At the first public Dada-Soirée, at the Cabaret Voltaire in Zürich, on July 14, 1916, Hugo Ball read aloud his Dada manifesto — "How does one achieve eternal bliss? By saying dada. How does one become famous? By saying dada" — and recited several of his sound poems, including "Karawane," reënacted above. This week critics of the New York Times have an overview of Dada's influence. Esa-Pekka Salonen's recent choral-orchestral work Karawane, an elegantly barbaric setting of Ball's poem, is one sign of Dada's lingering presence.
Will Robin writes in The New York Times about a Dream Unfinished concert in New York next Wednesday, titled Sing Her Name. The program, under the direction of James Blachly and John McLaughlin Williams, includes music of Florence Price, Margaret Bonds, and Ethel Smyth, together with a new work by Courtney Bryan, to a text by the African-American poet Sharan Strange. Listen here to Bryan's Sanctum, premiered last year, which features the voices of Ferguson activists.
Also worthy of note is Tyshawn Sorey’s Josephine Baker: A Portrait, which Zachary Woolfe described in the New York Times as "one of the most important works of art yet to emerge from the era of Black Lives Matter." The première, with the remarkable soprano Julia Bullock, took place in Ojai in June; a video is available on YouTube. Mostly Mozart will present the piece at Lincoln Center on August 24.
This recording of Vagn Holmboe's Tenth Symphony, with Sixten Ehrling conducting the Gothenburg Symphony, appeared in 1977 on a Caprice LP; on the flip side was Nystroem's Sinfonia Breve. A decade later I picked up a copy for my WHRB radio show "The Twentieth-Century Symphony." Sadly, the pairing never seems to have made it to CD, although you can find a fine reading of the Tenth in BIS's complete survey of the Holmboe symphonies, with Owain Arwel Hughes conducting. I love the work's opening gesture, a kind of tremor that turns into sound.