Charles Amirkhanian, Catalyst of New Music Turns 75


Charles Amirkhanian interviewed by Kyle Gann at Berkeley’s David Brower Center (Photo by Allan Cronin, Creative Commons license)

A large and sympathetic crowd filled the Goldman Theater in Berkeley’s David Brower Center on this 19th day of 2020, the 75th birthday of composer, broadcaster, producer, new music catalyst Charles Amirkhanian. His is perhaps not a household name except in the households of the legions of composers, musicians, and fans of new music (this writer’s household definitely included).  That is a substantial crowd actually and close to 200 of them were in attendance.  

It was somehow fitting that this celebration take place in this particular venue. The Brower Center also contains the office from which he administers the wonderful Other Minds organization, the current outlet for his various projects supporting new music including the annual Other Minds concert series. 

Joshua Kosman’s respectful article of January 14th served notice to all of this impending event.   

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Amirkhanian with his ASCAP Award in the background (Photo by Allan Cronin Creative Commons license)

Charles is the executive and artistic director of the Other Minds Music Festival in San Francisco, which he co-founded with Jim Newman in 1992.  That festival will mark its 25th incarnation this year.  In addition he produces Other Minds Records and maintains a huge archive of interviews and music as well as a weekly radio broadcast on KALW featuring new and interesting music presented by he and his musical confederates.  

His stint as music director for KPFA in San Francisco lasted from 1969 to 1992 during which time he also interviewed most (if not all) the significant new music composers and performers of the time.  This writer has dubbed him the “Bill Graham” of new music because of the detail and care he always takes in producing concerts, conversations, recordings, and happenings.

His musicological efforts can be seen in his writings and advocacy of the work of George Antheil (for whom he served as executor of the composer’s estate) and Conlon Nancarrow, expatriate American composer who spent much of his creative life in Mexico City.  It was in the composer’s studio there that Charles recorded all of the groundbreaking studies for player piano on the composer’s original instruments (a major undertaking).  Indeed Charles’ history of advocacy and support of fellow musicians and composers would be a worthy subject for a book on its own.  His advocacy is a large part of his legacy as well.

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Photo by Ebbe Roe Yovino-Smith (all rights reserved)

The 178 seat Goldman Theater had but a few empty seats.  The crowd was a clearly enthusiastic one comprised of artists and supporters of the arts.  The evening commenced with an interview by fellow composer and scholar Kyle Gann, himself long associated with Mr. Amirkhanian (since at least 1982).  A professor of music at Bard College, Gann came here to the west coast expressly for this interview.  

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Kyle Gann, composer, scholar, professor of music (Photo by Ebbe Roe Yovino-Smith)

After a brief intro from Blaine Todd, Other Minds’ Associate Director the interview (actually more of a friendly conversation) began  with brief discussion of Amirkhanian’s beginnings and subsequent history in music in the Bay Area (and beyond).  Just in this casual conversation we met the man whose experiences has had him cross paths with a virtual Who’s Who of the most significant figures in 20th (and now 21st) century music while pursuing his own compositional efforts.  

In many, or dare I say, most cases his relationships have been very beneficial to his peers.  This was quite evident in a few conversations which this writer had with fellow audience members.  One gentleman asserted that Charles has put his advocacy ahead of his own work in favor of supporting new and emerging talents.  Another reminisced about how much he had learned of new music as a result of listening to those KPFA shows and how much this meant in his life.  His support of this very blog is another example.  It came about during the experience of volunteering at the Other Minds office.  And one need only look at the histories of many of the composers hosted at the fabulous Other Minds festival to see the subsequent successes attained by the talented individuals invited to perform at those events.  Henry Brant’s Pulitzer Prize winning organ concerto, “Ice Field” (2001) was an Other Minds commission.  More examples abound.

 

Amirkhanian’s sound poetry can be found on albums such as Lexical Music (1979, now on OM records 1032-2), Mental Radio (1985, CRI records, reissued on New World Records), Walking Tune (1997, Starkland Records), and his genre defining anthology “10+2: 12 American Text Sound Pieces (1975, OM 1006).  

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There is more to be had in this one man’s work than one evening could hope to contain but this program was also a CD release event of Amirkhanian’s sound collage works, a distinctly different genre from those who may know his language based works.  The two CD set on New World Records, “Loudspeakers” is a compendium of four works, Pianola (Pas de mains) (1997–2000; the subtitle is French for “no hands”), Im Frühling (“In Spring”, 1990), Loudspeakers (1990) ,  a vocal portrait of Morton Feldman, and Son of Metropolis San Francisco (1987/1997).  This release serves as a fine birthday present for the composer and his audience illustrating this important aspect of his oeuvre..

