A Composer's Notebook - Kyle Gullings

Zen Bowling the Opera - Where I Draw the Line on Copyright

gullings@gmail.com (Kyle Gullings) — Sat, 04 Feb 2012 10:51:13 PST

Just how long are copyright terms nowadays?...

Let's say (foolishly) that I write my life's operatic masterpiece next year (2013), at the age of 30, and it becomes world-famous. [By the way, it's an epic comedy-drama about bowling, Buddhist meditation, and the meaning of life, tentatively titled Zen Bowling.]

So now everyone and their moms want to produce Zen Bowling. I rake in the dough (hahaha, profitable opera, good joke...), and live comfortably on that income until my estimated death at age 85, in 2068.

I agree that people shouldn't be able to stage Zen Bowling for free, create a commercial recording, develop a movie version, arrange the work for wind ensemble, perform selections on public recitals, write a sequel, create a fan-fiction graphic novel, sell Zen Bowling-themed T-shirts, etc., etc., for free, and thereby cash in on my success and hard work. It would be unfair to allow that sort of theft. Instead, people should be encouraged to do those things, with my permission, and required to share some of their profits with me.

But at some point in the future, people absolutely should be able to do those things for free. At some point, the "incentive to create" narrative runs out of steam. When should that be? 100 years ago, the law would have offered me protection of 28 years from creation, with another 28 years if I renew my claim. If we followed those rules, my fictional opera would become publicly available in 2040, when I'm 57, or, if I renew my copyright, in 2068, when I'm 85.

That seems reasonable to me, that a work I created at age 30 can be protected until I'm 85. If I were making the rules today, that's where I'd draw the line. 28+28 years is plenty. What about you? How many years do you require to protect the artistic integrity (read: financial potential) of your art? If you're living by today's rules, here's how long:

Copyright terms have been extended many times since the early 1900's - so much so, that, assuming I create this blockbuster opera next year (2013), and die when I'm 85 (2068), it will be protected from unauthorized use or re-use until the year 2138.

That's right, the day someone can start producing Zen Bowling or re-purposing its material without paying me (or my heirs/estate) for the privilege, is Jan. 1, 2138. That's 70 years after my death, 125 years after its creation, and 155 years after my birth. People my (fictional) great-great-great-grandchildren's age will be the first generation allowed to make a drawing of one of my now-famous characters and sell it without giving my (still fictional) great-great-great-grandchildren some of the profits.

That is ridiculous, unacceptable, indefensible, and more unbelievable than a profitable opera called Zen Bowling.

* Note: I am not a lawyer. But I am upset. This rant does not constitute legal advice. I may have forgotten to carry a "1". Do your own homework!

Ruminations

gullings@gmail.com (Kyle Gullings) — Mon, 07 Nov 2011 20:34:04 PST

Somewhere between burrito number one and beer number two, I realized that, if you're in a certain mood, everything becomes a metaphor.

I am a habitual over-stuffer of burritos. I load my tortilla with every ingredient I enjoy (all of them), in exactly the right proportions. I always go back and add more cheese, just to even things out. This happens every time, and I am aware of it. Yet it still happens. (If you came here to read about music, hang tight.)

Just like my burritos, my individual artistic pursuits are often grande in conception but unwieldy, disasterous, even comical in execution. I once co-wrote a 40-minute musical in three weeks because it seemed very important and vaguely possible. (It's no longer on my CV.) I once composed a short piano work mere minutes before my undergraduate senior composition recital began, because I had promised it to myself. (Yes, I performed it.) I once began making snow angels as a finals week stress-reliever, and ended up wasting two hours etching the first four bars of "Twinkle, Tinkle" into the snow... in F Minor. (The staff was five feet tall.) And I once took on a major project that so consumed my life that, for months at a time, I rarely ate dinner at a table, saw friends outside of class, or slept six straight hours next to my wife.

My point is, I get these crazy ideas, and then, whether by desire or lack of clarity or sheer blind will, I convince myself that they are possible. And usually they are. But that isn't the point either. The point is, looking back on the great and embarassing and mediocre art I've created over the past nine years, I can't find ten minutes worth of music I've written that is more important to me than ten minutes with my family, my wife, or my friends. The same goes for school, career, and all those things with which I'm "supposed" to fill my days to become happy and successful.

