Salzman Published in Yale’s Theater Magazine
Eric Salzman’s article, Speaking in Tongues, or Why Should Eclectic Be a Bad Word?, has just been published in the Up Front section of Theater Magazine (Vol.39, no.3) published by the Yale School of Drama and Yale Repertory Theater.
Performances of Salzman’s Brecht Suite and Accord
On December 2nd, 3rd and 4th, Salzman’s Brecht Suite of music from a French-language production of the Brecht Good Person of Szechuan, and Salzman’s solo accordion work, Accord, will be performed at the cell theatre on 23rd Street in New York’s Chelsea district. The Brecht Suite will be performed by Laila Salins, mezzo, William Schimmel, accordion (the same two who performed it last June at the Southampton Cultural Center) with Machiko Osawa and Marc Levin, violins, and Leo Grinhauz, cello.
Accord is a solo piece written for Schimmel which not only requires him to play classical, pop and virtuoso accordion but also to stroll, sing, laugh and even break down crying. The program also includes a solo piece by Schimmel, a set of Latvian drinking songs and tangos, and a set of tangos by Osvaldo Pugliese—perhaps the greatest of all the classic Argentine tangeros. The concert is at 8:00pm and is part of the Center for Contemporary Opera’s 2009–2010 season. Read the full press release (PDF).
Review of the October Performance of Salzman’s Five Dances
The very successful performance of the Five Dances on October 30th at Bard was described by the John Cage Trust Blog as follows:
“Given the paucity of arrangements in his own catalog, one might wonder what Cage would think of the two works that make use of his works that were featured at last month’s John Cage at Bard College Symposium. Of all of the pieces included in the two evening programs at the Fisher Center for the Performing Arts on October 30 and 31, these little-known arrangements were clear audience favorites. The first, Eric Salzman’s Five Dances (1996-97), is an arrangement for string quartet of five works by Cage originally composed for prepared piano: Our Spring Will Come (1943), Dream (1948), Totem Ancestor (1943), In a Landscape (1948), and A Room (1943). While long available from C.F. Peters as EP 67725, the work is rarely performed. Here’s the third movement from the feisty performance by four of Bard College’s finest Conservatory musicians—Fanghue He, Yue Sun, Leah Gastler, and Laura Hendrickson.”