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Carol Law

At one point Amirkhanian quipped about his “long suffering wife” Carol Law who is a photographer and visual artist whose work includes some fascinating collaborations with Mr. Amirkhanian.  The two spent the mid 1960s traveling and meeting sound poets throughout Europe and the Nordic countries.  These efforts were very nicely showcased some of his work in the Other Minds 23 concerts.  I include one photo from that festival to give some idea of the significance of the collaboration. Law’s affable presence is a part of all these concerts and, far from suffering, she seems to derive much joy and satisfaction from this work.

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Amirkhanian performing his sound poetry in conjunction with Carol Law’s surreal slide show in which Amirkhanian becomes a part of the striking images.

 

Though Charles once remarked in an interview that one cannot really play these sound collages and expect people to listen in a concert hall (these pieces are originally conceived for presentation on radio) that is exactly what he did at this event.  We were treated to some or all of the pieces on this important new release including the entire 20 minutes or so Son of Metropolis.  And this sympathetic audience ate it like candy.  Indeed these sonic landscapes, the experimental Pianola, and the humorous homage to the late Morton Feldman in the titular Loudspeakers were absorbed by hungry ears and met with appreciative applause.  It is clear to those with new music ears that this release is a major event.

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Other Minds OM-1025-2

In a role reversal consistent with our guest of honor’s reputation for magnanimity a portion of the event was given to listening to an excerpt (the album is over 2 hours long) from Kyle Gann’s masterful Hyperchromatica, a piece written for three computer controlled disklaviers all tuned to a 33 tone octave and produced by Amirkhanian on Other Minds Records.  One cannot accurately describe the sound of this music except that it may remind some of a detuned old piano.  It is anything but detuned and Gann owes his inspiration in part to the experiments with tuning from predecessors such as La Monte Young and Ben Johnston (among others).  Actually he just recently released his own carefully researched tome on the subject of tuning.  

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Amirkhanian briefly took the role of interviewer and provided a very useful introduction to this work prior to hearing one of its movements.  As with the earlier pieces the audience listened with respectful attention and responded with warm applause.  This Other Minds records release was also available before, at intermission, and at the conclusion of the vent with both Charles and Kyle happily autographing and discussing their work.  Both the Hyperchromatica disc and this new book are major additions to the world of new music.

 

 

 

And, of course, no birthday is complete without a cake.

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Photo by Ebbe Roe Yovino-Smith

Many lingered following the event (which exceeded its two hour original plan) to chat with the kindred spirits and share in the cake, cookies, and fine UBUNTU brand coffee.  It is an event that will live in this writer’s memory and doubtless in the many who attended.

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The man of the hour toasting his “semisesquicentennial”.

A very Happy Birthday to you, Mr. Amirkhanian.  Your vision and efforts have been and continue to be a blessing to the Bay Area and the new music community in general.  Salud!!

 

 

 

 

 

 

Patricia Kopatchinskaja and Jay Campbell in Santa Barbara


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Shot of the stage of Hahn Hall at Santa Barbara’s historic Music Academy of the West (Photo by author)

The beautiful and acoustically excellent Hahn Hall at the Music Academy of the West in Santa Barbara was the venue for a powerful chamber music concert on Saturday, January 25th.  The not too common combination of violin and cello played respectively by violinist extraordinaire Patricia Kopatchinskaja and the equally matched musicianship of cellist Jay Campbell delighted a near full house with a carefully chosen set of pieces from the 642 CE to the present.  Who knew that there was so much music for this combination of instruments and that it would be so marvelously engaging?

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Patricia Kopatchinskaja and Jay Campbell in Massachusetts (Photo from Patricia’s web site)

This concert was part of the UC Santa Barbara’s always excellent Arts and Lectures series.  Kopatchinskaja was clearly the big name on the marquee for this event but Campbell was clearly a match both in skill and enthusiasm for this night’s event.

A slight change in the program was announced at the beginning which, if this reviewer heard correctly placed a piece originally slated for the second half of the program in the number two slot on the first half.