Tonight's post was supposed to be about the (qualified, non-statistical) success of my CC21 project that ended last month. It was supposed to be about me moving halfway across the country, and working 60-hour weeks for all of September, and being so thankful for the opportunity to do so because this is it, this is what I've been working toward for ten years. But instead it's about stepping back from all of that, as positive as some of it is, and reminding myself, through some stupid metaphors, what really makes me happy. It's about acknowledging and choosing.

Tonight I had a great solution to my bloated burrito problem. I wrapped my strained tortilla... in another tortilla. This kept the ingredients securely inside, perhaps for the first time in my burrito-assembling career. The result was chewy, and carb-tastic in all the wrong ways. It was a step in the right direction, but I know the real solution will require some serious austerity measures. So I'll try again tomorrow. Next time I will keep my portions manageable. Next time I will pay attention to what is in front of me. And next time I will practice actually being there, eating dinner, at dinner time.

As the night inched closer, I reached again for my drink. I stared blankly at the wall while vaguely disappointing thoughts of unmet deadlines and personal responsibilities swirled in my brain. With the bottle an inch from my lips, I realized this wasn't the Shiner Blonde I was expecting. This was the Frank's Red Hot I'd been applying liberally and mindlessly to my burrito supremo. I caught myself, laughed, and made the needed beverage substitution.

If you didn't catch it, there's your second metaphor of the story: If you don't pay attention to what you've put on the table in front of you, you might get burned, and make an awful fool of yourself in the process.

I don't have a good ending for this story. But it's not over yet.

A short couple of months

gullings@gmail.com (Kyle Gullings) — Sun, 18 Sep 2011 09:27:35 PDT

Things I've done in the past 2 months:
* moved half way across the country (to Texas)
* started my first full-time teaching gig (private lessons, course planning, advising, etc., etc.)
* left my better half (but not the dog) behind in DC until December
* discovered the nearest liquor store (20 miles SW)
* found the local Ultimate scene
* joined a bowling league
* gotten laundry/dishes/sweeping/mopping under control
* composed 3 pieces (1 for CC21, 1 for a DC theater project, 1 I owed a friend)
...not necessarily in that order.

Things I've neglected in the past 2 months:
* sleep
* cleaning the home office
* updating my website
* posting on this here blog

So, there you have it. Pair-of-Lists as excuse. Drop me a line for more details. :)

CC21 #3: Siblings

gullings@gmail.com (Kyle Gullings) — Fri, 22 Jul 2011 21:53:59 PDT

3 pieces completed for my CC21 project!

Siblings is a short three-movement solo piano work I composed back in 2005 for my senior recital at Concordia College in Moorhead, MN. I've just now gotten around to transcribing them, after some folks showed interest on my CC21 Facebook page.

Curious? You can get the PDF and MP3 (featuring yours truly at the keyboard!) for free on the project's webpage.

Up next: unaccompanied solo soprano work based on the Song of Solomon.

CC21 #2: Music for Busking

gullings@gmail.com (Kyle Gullings) — Sat, 16 Jul 2011 13:27:33 PDT

CC21 piece #2 is complete: "Music for Busking" for solo violin or viola. Who wants to play it, and when/where?

As always, download the PDF and MP3 free from the CC21 webpage.

Visit the project's Facebook page to stay up-to-date, connect with other CC21-ers, or announce a performance!

A Fiddle and a Violin Walk Into a Bar...

gullings@gmail.com (Kyle Gullings) — Tue, 12 Jul 2011 16:03:23 PDT

My next CC21 work is a solo fiddle work in three movements: reel, air, and jig. It's meant as a piece for busking, preferably out of the concert hall. More info when it's done!

CC21 on Facebook

gullings@gmail.com (Kyle Gullings) — Tue, 05 Jul 2011 07:07:43 PDT

My CC21 project now has a Facebook event page.

Preview a score. Schedule a performance. Commission a new work. Tell a friend.

