Tag Archives: radio

Starstruckedness, a Fan Boy Essay and a Peek “Behind the Curtain” of a Blogger


I am an amateur, a dabbler, a passionate hobbyist when it comes to music. But music is an essential part of who I’ve become since the beginnings of my fascination with what might be termed “new classical” music back around the age of 10 or so (more on that in a later essay).

I am a listener above all and my shy, introspective personality initially led to a lot of alone time. I’m not saying, “loneliness”. Quite the contrary, I enjoyed it a great deal. After school I spent many a blissful evening amongst my books, records and tapes. And my radio, tuned to one (of three at the time) classical radio stations in my native Chicago.

WEFM, WNIB, and WFMT were my gateway into the world of classical music old and new. For whatever reason I didn’t like pop/top 40 music (though I’ve since widened my range of listening), a fact which severely narrowed my circle of peers and led me to develop my own world as I struggled the ardent but necessary developmental task of defining my identity (still struggling with that).

Fortunately these radio stations had a lot of genuinely talented program hosts and producers. These people were my teachers and my friends. Their adulation of classical music validated me and inspired me to emulate them to some extent which in turn led me to do a lot of reading. I felt cool (i.e. validated). So my appreciation of the significance of rock, blues, etc would have to wait until my college days but I tolerated pop stuff when socializing with my peers at the time, none of whom liked classical music.

As my interests developed, classical music became a solidly a treasured aspect of my personality. It remains a passion that gives me great joy (while it drains my budget). As basically a non-musician, a “fan” I began to attend more concerts, buy more recordings, and engage in fanboy/fangirl discussions and debates, even autograph collecting, my peer group expanded as I met people in college classes who shared my esoteric, non-pop interests.

At this point I want to tell you that I’ve come to suspect that, at their best, fans are essentially secular worshippers, deriving something like religious ecstasy as they seek to spend more time, in closer proximity to their chosen deities. That’s what the best performances of music are (other arts too, but that’s another essay), and, ecstatic experiences are addictive.

All this to say that the phenomena of being starstruck, I believe, is one of encountering musical artists in a deeply felt manner that impairs one’s ability to experience our favorite stars as mere humans. That, hopefully, comes later. But the experience of actually meeting your stars is much akin to children encountering their stars at Disneyland or Santa at the local shopping mall where, one can see the stunned look and disbelieving stare as they drink in the experience.

Sometimes the experience of humanness in one’s “gods” is off putting, at least at first. But getting to know a favorite artist as a human being allows one to get a perspective, to see them more as they are and not just as their latest work or even their body of work. Learning about the person, including their foibles and even failures is valuable. Whether you experience this via personal contact or via autobiographical and biographical writings it is an important perspective which enhances the listener’s appreciation.

The blogging is my way of acknowledging the joy that my favorite artists give me. It’s also a way of sharing a personal perspective for similarly inclined listeners who may share some of what I feel.

Time to fire up my CD player. Another worship service is at hand.

Comments welcome.

Achim Freyer meets Don Giovanni at Checkpoint Charlie: Alvin Curran’s Tribute


Achim Freyer (Photo from German Wikipedia)

Who? and Who? American composer Alvin Curran (1938- ) returns to his roots…well, some of his roots, in this streaming composition, a tribute to German dramaturge Achim Freyer (1934- ). Curran’s composition, a tribute to the dramatist/costume designer/stage director, is presented in streaming format via Deutschlandradio. and is available at the following link:

Streaming link: https://www.hoerspielundfeature.de/klangkunst-achim-freyer-trifft-100.html

I mention the link to allow my readers to access the program stream so as to be able to hear the work (obviously) but also because Maestro Curran has been at the forefront of adopting social media as both a medium for access and distribution for his compositions but also as a part of the the work (at least in the Mc Luhan-esque sense, “the medium is the message”). More details on Curran’s work can be found on his excellent website.

His Kristallnacht memorial work, “Crystal Psalms”, used multiple radio stations with performers in each location throughout northern Europe which Curran mixed live for the broadcast, the final mix released on CD format is a classic of the genre and a powerful sociopolitical statement. The point is that Curran continues to be at the forefront of integrating current technology in his art. His distinctly personal use of synthesizers, sampling keyboards, and other electronics continues to characterize his creative process.

Alvin Curran in San Francisco in 2016

Achim Freyer became known to me when I saw Michael Blackwood‘s film, “A Composer’s Notes…” (1985) which documented two simultaneous staging of Philip Glass’ opera “Akhnaten” by the geographically distant opera companies who co-commissioned the work. The Houston Opera production was designed by David Freeman, and the Stuttgart production by Achim Freyer. Freeman cast the work in a realistic historical tableau in ancient Egypt whereas Freyer’s designs evoked a sort of hallucinatory, dreamlike, mythical set of images. Both are beautiful and quite viable productions but they are very different visions. It is that very different vision that characterizes Freyer’s work and gets him the accolades that drive the commissioning of Curran’s tribute. This musical tribute now is added to the metaphorical mantle where Freyer’s accolades reside. You can also download an audio MP3 here.

When you listen to the streaming version or the conveniently downloadable MP3 you will be greeted by about 5 minutes of German language narration followed by approximately 35 minutes of Curran’s sound collage work incorporating the composer’s unique approach to the inclusion of digital sampling technologies along with his extensive knowledge of electronic sound production and manipulation.

Like any great work of art this work will have varying impacts and leave a variety of impressions. Beginning with the playful title it is doubtless full of referential quotes that probably rival Elgar’s “Enigma Variations” (1899) or the panoply of quotations in Luciano Berio’s “Sinfonia” (1968-9). Don’t get me wrong, this streamed work is very different than either of these predecessors. Rather it appears to be a sonic portrait using concrete sounds alongside musical sounds to create an impressionistic tableau of Herr Freyer. The composition is reflective of Curran’s “New Common Practice” concept in which the composer is free to use whatever sounds and techniques he or she chooses to complete a musical piece.

Even a cursory look at Alvin Curran’s oeuvre reveals the incredible diversity of his compositional sound sources. From conversations, to creaking doors, footsteps, musical snippets, and the sound of the ethnic/mythic shofar (the ram’s horn has become a signature sound for the composer). They are all mixed carefully (this sounds like a carefully crafted collage) to create a non-linear narrative or sonic poem in tribute to an artist and a mutually beneficial friendship between Curran and Freyer. Please forgive my admittedly clumsy appropriation of Friedrich Schiller (in turn via Beethoven) when I say, in my limited German, a phrase which can be said to characterize both the composer’s work and that of its subject Achim Freyer: The final embrace, the feeling at the end of Beethoven’s 9th symphony as the chorus sings: “Diese Kunst umfasst die ganze Welt” (This Art embraces the entire World).