We’re in the final 20 hours of our LATENCY CANONS Recording Project, and LATENCY CANONS is so extra-specially exciting that RocketHub contacted me for an interview about it, which you can read here. Find out why everyone is so excited about this project, and why the New York Times finds this piece “…entrancing…surreally beautiful…ecstatic…rapturous.” And it’s still not too late to become a part of it by contributing or by helping spread the word about LATENCY CANONS. This is a really big project and we need all the help we can get. Thank you!
This is my biggest project yet, and I need your help! It’s a gleaming, gorgeous studio recording we plan to make of my “trans-Atlantic” piece LATENCY CANONS, working with New York’s super-talented Metropolis Ensemble (Grammy-nominated and Juno-award-winning), quartet Senza Misura, and 4-time Grammy-winning producer Tim Martyn. It’s going to be stunning and transcendent!
I would so love to have you be a part of it in any way you can. And here’s a relatively easy way, helping raise a big chunk of the funds through our Rockethub crowdsourcing campaign. Please consider donating whatever you can, and/or passing it along to those you think might be interested.
The music boxes for my new piece Kryształ Muzyki are done and delivered. Phew! It’s for ensemble plus my specially made music boxes, and I wrote it while traveling in southern Poland. You can read a bit about it here.
Streaming all this week on WFMT radio Ohio, you can hear me introduce and talk about my Nissim Prize-winning orchestra composition UNSTUCK, written in response to Kurt Vonnegut’s Slaughterhouse 5 and my grandparents’ long battle with progressive dementia. Emily Freeman Brown conducts the Bowling Green Philharmonia in an Albany Records recording. Also hear Steven Bryant’s intense Loose Id, and Avner Dorman’s stunning Variations Without a Theme.
Maybe you know someone who is musical and wants to start studying composition but doesn’t know how to being. Or maybe you are that someone. Do you know about the Juilliard Evening Division? It’s Juilliard’s extension school, where anyone can audition to be accepted into a class. I teach INTRO TO COMPOSITION, where my students get to learn and practice technical concepts within the context of creative projects, and your pieces get read by amazing Juilliard musicians. Now that’s how to learn to compose! It’s not expensive either, so don’t be shy. It can’t hurt to audition. MORE INFO on the Juilliard website
From TheaterScene.net, on my arrangement of Carlisle Floyd’s MARKHEIM”
“…Floyd’s original orchestration for Markheim is colorful and fluent, with lots of percussion, and arranger Raymond J. Lustig has managed to keep a lot of that.During the performance, I heard a woodblock but saw the percussionist was otherwise engaged. Where was it coming from? Eventually I realized it had cleverly been given to the second viola (though she did look like she’d rather be fiddling)...”
I’m so pleased to see how well this went, especially for an opening night review. This was an incredibly challenging project for me, arranging this massive and complex score for a chamber orchestra of a mere 15 instruments, while protecting the imposing hugeness of the sound and the rich palette of sonic colors, all while making sure the balances work between and among the chamber orchestra and the singers. The whole terrific team came together to create a very powerful show. Congratulations to Carlisle Floyd and all at LOTNY!
“The orchestra, under the quick, exact conducting of Richard Cordova, at times suffered from a lack of consensus over entrances and rhythms. But the chamber arrangement by Raymond J. Lustig was far more successful. Even with Milner’s powerhouse voice, the musical size and texture never felt underdone.” – New York Classical Review
Saturday Oct 4 at 8pm, Inspired by Art, a program of new orchestral works drawing on art and architecture, including the premiere of my latest work SUSPENSION, which is inspired by majestic and mighty bridges of my native New York City.
Growing up in Queens, my psyche formed around New York’s many grand bridges, these mysterious goliaths that are at once splendid yet gritty, mighty yet rust-eaten, silent yet thundering, terrifying yet comforting. Each bridge has its own distinct character, and together they form the skeleton of my dreamscape version of New York, the beautifully dreary, grainy, mysterious, centuries-old nest of so much mobile humanity. Now, from my apartment in northern Manhattan I look out every day over the George Washington Bridge that spans the Hudson River, and I’ve grown to see these architectural marvels—with their miraculous distribution of weight, their mesmerizing lines, and their juxtaposition to their surrounding context—as some of the greatest works of art in my emerald city.
“a unique and entrancing album that exists at the unusual intersection of minimalism and impressive classical guitar technique.”
“The impressive technique displayed by Duo Noire is perfectly suited to Lustig’s delicious compositions, and you wouldn’t regret getting a hold of this; if you like acoustic guitar, bluegrass, minimalism, blues—or music at all—you’ll definitely enjoy this excellently produced and mastered album.”