Join the experiment, and discover the value of free music!

Composing and Careeers

gullings@gmail.com (Kyle Gullings) — Sat, 02 Jul 2011 18:27:19 PDT

Alright, here's the news, times two:

1.) Today I completed The Two Coffins for tenor and grand piano. It's an art song written for my friend and colleague Timothy Ballard, who is slated to give its premiere in September. This is the first piece in my CC21 Project, which uses Creative Commons as a marketing tool to generate performances in 21 states over 21 weeks. Click through to read about the project and download the PDF score for free! (Contact me for performance info.)

2.) Today I received my official offer letter from the University of Texas at Tyler, where I will be starting as an Assistant Professor in Music Theory and Composition in August! Five weeks left of summer teaching, one week to move, and one week to orient myself before the real thing begins! Here goes.

2011 SCI/ASCAP Student Composition Commission

gullings@gmail.com (Kyle Gullings) — Wed, 29 Jun 2011 10:46:17 PDT

Does good news come in groups? Here's the first. I just found out that my opera Oblivion is a regional winner for the 2011 SCI/ASCAP Student Composition Commission! It's one of 2 works selected from our Mid-Atlantic Region. All 18 Regional winners now move on to national adjudication and a chance for a cash prize, and a commission for a new work to be performed/recorded/published. Pretty sweet deal!

For those that don't know, Oblivion is an one-act opera that premiered at the 2010 Capital Fringe Festival in DC. Back in 2008, my art song in memoriam Hibakusha received the same SCI/ASCAP regional honor. Keep fingers crossed that Oblivion goes further. Either way, what a nice way to cap off my career as a student composer!

Speaking of both composing and careers, I will have more news this week. Check back!

Academic Summer Half Over

gullings@gmail.com (Kyle Gullings) — Fri, 24 Jun 2011 04:15:25 PDT

Final Exams are this morning for CUA's Summer Session #1. That means a lot of grading and preparation for Session #2 (Harmony II only), which starts Monday!!

Both Session 1 classes (Harmony I and Graduate Aural Skills Review) have gone great, and I'm really proud of my students. It's very rewarding to have full control over the planning and implementation of a semester's course material, and to see in the end that, for the most part, it's working; there is progress!

More big updates to come in the next week or less. Check back!

Stuff's a-Brewin'

gullings@gmail.com (Kyle Gullings) — Mon, 20 Jun 2011 19:11:56 PDT

My relative e-absence in the past 3 weeks is due to the best kinds of "busy-ness": composing stuff, job stuff, teaching stuff, working stuff, and Ultimate stuff. Lots of things starting, ending, or middling in the next 2 weeks. Expect updates a-plenty. :)

Guerrilla New Music: Support The New Music Revolution

gullings@gmail.com (Kyle Gullings) — Sat, 28 May 2011 19:04:51 PDT

If you're a supporter of new music, here's a great chance to put your money where your mouth is. (Don't ever do that literally. Sounds disgusting.)

Great Noise Ensemble is fundraising on Kickstarter for their first professional album. Learn more and donate here. They're offering nice rewards!

164 people have backed the project so far, and they only need $888 more to reach the project goal of $12,000! Problem is, they have 4 days remaining to raise that money, or they get none of it! That's the deal with Kickstarter pledges, after all. So get to it!

Music for a Rainy Day and the Creative Commons Conundrum

gullings@gmail.com (Kyle Gullings) — Wed, 11 May 2011 09:00:08 PDT

New Piano Album

As I mentioned recently, I just finished editing and mastering Music for a Rainy Day, my first album of piano music. It's practical, "useful" music in that each track is meant as an accompaniment to a specific part of the day: "Music for Waking," "Music for Sitting," "Music for Driving," etc.

I improvised these recordings months ago, but never got around to completing the project. It comes out to 14 tracks and nearly one hour of perfectly enjoyable music! I haven't yet decided what to do with the CD. Should I put it on iTunes/CD Baby? Post excerpts on my website? Offer it all as a free download?