The concert opened with an anonymous “Alleluia” from a collection of works only recently (the past 50 years or so) deciphered by scholars.  The slow melismatic voice lines transcribed here for these string instruments was played with the sort of approximate intonation common to so called “period performances” which attempt to provide as much as possible some sense of how the music may have sounded in its time.  It was a slow piece rich in harmonics and reverent in execution.

The next piece, a clearly modern piece from the look of the oversized score on the music stand, was (again if this reviewer heard this correctly) by Hungarian composer Márton Illés (1975- ).  It was the world premiere of “Én-kör III”, a piece that brought us nearly 1500 years forward and evoked the modernist sound world of Darmstadt and the sort of modernism that dominated the 1950s in Europe.  It was a challenging piece for both listeners and players involving special techniques of playing that doubtless made for a fascinating looking score.  On sheer virtuosity and powerful performance alone the piece was well received.  It is complex music that doubtless benefits from repeated hearings and this premiere suggests that that will be the case.  The interested listener would do well to explore the web site of this fascinating composer whose name and music was new to this writer’s ears.

Next up, music by another modernist composer, the German, Jörg Widmann (1973- ).  Two selections (numbers 21 and 24) from his 24 duos for violin and cello (2008) were also of the Darmstadt style modernism mentioned earlier.  The Valse Bavaroise (Bavarian Waltz) had echoes of the 19th century Viennese traditions while the Toccatina all’inglese which followed it was a finger busting virtuosic showpiece, another audience pleaser actually.

Then, as if to cleanse our aural pallets the duo played Orlando Gibbons’ (1583-1625) Fantasia a 2, No. 4 for two “viols”.  As in the opening piece these are transcriptions since the violin and cello as we know them today did not exist.  This little instrumental miniature was a charming and relaxing interlude.

The final piece on the first half of this concert was the too seldom heard Sonata for Violin and Cello (1920) by French composer Maurice Ravel (1875-1937).  This again set the mood to virtuosic modernism.  Even people in the audience familiar with Ravel’s better known works were astounded at the modern sound.  According to the program notes this work was written in the shadow of both the death of his esteemed fellow French luminary Claude Debussy (1862-1918) and the end of the First World War (also 1918).  Indeed there were angry dissonances to be heard but this four movement sonata remains an astounding work and this performance was a powerful and forceful reading conveying the respect that this masterpiece deserves.  It is filled with both jazz influences as well as gypsy music (no doubt dear to the Moldovan born Kopatchinskaja).  And were it not for the visual cues that only two instruments were actually playing one might guess that there were certainly more.  At this point we all needed an intermission just to breathe.

The second half of the concert consisted of (with one exception) music from the region of Kopatchinskaja’s birth.  The Romanian born Iannis Xenakis (1922-2001) produced a great deal of music in the high modernism and experimental traditions but the work which opened the second half of this concert was an early work “Dhipli Zyia” (1951) which sounded much like the work of (also Romanian born) Hungarian composer Bela Bartok (1881-1945) with whom Xenakis had familiarity and, apparently, affection.

The program continued without the punctuation of applause into the 14th century with a work by the French composer Guillaume de Machaut (ca.1300-1377), his Ballade 4.  This is apparently originally a vocal work and was played in transcription for tonight’s soloists.

Again without the transition signal of applause the duo launched into another work which, like the Xenakis, is atypical of his largely modernist oeuvre.  György Ligeti (1923-2006) is perhaps best know for his music’s (unapproved) inclusion in Stanley Kubrick’s 2001: A Space Odyssey (1968).  The work played on this night was “Hommage à Hilding Rosenberg” (1982).  Hilding Rosenberg (1892-1985) was among the earliest Swedish modernist composers and this work was written on the occasion of his 90th birthday.  The piece echoed Ligeti’s affection for the aforementioned Bela Bartok and folk tunes predominated this brief but lovely score.

The duo launched with little pause into a piece by Bartok’s contemporary Zoltán Kodály (1882-1967).  His “Duo for Violin and Cello” Op. 7 (1914) sounded almost like a model for the later Ravel piece heard at the conclusion of the first half of the concert.  This three movement work is unusual in this composer’s catalog in that it is more aggressively modern than much of his more folk inflected pieces (Bartok and Kodaly were early pioneers in ethnomusicology and they collected and recorded a great deal of folk music from the region of Hungary, Romania, etc.)  It was a fantastic finale which garnered the artists an enthusiastic standing ovation.  The smiling and obviously satisfied performers received the traditional bouquets of flowers and returned for a brief little piece (didn’t catch the name) which was a little token of thanks to the equally satisfied and smiling audience.

