MARK ALBURGER, 2012: April 2012

Write up the review of the Cage Centenary: Music for Percussion show, and howl down the freeway, accompanied by cavorting canine raising its voice

high

all

the

way

past

goldens

and

greens

the

musical

strains

DVC,

where the Theorists await for a double-dose of Glassian dictation and board harmony (Satyagraha: Act I, Scene 1 and Akhnaten: Akhnaten and Nefertiti), plus 5 seventh chords on three notes (G, C, and F).

Ensuing Tritone-Orchestra recording in lab

are

Psalm 85 "Lord You've Been Merciful" (a glacial-modal version of the Charles Ives Variations on America opening, inspired by the William Schuman orchestration)

Psalm 86 "Bow Down Thine Ear" (electric four-part minimal-modal counterpoint after Felix Mendelssohn)

followed

scenic

return,

for pdf of Merton Songs, page 80, and composition re The Decameron (89) and Psalm 94 (system 5) --

echoing under the

moon.

At 5pm -- after researching and writing a prose piece re the San Francisco Composers Chamber Orchestra's 10-th Anniversary Gala for Old First Concerts (and thereby doing much of the rehearsal scheduling and press release work for same as well), plus doing the pdf for Merton Songs 79 and composing The Decameron, page 88, and a fourth system of Psalm 94 -- go to SF Classical Voice to choose a concert this evening for review in Commuter Times and 21st-Century Music (note the chance operation involved), and, appropriately enough, find one that leaps off the computer screen... John Cage Centenary: Music for Percussion.

So,

leap

it,

heading

down

the

freeway

the

striking

setting

sun,

for

San

Francisco

and

its

Community

Music

Center, taking in a very engaging program, presented by David Kennedy's Sacramento [State University] Percussion Group and Chris Froh's Percussion Group [University of California at] Davis, including