Creative Commons

I've been thinking a lot lately about the business and culture of music creation and consumption, especially the Creative Commons movement. Through a Creative Commons license, an individual work is made freely available, with optional restrictions such as requiring source attribution, disallowing remixes (derivative works), and/or disallowing reusing for commercial profits. This model fits well with my gut feeling that art must be shared, passed around, and participated in as widely as possible. However, not yet having crossed the elusive (mythical?) threshold after which my art begins to turn a profit, I realize I am particularly susceptible to making the foolish mistake of signing away my money-making rights on my work.

After all, giving away music is the opposite of How Composers Make a Living (WNYC radio episode). My good friend Candace Bilyk once told me so. Frank Ticheli suggests trying film and video games, but doesn't mention Creative Commons. Composer Alex Shapiro, who regularly lectures on the business of composition, has forged an impressively successful online presence under the traditional copyright model.

Some successful composers do distribute their scores and/or recordings using Creative Commons licenses, but not most. There is a lot already written (or spoken) on the subject. In particular, check out the thoughts of one of CC's most well-known classical proponents, Kyle Gann.

For those of us still awaiting that first professional recording or commission, I can't help but wonder if limited use of this "free advertising" could be an important catalyst in forging a professional career. (By the time my annual score sales exceed $50, maybe I'll reconsider.) So I concocted an experiment to test this.

The Experiment

I've decided to write a set of chamber miniatures - companions to my Miniature Symphony No. 1. Each work will be released under a Creative Commons license, meaning performers may download, perform, and record the score at no cost. My goal is to get the works played in 22 different states over 22 weeks, with a quality recording required of each performance.

Why 22 weeks?

I'll receive my doctorate in Composition this weeked, May 14. A mere 22 weeks later is the College Music Society's National Conference. While there, I hope to present a five-minute talk on new music, copyright issues, and Creative Commons. Hopefully by then, I'll have greatly increased my music's exposure and recording volume through the use of Creative Commons. Maybe this CC project will even inspire a commission or two!

But, as for my recent piano album and future (more significant/lucrative) works, I'm still undecided. Any sage advice out there from those who are a little further down this path?...

Rhapsodic Thoughts

gullings@gmail.com (Kyle Gullings) — Sat, 07 May 2011 18:49:55 PDT

Rhapsodic thoughts on the Library of Congress, new music, my new piano CD, free music, my mom, and the Rapture. Here we go:

* Going to see Eighth Blackbird for the first time on May 20th. Really looking forward to seeing them for the first time, and it's free since it's at the Library of Congress! Speaking of...

* Saw a concert of George Crumb's music at the Library of Congress last week. Fantastic performance of his American Songbook (selections). Brilliant reworkings of these shared cultural artifacts, but decidedly not "for the people" - except for those people who have 100 percussion instruments and a lot of time on their hands. Really enjoyed his pre-concert talk; makes me want to write more practical music. Speaking of...

* I just completed Music for a Rainy Day, my first album of piano music. Each "practical" track serves as an accompaniment to a specific part of the day: "Music for Waking," "Music for Sitting," "Music for Driving," etc... [Subject for a future post.] Right now, I'm trying to decide whether to market the CD, or post it as a free download. Speaking of...

* I've been thinking a lot lately about the business of music, especially regarding the Creative Commons movement, wherein an artist allows the free distribution of their work, presumably spreading it around faster and leading to greater word-of-mouth. [Subject for a future post.] I'm pondering releasing Music for a Rainy Day under a non-commercial CC license. Free music, yum! I'll of course give it away to family, especially considering it was conceived as a gift for my mom, so she'd have some music of mine she might actually enjoy. Speaking of...

* Mother's Day is tomorrow, Sunday, May 8th. Don't forget to call. My immediate family and a few others are making the trek from South Dakota to see my graduation next weekend. So excited! Just in time: the piano CD gift is actually a 4-months-late Christmas gift. Speaking of...

* Okay, Christmas and the Rapture are only tangentially-related. Have you heard that the Rapture is coming May 21, 2011? That's in two weeks! 6 p.m. local, to be specific. I'm considering hosting a Left Below/non-Rapture/Reason party that night. Any takers/suggestions?

