This week's article for the New Haven Advocate was more stressful to write than usual. I think I've configured my Gmail settings in some moronic fashion such that my messages just get sucked straight into spam filters and die there, and so I found myself sending repeated, increasingly crazed emails to the composers involved (Martin Bresnick, Ted Hearne, Polina Nazaykinskaya, Andrew Norman, Naftali Schindler), culminating in a last desperate phone call to a composer's house on Sunday morning, just before this issue went to press. So, yeah, MANY thanks to all of the above for their patience. (The best part was when I wrote to another composer, bitching that I hadn't heard from him, and then discovered that he had in fact responded in time, but HIS response had been eaten by MY spam filter. Er, sorry about that.) I'm also sorry this piece is so short—the conversations I did manage to have with those involved were incredibly rich, and I wish I could have presented them in full. If you get a chance to go to the concert I wrote about, tomorrow night at 8 in Sprague Hall, it should be pretty exciting. Lisa Moore and So Percussion are playing Bresnick's recent Caprichos Enfáticos, which you can preview here. Ted Hearne wrote a piece, Eyelid Margin, for a consort of outdoor instruments (brass and double-reeds), which should be interesting to experience in an medium-sized recital hall; Polina Nazaykinskaya's presenting a trio of Blok songs for mezzo and piano; Andrew Norman will play a new piano piece, called I think Make Believe; and Naftali Schindler has written a Violin Duet, one of my secretly favorite combination of instruments—see B. Bartók, H. Górecki, D.H. Jóhnson—which claims to be influenced by both klezmer and Tuvan throat-singing, so, awesome.