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Donald Martin Jenni (1937-2006): A Remembrance

July 28, 2006

Two weeks ago I received a sad email, telling me that the composer Donald Martin Jenni had died, from a long and painful cancer. My first thought was that I was sorry I had not kept in closer contact, my second was that I was surprised to read in his obituary that he had ended up in New Orleans, with a new life and an adopted family. His life had changed so much since I had known him. I had been a masters student of Martin's from 1978 to 1980 at the University of Iowa, and although we had stayed in touch after I left Iowa—we would send each other music and he would come visit whenever he was in New York—the second that he retired he vanished…

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David Lang curates New Music Dublin festival

March 6 and 7, David Lang curates the 2015 New Music Dublin festival What?…Wow: David Lang’s Festival of Music.

Lang’s festival spans six concerts over two days including the Irish premiere of his man made, performed by the RTÉ National Symphony Orchestra with New York-based quartet So Percussion; the Irish premiere of Julia Wolfe’s Appalachia-inspired Steel Hammer, performed by the Bang on a Can All-Stars with Norwegian vocal ensemble Trio Mediaeval; and the world premiere of Michael Gordon‘s new work for the Dublin Guitar Quartet

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Song of Song premiere with dance

From July 1-3 at Bard SummerScape David Lang and choreographer Pam Tanowitz premiere a new evening-length work, entitled Song of Songs. A hymn of yearning, steeped in images from the natural world, the dance was commissioned by The Fisher Center at Bard College, and the music was co-commissioned by The Fisher Center with LA Opera, The Company of Music (Austria), The Crossing (Philadelphia), and Flagey (Brussels). The program pairs Lang’s 2014 work just (after song of songs) with three vocal works composed and premiered over the past two years: let me come in, the sense of senses, and we were

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watch Gustavo Dudamel, So Percussion and the LA Philharmonic rehearse ‘man made’!

I have worked with So Percussion for a very long time now and I know them really well. When I got the opportunity to write a concerto for them I wanted to make it specifically for them, for the things that they have been concentrating on for the past few years. The are frequently theatrical, they invite found objects into their performances, they build their own instruments, etc. I wondered if I could make the unusualness of their musicality the centerpiece of this concerto, but how could an orchestra of ‘normal’ instruments doing mostly ‘normal’ things find common ground with them?…

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