Review: Clouds of Forgetting, Clouds of Unknowing (Great Noise Ensemble)

gullings@gmail.com (Kyle Gullings) — Sat, 23 Apr 2011 16:11:08 PDT

There has never been a better time to be an adherent of new music. Any genre, any aesthetic is fair game for today's recital hall. The options can be dizzying - like picking out a pasta sauce (Old-world-traditional-garlic? Chunky-4-cheese? caramelized-onion-mushroom-arrabbiata??). But if you know what you want, it is there waiting for you to take it off the shelf.

If new and different music is what you seek, check out what Great Noise Ensemble is serving up. Their season closed last Friday with a performance of John Luther Adams' Clouds of Forgetting, Clouds of Unknowing. This took place at the UU Church of Silver Spring, which hosted GNE in 2009, and in 2006 for the memorable Steve Reich 70th birthday concert. It's really a great space to play and listen, and this evening was no exception.

Billed by the composer as creating "a small time and space for extraordinary listening," this 70-minute large chamber work was a bold and rather remarkable programming choice. John Luther Adams doesn't have the instant name recognition of Glass or (the other) Adams that would draw some in. And Clouds itself is a real endurance challenge for both performer and audience - but one that will repay your attention like few other compositions. The 19 movements progress from a prolonged unison to gradually larger intervals. Each section features contemplative figures that alternate, repeat, and build on each other. A few raucous bell-like movements provide some added surface activity, but it largely comes across as one gradual progression from small to large intervals.

After 70 solid minutes amid a sea of consonances and unobtrusive dissonances, the final movement closes in on the single most satisfying cadence I have ever experienced. Persistent sevenths resolve up into octaves - plain, vanilla, beautiful octaves. All imperfections finally removed, these reduce to a high unison on two violins then fade into silence.

Under the baton of conductor and artistic director Armando Bayolo, the performers played with impressive precision, tone, and endurance. The accompanying slideshow of Alaskan vistas, put together by the venue's music director Michael Holmes, had real distraction potential. Thankfully, the artfully chosen images and slow pace were a welcome complement.

This sort of music demands a different sort of attention - an elite listener, even - but it's an investment well worth your time. Such a meditate musical experience is rare, even in the option-filled marketplace that is new music.

Great Noise Ensemble plays John Luther Adams

gullings@gmail.com (Kyle Gullings) — Wed, 20 Apr 2011 16:55:17 PDT

Great Noise Ensemble, DC's champion of the new, is at it again. Catch them this Friday, April 22, performing John Luther Adams' formidable Clouds of Forgetting, Clouds of Unknowing.

Is it just me, or is John Luther Adams the most famous living composer that no one really knows? Even among informed new music fans, I rarely come across people who can name one piece of his.

Maybe it's his esoteric topics (Alaska. Time.). Maybe it's his sloooowwwww music. Maybe it's the stigma of being the "other" John Adams in contemporary classical music. So, is this piece alone worth the 70-minute listen?

Decide for yourself this Friday. Then check back here for the review.

April 22, 2011 - 7:30pm

The Unitarian Universalist Church of Silver Spring

$15 ($10 students/seniors)

D.M.A. Lecture Recital: done!

gullings@gmail.com (Kyle Gullings) — Fri, 08 Apr 2011 20:35:06 PDT

My D.M.A. Lecture Recital in Composition is done! Thursday, April 7th. I felt great about the recital, and especially with the excellent performers and gracious (patient) audience. What a rush. Still recovering, but it's great to have that mostly behind me!

A video link may be posted soon...

DMA Lecture Recital: April 7 at 7:30

gullings@gmail.com (Kyle Gullings) — Tue, 29 Mar 2011 08:45:59 PDT

April 7th (next Thursday) at 7:30 P.M., my final degree requirement, the Lecture Recital, comes to CUA's John Paul Haul. It's a recital of original music, along with analyses and comments, by your truly.

This event highlights my recent compositions, which have grown increasingly concerned with social and environmental issues and other topics of practical, everyday relevance. Click here for more information and a detailed program.

Hope to see you there!

