A Composer’s Award. (For a contemporary classical composition composed within the last 25 years, and released for the first time during the Eligibility Year.) Award to the librettist, if applicable.
- BERMEL: MIGRATION SERIES FOR JAZZ ENSEMBLE & ORCHESTRA
Derek Bermel, composer (Derek Bermel, Ted Nash, David Alan Miller, Juilliard Jazz Orchestra & Albany Symphony Orchestra) - HIGDON: HARP CONCERTO
Jennifer Higdon, composer (Yolanda Kondonassis, Ward Stare & The Rochester Philharmonic Orchestra) - MARSALIS: VIOLIN CONCERTO IN D MAJOR
Wynton Marsalis, composer (Nicola Benedetti, Cristian Măcelaru & Philadelphia Orchestra) - NORMAN: SUSTAIN
Andrew Norman, composer (Gustavo Dudamel & Los Angeles Philharmonic) - SHAW: ORANGE
Caroline Shaw, composer (Attacca Quartet) - WOLFE: FIRE IN MY MOUTH
Julia Wolfe, composer (Jaap Van Zweden, Francisco J. Núñez, Donald Nally, The Crossing, Young People’s Chorus Of NY City & New York Philharmonic)
Hello GRAMMY Fans! Welcome back to my annual review of just about every piece of music nominated for a Grammy. 4,278 songs, 298 hours of music – 12 full 24 hour days of listening.
Here are my rules for listening. I play the music as I do whatever it is I have to do during my day. If something really isn’t doing it for me – well, if something is annoying the hell out of me, i am permitted to skip it. If I actually like something, I give it a little heart thing on Spotify. This helps me when I go back to listen as I write up a post.
I’m not really here to comment on the pros or cons of the submitted music. I am here to find things I had never heard that I like – that is my ultimate motivation. I am old enough to recognise I don’t have to like everything and I don’t have to feel bad for not liking or understanding something. I also don’t have to make fun of things I don’t understand – to a point. I am here to question why there are so many categories, why are there awards for artistic endeavors, why aren’t any European Orchestras nominated, blah blah blah.
I will attempt to publish a new entry at least twice a day – one at 3 PM EST, one at 7 PM EST. Off we go!
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This category is for “Best Contemporary Classical Composition,” so why is the first piece on the list a 5 movement piece for “jazz ensemble?” I don’t know who Derek Bermel is, and it’s not his fault he was nominate here, but the Grammys has multiple categories dealing with big bands, jazz ensembles, arranging, composing, it’s exhausting. Maybe they couldn’t find a spot for this piece with all of those actual jazz categories? Maybe Derek Bermel normally traffics in Orchestras and String Quartets? No Idea. This piece was not especially interesting – very little melody, tonality, rhythmic coherence or much of anything to enjoy here. The ensemble is even sloppy, out of tune, and poorly recorded.
I really enjoyed Jennifer Higdon’s Harp Concerto. I am a Harp fan in general, and because the Harp is not prone to veer too far from pleasing tonalities it keeps these 21st Century composers in check. This would sound right at home at Disney’s Epcot. If you think you’re afraid of modern music, give this one a listen.
The inevitability of Wynton Marsalis composing a Violin Concerto and the inevitability of it getting nominated for a Grammy – it was written the stars. I don’t hate it – and he certainly has a better grasp on orchestral music than Paul McCartney, but I can’t help but cringe and wince. I don’t know much about orchestral music, either – but I’m not writing Violin Concertos. I hear dashes of Stravinsky and Copland, and very little of the composer’s personal stamp. It’s about what you’d expect. The orchestration is competent. Said the snob. Lol.
I was really ready to snark out on “Sustain” from Andrew Norman, The first few minutes felt like hours, but wait a minute. THAT’S WHAT THE PIECE IS SUPPOSED TO FEEL LIKE. I was lucky enough to see Dudamel and the L.A. Philharmonic in NYC a few weeks ago blister my skin with their “Rite of Spring,” so the mental visual of Gustav conducting this piece helped me enjoy it. I also witnessed Dudamel’s blistering gaze at someone in the audience whose phone alarm went off during a very very very very very very very very very quiet part of the opening piece by Alberto Ginastera. Beep Beep Beep Beep. This piece is great!
The Caroline Shaw piece, ORANGE, was really nice – lots of interesting rhythmic passages, surprising harmonies, and you can actually enjoy listening to it. In 21st Century orchestral music it’s a win if you’re not spending most of the time while listening hoping that it will end soon. This is one of those pieces you do not want to end soon.
Lordy, the Julia Wolfe piece is really neat. Very minimalist with monotone choir repeating phrases over and over in a hypnotic stew that kept my interest throughout and beckons me to listen again. I will!
the lee show 