Huge thanks to Mary Mackenzie, Joshua Roman, Karen Kim, David Kaplan, Bill Kalinkos, and Daria Binkowski for a transcendent premiere of my latest piece BEAUTY SPREAD UNEARTHLY WHITE, for Pierrot ensemble with soprano. It was a thrill to work with this all-star team of musicians, and an honor to share the bill with composers Joshua Roman, Amir Shpilman, Wang Jie, and good old Arnold Schoenberg for an evening of wildly diverse responses to Schoenberg’s avant garde landmark work Pierrot Lunaire. A huge thanks goes to Seattle Town Hall and their Town Music series, for their adventurous spirit and warm support.
The program was the brainchild of cellist/composer Joshua Roman. Each of us composers was commissioned to compose a new work that somehow reflected their relationship still-to-this-day radical Pierrot Lunaire. We knew nothing of each others’ plans and each worked on our own, and it was very neat to see how differently we all responded. Joshua’s piece sprung from Pierrot’s text and supplanted Schoenberg’s 20th-century infatuation with the Moon with a 21st-century eye to Mars. Amir’s piece took Pierrot’s extended vocal technique and precision to a stunning 21st-century extreme. Wang Jie’s piece picked up on the 20th-century sensuality of Pierrot and unleashed it with a very 21st-century vividness in a mini song cycle of her own. My piece picked up on Schoenberg’s renowned fascination with numbers; its subtitle THREE TO THE SEVENTH isin reference to Schoenberg’s subtitle for Pierrot, Three times Seven Poems from Albert Giraud’s “Pierrot lunaire.” In my piece, every note emerges from a single three-note cell that is replicated on seven different timescales.
I really like this kind of programming, the kind that shows how differently we all can see the very same thing. That is what art does for us, helps us appreciate the differences in our perception.
The whole gang, L to R, Bill Kalinkos, Karen Kim, me, Joshua Roman, Mary Mackenzie, Amir Shpilman, David Kaplan, and Wang Jie.
Composer Amir Shpilman and I getting all over beautiful Seattle.
Quick beer stop.
Post-concert with (L toR) composer Amir Shpilman, the intrepid soprano Mary Mackenzie, and me.
Composers Wang Jie, me, and Amir Shpilman having Alaskan Salmon for lunch at Pike Place Market, Seattle
The text for Beauty Spread Unearthly White comes from Walter de la Mare’s poem “Winter,” with its solitary depiction of a fleeting moment of near-perfect light, as day changes to night in a snow-blown landscape. In response to the cold white perfection, I wanted to give over to my obsessiveness about order and clarity, to compose a piece where every note needed to be related to the greater structure in a very direct way, and to subjugate all musical elements to this single idea. Like fractal patterns or crystal structures, a single three-note motive is replicated on seven timescales simultaneously; the overall structure therefore exhibits the same relationships as those in the piece’s shortest note values, and everything in between. My desire in submitting to this rigid process was to mirror the hypnotic clarity and simplicity of de la Mare’s transcendent image.
My debut solo recording is now out! At last, all six FIGMENTS for two guitars are available on a gorgeous new EP recording with the extraordinary DUO NOIRE, recorded with master engineer Ryan Streber at Oktaven Audio, Yonkers, NY, and with a spectacular package design by John Walter Lustig I am so proud of this recording, honored to have worked with all these gifted artists in putting it all together, and grateful to all my friends, family, and colleagues who have supported and encouraged this project. Thank you!
I’m so happy to learn that my brother John Lustig‘s brilliant short film Eye in Tuna Care just won the Animation category at the Très Court International Film Festival in Paris. Congratulations to John and everyone who worked on the film, including violist Stephanie Block, who played my music hauntingly. As a surprise they flew in one of the film’s stars, the eyeball man, to present him with the award (um, they had someone come onstage in an eyeball man costume).
For those not in Paris, it’s also screening at the IFC Center in New York on Monday, May 5 at 8pm, and in other cities worldwide, as part of the same festival.
Just back from a trip to Barcelona with my family, where we went for much-needed R&R and inspiration (and the exquisite nourishment Barcelona is famous for). We were most excited to see all the Guadí works, and didn’t get nearly to all of them. The monumental cathedral of Sagrada Familia is mind-blowing, and I didn’t even bother taking pictures because they could do no justice, but here is a place where you can find plenty of pictures that also do no justice to the astounding amazingness of Sagrada Familia.
I did snap some pictures in the fantastic museum in the basement, that detailed what excited me most, the geometry behind the strange shapes:
We also spent time in the amazing Park Guelle. A mystical place. I mean, look at this.