Are the Arts Worth 80 Cents Per Year?

gullings@gmail.com (Kyle Gullings) — Wed, 09 Mar 2011 16:58:01 PST

The current national dialogue over federal spending cuts, combined with a Facebook post from a friend of mine, got me thinking about the place of arts and education in our national budget. I know others much more knowledgeable and experienced than I have certainly crunched these numbers before. If you know of anyone, please point me there!

In short, when discussing what activities a government should or shouldn't fund, I think it's very important to keep scale in mind. For example, direct federal funding for the arts costs the avg. taxpayer ($43,650 annual income) about 80 cents each year. That's right, a whopping 80 cents!

(Side note: U.S. arts organizations in 2004 derived only 13% of their funding from direct government support, with 44% coming from the box office, and 43% from private donations.)

And education as a whole costs the average taxpayer $248.49 annually. Of course, you'll pay more if you make more than the average income, less if you make less. Either way, not a bad price to educate our nation, I think.

So, while some have a philosophical opposition to any arts funding, and others hold the same view toward most military spending, the scale and proportion of these abstract "grievances" are certainly not equal by any realistic measure. Any serious reconsideration of the federal budget absolutely needs to address both military spending and non-discretionary entitlement programs, and not target education and arts programs as the primary culprits.

That's just my 2 (or 80?) cents, as a composer and educator myself. For visual learners, I've also assembled this data in exceedingly amateurish infographic form.

Review: The King of Limbs

gullings@gmail.com (Kyle Gullings) — Sat, 19 Feb 2011 12:35:11 PST

Radiohead's The King of Limbs e-dropped yesterday, a day ahead of schedule. Critics are flummoxed, yet everyone and their moms have already reviewed it.

For a few musings and commentary, read on. For a hastily-written track-by-track description, see any other website anywhere.

The Music

Download the album (or sample). Listen, then read.

Lotus Flower: Already the popular single of the bunch, and the vocals sit out for the first ¼ of the song! Clap along. They sure like the number 5. Love it! Little touches like this even overshadow the weird dancing. Count all the different sound sources in this unassuming gem. They make great use of their impressive electro-acoustic sonic palette.

Codex and Give Up the Ghost: Man, these guys go a long way with ~35 words. Vague as ever, and just concrete enough to mean anything you need them to. I seriously might start meditating to Codex. "The water's clear and innocent." Defeated, hopeful, reflective, detached. Yorke could affect the same just singing the phone book.

Bloom: This track has a nice layered ambience to it. Cross-rhythmed synths, jittery percussion, and a subtly active bass churn along under the strung-out vocals. Oops, left-channel Thom jumps the gun at 3:47 - love it! Snare's a little hot in the mix, though.

Feral and Morning Mr. Magpie: Both vying for the uptempo slot, clocking in near 136 bpm. If you're looking for more of Radiohead's aggressive bent - busy percussion/bass with brief and punctuated electro-weirdness - start with Feral. Morning Mr. Magpie offers a tad more lyricism, albeit edgy and accusatory. If you exercise to strange pop music like me, file this pair a couple notches under 2+2=5 and Sit Down Stand Up.

Little By Little and Separator: Poppy guitar and vocals, I guess, but not much to catch my ear (yet). Little By Little seems to be among the internet's favorite. And Separator sure panders to speculations of a multi-album vision. Wait and see.

The Reviews

Luke Lewis of nme.com gets my Best Review Award:

"[...] sound organic and synthetic at the same time, dredging human feeling from seemingly forbidding material."

"It's no In Rainbows."

Apart from his puzzling characterization of "bracingly avant-garde" (Really? Really??), he's mostly right on. He also gets bonus points for not mentioning Philip Glass even once. Speaking of...

"Meedly-beep, meedly-beep, meedly-beep"

Oh, that sounds just like Philip Glass! If you believe the internets, any repeating pattern now sounds like Glass. But ask yourself, where does that meedly-beep end up by the end of the piece?...

Kids, listen up. Radiohead has about as much in common with Glass as Queen does with Vanilla Ice. Glass has gradually (fittingly?) grown into the most mis-cited music influence of our time. Critics, please learn the basics of process music and minimalism! Glass, your subjects, and your audience all deserve better.

