As the immortal Violent Femmes once opined:

"I like American music

Don't you like American Music (Baby)?"

The Pixies, Coltrane, LCD Soundsystem - sure. But, what about classical music? With the exception of a pair of composers named John Adams, the only American music you'll hear at most orchestra concerts these days are a bunch of perfunctory 6-12 minute pieces played at the beginning of a program, most of which are in one ear and out the other, never to be heard again. (Fortunately, American opera has fared somewhat better.)

That wasn't always the case. Roll back the clock to the middle of the last century, and there were substantial American works -  symphonies, orchestral suites - regularly commissioned and programmed by all of the world's leading orchestras. Sadly, much of this brilliant, incisive music was swept aside by the serial music bulldozer of the 1950's and 60's, long forgotten by the time orchestras woke up a half-century later and remembered that music isn't an academic exercise.  

Fortunately, the young musicians of the Mannes Orchestra, led by their music director David Hayes, had something to say about that last night at Alice Tully Hall, where they gave their annual fall concert. The All-American program began with Marion Bauer's Symphony No. 1 (1947-50). Bauer, a lifelong advocate for women's music and the second woman to have her music performed by the NY Philharmonic, completed her only symphony shortly before her death. The bright, colorful music was all but forgotten until it was revived by the Women’s Philharmonic Advocacy (WPA) and given its first performance in 2022.

The one living composer on last night's program was Adolphus Hailstork, 83, a prolific composer of mixed-race background whose profile has risen in recent years through his politically charged music such as the oratorio A Knee on the Neck (2022), written in response to the police killing of George Floyd. Here, the orchestra gave the U.S. premiere of Hailstork's nocturne Ndemara (2017), named for a star in the summer sky that holds meaning for several African tribes. Primarily written for string orchestra with a pair of oboes and horns thrown in, the deeply affecting music was run through with hints of jazz, Americana, and Asian music, all wrapped in a romantic sweep.

David Diamond (1915-2005) was perhaps the most brilliant of those mid-century American symphonists whose careers were interrupted by the countervailing music trends mentioned earlier. (Diamond later became a noted teacher, with Hailstork among his many students.) His Symphony No. 2 (1943) unfolds over four movements, sparkling and relentlessly inventive. After the percussive energy of the first two movements, the tender Andante espressivo featured a beautiful, naked flute, followed by solos for clarinet and oboe. The thrilling Copland-esque Finale was filled with shining Bartók-like brass and pizzicato strings.

After the symphony's crisp conclusion, I heard several audible gasps in the audience - astonishment not only at the virtuosity of these impressive young musicians, but also at the unplumbed depths of 20th century American music. One can only hope there will be many more concerts of conviction like this one.

More pics on Instagram.

I don't think I've ever spend $100 on a concert ticket in NYC (I realize I'm in the minority), but it was worth it to catch LCD Soundsystem this past Saturday at their annual holiday residency at the Knockdown Center in Queens. (It was actually $125 with fees.) This was the 7th of 12 shows the electronic rock veterans played, and frontman James Murphy et.al. seemed no worse for the wear. Which is remarkable given that they played for almost two-and-a-half hours, with only a brief pause "to go pee," as Murphy put it. Suffice to say, I got my money's worth.

Murphy, now 54, sounds as good as ever. Somewhere between Morrissey Bowie, and Jack White, with the ability to belt on cue, his soaring tenor was always the secret sauce behind LCD's mid-aughts success, and remains so today. Joining him were longtime keyboardists Nancy Whang and Al Doyle, drummer Pat Mahoney, guitarist Tyler Pope and percussionist Korey Richey.

This was my third or fourth time at the Knockdown Center, and despite it's out-of-the-way location in industrial Maspeth, Queens, it's become one of my favorite venues in NYC: a massive 19th century open floor warehouse with a killer sound and light system, not to mention a shoebox design that allows for easy entry/exit out the sides. Bonus for this residency: a popup natural wine bar in back, courtesy of Murphy's Michelin-starred Four Horsemen.

If you haven’t seen them in awhile - or perhaps ever - go and have yourself a merry Liquid Christmas Display (yes, that’s their name.)

Setlist here. Brooklyn Vegan's somewhat more-in-depth take here. More pics on Instagram.

Last night, Carnegie Hall was transformed into an outpost of Eastern European culture. There were flowers on stage and bouquets for the musicians. Patrons in black tie and glittering evening gowns double-kissed each other as they eagerly waited in line for their $26 glass of Sekt... er, Champagne. Even the President of the Czech Republic was in attendance, sitting in a first tier box with Clive Gillinson. 

Hanging above the stage were a pair of banners that broadcast the purpose behind all of this old-world pomp. One read "Year of Czech Music: 2024", a once-a-decade event that purports to "celebrate Czech music around the world" and coincides with the birth anniversaries of at least a half-dozen Czech composers, including Bedřich Smetana, Leoš Janáček and Bohuslav Martinu. At Carnegie Hall alone, there have been no fewer than seven Czech music events this week, including three from last night's featured guest: the Czech Philharmonic, the national orchestra of the Czech Republic and its foremost cultural ambassador.

Founded in 1896, the Czech Philharmonic has weathered more than its share of cultural and political upheaval, surviving two World Wars, the Cold War and the subsequent Velvet Revolution, all the while preserving their unique Czech sound. Since 2018, its been led by Semyon Bychkov, 72, who seems to have finally found a home after a long career as a journeyman conductor. (Bychkov says he'll step down after his current contract ends in 2028.) Bychkov, who was born in the former Soviet Union but emigrated to the U.S. when he was in his 20's, says he's connected with the musicians over their shared affinity for Czech music, as well as his own personal journey.

"I was told early on," Bychkov told Bachtrack in 2023, "that if I were just a Russian, or just an American, it probably would not really work. But because I’m a Russian who rejected the system and went away, they identify with that."