might as well follow that up with music by a composer who would be even more frightening: Heiner Goebbels.

This extraordinary creative artist has been writing some amazing stuff, music that, in my experience, is really quite unlike anything else out there today. And that's reason enough for orchestras to take note. I'll never forget the delicious shock nine years ago of encountering the US premiere of ...

Goebbels' Surrogate Cities at the Spoleto Festival USA in Charleston, my first exposure to his work. This gargantuan piece blew me away, so fresh was the language, the structure, the feeling of the score. It was quite the event, and I've been waiting to repeat it ever since.

I don't really expect the Baltimore Symphony to tackle it any day soon, especially while the orchestra is carefully watching every penny (Surrogate Cities would cost plenty to produce, I'm sure). But it would be the sort of thing that Marin Alsop ought to have a fab time with. And I'd bet that a whole bunch of unsuspecting folks here would find themselves ultimately won over by the audacity and brilliance of Goebbels' vision.

There are, of course, other pieces to choose from, and I've rounded up the only ones I could find from that ever-treasured source, YouTube. They provide just the slightest taste of what the composer has to offer, but I hope you'll agree that this is precisely the sort of music we need to stir things up once in a while, the sort of music we've been sorely missing.

Posted by Tim Smith at 7:08 AM | | Comments (1)
        

Comments

You wonder out loud in a later post if you didn't scare some readers away with this feature. It seemed a good idea to wend a response your way.

As a professional musician, I'm fascinated.

Mind you, you had me from Finzi. But where your other features make me pump my fist and shout 'Yes!' this one made my eyebrows shoot up. This body of work is a new discovery for me. It's a welcome surprise.

This series is a service for music lovers everywhere. Thank you for doing this.

Is the music of Sofia Gubaidulina finding its way onto more concert programs now? When I lived in the USA in the 1990s I hoped to encounter her work more often.

Thanks very much for your encouraging words. And for mentioning Gubaidulina, whose music I always intended to include on this series and will now move to the head of the line. Her work is routinely and absurdly ignored. Cheers. TIM

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About Tim Smith
I was born in Washington, D.C., and grew up there. Initial thoughts of becoming a cocktail pianist faded when I realized I hated taking requests. I decided to study music history instead, and got a B. A. in that field from Eisenhower College in Seneca Falls, New York, and an M.A. from Occidental College in Los Angeles. After free-lance gigs for the Washington Star and the Washington Post, I worked as classical music critic for the South Florida Sun-Sentinel during the 1980s and '90s, a period when I also ventured into radio, contributing to NPR and hosting a weekly show on a West Palm Beach station. Since April 2000, I've been classical music critic at the Baltimore Sun. Over the years, I've written occasional articles for the New York Times, BBC Music Magazine and other publications, and I'm a longtime, regular contributor to Opera News and the U.K. magazine Opera. You may still be able to find on the remainder racks my one and only book, The NPR Curious Listener's Guide to Classical Music (Perigee, 2002).
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