The Expectations

A return to OK Computer's familiarity... A continuation of the driving, electro-experimentation of Hail to the Thief and in Rainbows... A catchy melody... That missing jigsaw piece... Whatever people were expecting, many didn't seem to find it in the first 24 hours post-The King of Limbs.

Radiohead's brilliance, success, and enigmatic PR has painted the band into a strange corner. On first listening, anything less than mind-blowing seems a disappointment. But this is no throw-away album. Live with it for a few weeks, and see how its layers grow on you.

It's not yet my favorite offering, but 100% worth your time, attention, and $ (or £). Get it here. Leave thoughts below.

Opera World Gains Yet Another Anna

gullings@gmail.com (Kyle Gullings) — Fri, 18 Feb 2011 16:07:20 PST

Thursday, February 17, 2011. Commit this date to your memory. The (in)famous Anna Nicole Smith is now the subject of an opera.

Composer Mark-Anthony Turnage (composer, Greek and The Silver Tassie) and librettist Richard Thomas (composer, Jerry Spring: The Opera) were commissioned by the Royal Opera House to create this work.

Turnage's earlier opera Greek is an aggressive, muscular, decidedly modernist/complex telling of the Oedipus myth. Impressive, fascinating, dizzying. I can't wait to hear - but perhaps only one time - what he's done with Anna Nicole.

Many folks have many things to say about it. I am always clambering for more contemporary opera, aren't I? ...Aren't I?

Improvised Bachelor's Dinner #1: "The Works" Pasta

gullings@gmail.com (Kyle Gullings) — Fri, 18 Feb 2011 05:34:33 PST

Improvised Bachelor's Dinner #1: "The Works" Pasta

AKA "Sometimes People Need Simple, Simple Directions"

AKA "Hardly Qualifies for a Recipe"

Prep time: 10 minutes

Cook time: 15 minutes

Ready to eat in: 25 minutes

Ingredients:

3 quarts water (don't measure, just use enough to cover your pasta +3 inches)

1 tsp. salt

1 tsp. olive oil

16 oz. pasta (penne or other)

1 tsp. olive oil

1 lg. clove garlic, finely chopped

1 small red onion, chopped

1/2 lb. asparagus (~8 medium-small stalks), chopped into 1" pieces

1/2 lb. mushrooms (~5), chopped

Optional: 1/2 lb. "meat" (I recommend vegetarian chicken pieces, Quorn chicken breasts, or meatless balls [insert snickering here])

*Note: I do not cook with real meat. Go look up the safety/sanitary guidelines.

1 (one) 24 oz. can red pasta sauce

½-1 tsp. Red pepper flakes

Black pepper

Parmesan cheese

Directions:

In a large pot, add water, salt, and 1 tsp. olive oil. Cover and bring to a boil.

Meanwhile, chop all the veggies, and "meat" (if applicable). Add 1 tsp. olive oil to medium sauce pan on medium heat. Saute garlic and onions until tender. Add asparagus, cook for 2 minutes. Add mushrooms, cook for 2 more minutes, stirring, until all are slightly tender. Add "meat", pasta sauce, red pepper flakes, and black pepper to taste. Reduce to medium-low, cover, and simmer until heated through, stirring occasionally.

Once water is at a rolling boil, remove lid and add pasta. Reduce to a slow boil, and cook 8 minutes, stirring frequently.

Important: Do *not* overcook pasta. "Al dente" = "to the tooth" = firm but not hard = NOT mushy. You know the mushy, perpetually-wet pasta buffet at school dining centers? That's not pasta. That's whatever pasta turns into after an extra 10 minutes in boiling water. Just saying.

Drain pasta and return to large pot. Toss with a little extra olive oil if desired. Pour sauce over pasta and mix thoroughly.

Serve immediately. Add Parmesan cheese, red pepper flakes, black pepper, and salt to taste. Serve with toast/garlic toast, and white wine or beer. (Try pilsner, Blond, amber, or wheat beers.)

Quickly eat 2-3 servings, pack the rest for the week's leftovers, rinse out the sauce pan, and promptly fall asleep.