My 2019 in the Arts


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The amazing Stuart Dempster at a house 2015 house concert at Philip Gelb’s Sound and Savor.  

In many ways this has been a year of reckoning.  I kept my promise to myself to double down on writing this blog and have already reached more viewers than any previous year.  I am now averaging a little more than 1000 hits a month from (at last count) 192 countries and have written 74 pieces (compared to 48 last year).  I need to keep this up just to be able to stay in touch with similarly minded folks (thanks to all my readers).  Add to that the fact that a piece of music I wrote 15 years ago was tracked down by the enterprising Thorson and Thurber Duo.  They will provide me with my very first public performance this coming July in Denmark.  Please stop by if you can.  After having lost all my scores (since 1975) in a fire and subsequently the rest of my work on a stolen digital hard drive I had pretty much let go of that aspect of my life but now…well, maybe not.

Well one of my tasks (little nudges via email have been steadily coming in) is to create a year end “best of” list.  Keep in mind that my personal list is tempered by the fact that I have a day job which at times impinges on my ability to do much else such as my ability to attend concerts.  However I am pleased to say that I did get to 2 of the three Other Minds concerts this past year.  The first one featured all the music for string quartet and string trio by Ivan Wyschnegradsky (1893-1979).  The second one featured music by the same composer written for four pianos (with two tuned a quarter tone down).  Both of these concerts exceeded my expectations and brought to light an amazing cache of music which really deserves a wider audience.  These are major musical highlights for this listener this year.

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The Arditti Quartet acknowledging the applause at the Wyschnegradsky Concert.

Read the blog reviews for details but I must say that Other Minds continues to be a artistic and musical treasure.  Under the leadership of composer/producer/broadcaster Charles Amirkhanian (who turns 75 in January) the organization is about to produce their 25th anniversary concert with a 4 day series beginning in April, 2020.  For my money its one of the reasons to be in the Bay Area if you love new music.  He is scheduled for a live interview on the actual day of his birthday, January 19th as a guest on his own series, The Nature of Music.  This series of live interviews (sometimes with performance material) with composers and sound artists he has hosted since 2016.

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Amirkhanian performing at OM 23 (2018)

Next I will share with you my most obvious metric, how many views my various blog posts got.  I have decided to share all those which received more than 100 views.

The winner for 2019 is:

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Linda Twine (unknown copyright)

Linda Twine, a Musician You Should Know

A rather brief post written and published in February, 2018 for Black History Month.  It was entirely based on internet research and it got 59 views that year.  As of this writing in 2019 it has been seen 592 times.  I have no idea why this “went viral” as they say.  I just hope it serves only to her benefit.  Amazing musician.

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Fatu Duo

Charming little album of lesser known romantic violin and piano pieces played by a husband and wife duo.  This self produced album seems to have had little distribution but for some reason people are enjoying reading about it.  I only hope that the exposure will boost their sales.  This is a fun album.

The Three Black Countertenors

I’m guessing this is one of my “viral” posts.  I wrote it in 2014 and it continues to get escalating hits, 180 this year.  The title pretty much says it all.  First time three black countertenors appeared on the same stage.

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Jenny Q Chai

This concert was an all too brief presentation of some very interesting work.  Quite a pianist too.  File this artist’s name in your “pay attention” category.

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Heavenly Violin and Piano Music by Giya Kancheli 

Giya Kancheli (1935-2019), one of the artists we lost this year (I refuse to do that list).  If you don’t know his work you should. He wrote I think 7 Symphonies and various concertos, film scores, and other works.  He was sort of elected to the “Holy Minimalists” category but that only describes a portion of the man’s work.  Very pretty album actually.

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Because Isaac Schankler

This composer new to me, works with electronics, and maintains an entertaining presence on Twitter.  Frankly, I’m not sure exactly what to make of this music except to say I keep coming back to it.  Very leading edge material.

 

 

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Wolfgang von Schweinitz’s “Klang”

A very different music from that of Schankler listed just above.  But another recording to which I find myself returning.  Thanks to Mr. Eamonn Quinn for turning me on to this one.

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A New Voice for the Accordion

I pretty sure that Gene Pritsker can shoulder at least part of the blame for connecting me with this great new musician  The accordion has come a long way and this guy leads it gently forward.