I did grab a few entirely insufficient shots of Gaudi’s amazing Casa Batlló:
Totally tourists, at the Park Guell:
Our home away from home in Barcelona. Upstairs from Joanet, where lunch is both homey and to die for at the same time:
The mysticism of Barcelona has a lot to do with its natural setting. Franciscan monks were drawn to the unearthly mountain landscapes surrounding the city to build Montserrat and other monasteries. And the whole region is swarming with pilgrims who hike and climb in these strange and mysterious mountains.
Here’s a video that shows a bit of the background on my LATENCY CANONS, but at 2:20 gives a preview of my experiments with composers Paul Haas and Paul Fowler on a new collaborative work we’re planning that will unite concerts in different places into one evening-length event.
So the other night we made a triple house concert: three different ensembles in three different living rooms, playing together on a Google Hangout. Riffing on my transatlantic orchestra piece Latency Canons(which premiered last April with American Composers Orchestra at Carnegie Hall and Gildas Quartet and conductor Dane Lam in Manchester, UK), this time I had two co-conspirators, composers Paul Haas (NY, NY) and Paul Fowler (Boulder, CO), and each had his own house concert going on. All three living rooms came together as one performance space. And yes, there’s delay on those lines, a gorgeous swirl of delays as the music comes rolling in from afar.
My daughter’s bedroom was graced by four incredibly gifted musicians: Mariella Haubs (vln), Mina Um (vln), Jameel Martin (vla), and Ken Kubota (vc). In Boulder, CO were composer Paul Fowler and vocalists Rose Fuller (soprano), Tara Uren (alto), Tom Morgan (tenor), and Brian du Fresne (bass). Elsewhere in Manhattan were composer Paul Haas, Josh Henderson (viola), Chern Hwei Fung (viola), Sam Quiggins (cello), and Amanda Lo (violin).
Here’s a test of music by J.S. Bach/Paul Haas, plus music by me at 1:11. Watch how impossible it is to stay together, and how fun that is! (S0rry about the wacky sound quality!)
Now from the audience point of view, here’s a clip of one of my pieces:
I’m going to have a long list of some serious thank-yous to give to so many wonderful, kind, spirited, and generous souls down here. One of whom is James Brown. No, not that one, another one, the Lexington cycling guru at Crankworks, who has outfitted me for the week with the best bicycle I’ve ever mounted, a two-wheeled rocket, so that I might better enjoy more of the broad beautiful horse country of Kentucky. I started with a sunrise ride through the Delong area yesterday. I popped a flat about a mile from home and my ride turned into a jog, but a lovely one. Very glad that nail was not sitting on the ground 10 miles away. Now we’re repaired, outfitted with a patch kit, and ready for tomorrow’s Kentucky inspiration.
It saves my life to have a bike to ride, as this is donut country. If you’re going to have donuts, have them here, because they’re incomparable.
As well as lots of festival fine dining.
And of course the finest bourbon in all of the universe.
The local sandwich here is the “hot brown.” It’s turkey, bacon, fried green tomatoes, and greens, served open-face on rye, with mornay sauce. So tasty. It’s a Kentucky thing that you have to try.
If you ever have the chance to meet Charlie Stone of Lexington Kentucky, jump at it! He is not the mayor of Lexington, but he may as well be. He’s the founding director of the Chamber Music Festival of Lexington, and a magical man whom everyone, EVERYONE, here seems to love like family. And he’s created this amazing chamber music festival that seems to turn all of central Kentucky (and beyond) on its head. He and the festival’s founding violinist Nathan Cole have brought together this dizzyingly talented group of musicians–pianist Alessio Bax, violinist Akiko Tarumoto, violist Burchard Tang, cellist Priscilla Lee, this year’s guest artist tenor Nicholas Phan, and guest ensemble Windsync–plus a power team of other talented creative and organizational types, to make it all come together. It’s like this two-week city-wide party. This is no small city and I went into a downtown cafe yesterday–A Cup of Common Wealth (great cafe!)– and got talking with the two baristas, and it turns out they not only know of the festival but they already have their tickets. This town is chamber-music-mad!
Some highlights I’m really looking forward to (beyond the premiere of my own piece Boys’ Ambition) include: Schubert’s Schwanengesang with Nick Phan and Alessio Bax; theRavel string quartet with Nathan Cole, Akiko Tarumoto, Burchard Tang, and Priscilla Lee; the Shostakovitch cello Sonata with Alessio and Priscilla; and some wild Wieniawski violin with Nathan and Alessio. Not to play favorites with the piece though. This is just what I’ve been hearing in rehearsals and it’s all sounding sublime already.