Well done, bachelor. It looks something like this: (not my pic)

_____

With the wife out of town for over a week, I am quickly reverting to the bachelor life: 2 large meals a day, constant snacks, ample time-wasting, and ridiculous bedtimes.

In an attempt to regain some balance, I made dinner last night. Sounds minor, but it's a big step. Just ask any unattached amateur-cook.

First things first: While I love to eat, I don't cook. I assemble dishes. Why spend the time making a soup, sauce, or dough from scratch when you can buy it pre-made and spend 20 extra minutes at virtualsupernes.com? (Okay, mostly joking.)

But I am, in fact, quite lazy. Hence last night's main course. Enjoy!

The King of Limbs

gullings@gmail.com (Kyle Gullings) — Wed, 16 Feb 2011 18:09:46 PST

Are your ears burning? Because Radiohead's The King of Limbs drops this Saturday, 2/19, via digital download. All you audiophiles out there will have to wait until March 28 for your vinyls.

More info here: http://www.thekingoflimbs.com/

Peruse The Googles for a smattering of idle speculations on content and style. As always, the Interwebs have plenty to say.

Speaking of plenty to say, check back this weekend for my album review. In the meantime, maybe whet your appetite with their (legal) free download single, These Are My Twisted Words.

Deadline: ASCAP Morton Gould Awards

gullings@gmail.com (Kyle Gullings) — Mon, 07 Feb 2011 14:38:45 PST

Attention Young Composers!

Another deadline is fast-approaching - The ASCAP Foundation Morton Gould Young Composer Awards. (PDF application)

Age limit: under 30 (as of 1/1/2011)
Due: March 1 (postmark)
Send: application form, 1 score, bio/education history, complete works list, recording (optional), & text-setting permissions (if applicable)

---Last year's stats (2010)---
Total Applicants: 730
Winners: 37 (5.07%)
Honorable Mentions: 15 (2.05%)
Non-Winers: 678 (92.88%)

Not bad as national competitions go. So cast your line. You might get a nibble.

WNO 2011-2012 Season

gullings@gmail.com (Kyle Gullings) — Tue, 01 Feb 2011 09:19:33 PST

Wait no longer, American opera fans. Here it is - the Washington National Opera 2011-2012 season:
* Tosca (1900)
* Lucia di Lammermoor (1835)
* Così Fan Tutte (1790)
* Nabucco (1842)
* Werther (1887; premiered 1892)

There's something peculiar yet familiar here. Just like their 2010-2011 season, there's nothing by an American composer. And nothing in English. And nothing written less than 100 years ago.

What exactly makes them Washington National Opera?

I can sympathize. We're (supposedly, slowly,) emerging from a recession. Opera is expensive, particularly when it's not pre-packaged. Conventional audiences, reliable yet dwindling, want their familiar Mozart, Puccini, and Verdi. But there is another audience, only partially overlapping, that will pay to see Adams, Heggie, and Weir. Or heck, at least some Britten and Menotti!

Previous decades in our capital saw works by Ginastera, Hindemith, Weill, Stravinsky, and Schoenberg. Our last American premiere was in 1999 (Sly, by Italian composer Ermanno Wolf-Ferrari, b.1876). Our last world premiere was in 1993 (Dominick Argento's The Dream of Valentino) - 18 years ago!

Maybe I've just become spoiled by the excitement of recent seasons, since 2006 or so, but I am truly disappointed in WNO's last two offerings. Conservative budgets do not have to mean conservative programing choices. Other voices agree.

Be sure to catch Anne Midgette's comments on the season. Her brief summary also links to the L.A. Opera season; at least Plácido is bringing them some Britten, and the less-common Bánk Bán by Ferenc Erkel. (Ferenc who??)

The upcoming WNO/Kennedy Center affiliation (PDF) looks promising. Both president Michael Kaiser and Domingo seem supportive of this change. Will it revive a measure of the past year's "surprising" programing? Find out, dear reader, in February 2012!

("If we all do safe, boring work, we will lose our audiences and our donors. It is the big surprising projects that build visibility and, therefore, income." ~Kaiser, #5)