 

 

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Bernstein’s Age of Anxiety in a new recording

Loved this one.  I had only listened to this work three or four times and probably not with adequate attention.  Hearing this performance was revelatory.  It’s a great work deserving of a place in the standard repertoire/

 

 

 

Black Classical Conductors

Written in 2013, just an occasional piece about black conductors for Black History Month.  It’s now been read over 2000 times.  It is my most read article.  It’s embarrassingly incomplete and in need of a great deal of recent history but that’s a whole ‘nother project.

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Blue Violet Records

Blue Violet Duo

So glad this disc got a little exposure.  Its gorgeous.  This disc of jazz influenced classical Americana unearths some real musical gems.

 

 

 

 

 

 

 

 

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Shakuhachi Ecstasy 

OK, I meet this guy at a vegan underground restaurant (whose proprietor is noted Shakuhachi player, Philip Gelb).  A little casual conversation, a few vegan courses (Phil can seriously cook), and whaddya know?  About a month or so later he sends me this gorgeous self produced set of him playing shakuhachi…but the upshot is that this is the distillation of the artist’s sensibilities filtering his very personal take on the world via his instrument.  It has collectible written all over it and that is as much due to the music itself as to the integrated graphics and packaging.  You really have to see and hear this trilogy.  It got over 100 hits.  Thanks to Cornelius Boots and Philip Gelb (musical and culinary concierge).

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That’s it.  Everything else (300 plus articles total with 74 from this year) got less than 100 views.

 

Personal Favorites

It was a great year for recordings and I listened to more than I did last year.  Some may have noticed some experimentation with writing style and length of review here.  The problem is that the very nature of my interest is the new and unknown so I have to do the research and have to share at least some of that to hopefully provide some context to potential consumers that will ignite the idea, “gotta check that out” without then boring them to death.

For this last section I will provide the reader with a list in reverse order of the publication of my reviews of CD and streaming releases that prompt this listener to seek out another listen and hopefully draw birds of a feather to listen as well.

 

 

Keep yer ears peeled.  This young accordion virtuoso is an artist to watch.  This was also one of my most read review articles.  This guy is making the future of the instrument.  Stay tuned.

 

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This artist continues to draw my attention in wonderful ways.  Her scope of repertoire ranges hundreds of years and she brings heretofore unknown or lesser known gems to a grateful listening audience.  Blues Dialogues is a fine example.  It is also reflective of the larger vision of the Chicago based Cedille label.

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I found myself really taken by this solo debut album by American Contemporary Ensemble (ACME) director Clarice Jensen.  In particular her collaboration with La Monte Young student Michael Harrison puts this solo cello (with electronics) debut in a class all its own, This independent release is worth your time.

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This album of string chamber music arrangements of Mahler is utterly charming.  No Time for Chamber Music is a seriously conceived and played homage.

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Canadian composer Frank Horvat’s major string quartet opus is a modern classic of political classical music.  It is a tribute to 35 Thai activists who lost their lives in the execution of their work.  His method of translating their names into a purely musical language has created a haunting and beautiful musical work which is a monument to human rights.

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Donut Robot is a playful but seriously executed album.  The kitschy cover art belies a really entertaining set of short pieces commissioned for this duet of saxophone and bassoon.  Really wonderful album.

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It has been my contention that anything released on the Starkland label requires the intelligent listener’s attention.  This release is a fine example which supports that contention.  Unlike most such releases this one was performed and recorded in Lithuania by the composer.  Leave it to the new music bloodhound, producer Tom Steenland to find it.  In Search of Lost Beauty is a major new work by a composer who deserves our attention.

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My favorite big label release.  This new Cello Concerto from conductor/composer Esa-Peka Salonen restores my faith that all the great music has been written and that all new music is only getting attention from independent labels.  Granted, Sony is mostly mainstream and “safe” but banking on the superstar talent of soloist Yo-Yo Ma they have done great service to new music with this release.  Not easy listening but deeply substantive.

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This release typifies the best of Chicago based Cedille records’ vision. Under the guidance of producer James Ginsburg, this local label blazes important paths in the documentation of great music.  “W” is a disc of classical orchestra pieces written by women and conducted by the newly appointed woman conductor, Mei-Ann Chen.  She succeeds the late great Paul Freeman who founded Chicago’s great “second orchestra”, the Chicago Sinfonietta.  Ginsburg taps into Chicago’s progressive political spirit (I guess its still there) to promote quality music, far beyond the old philosophy of “dead white men” as the only acceptable arbiters of culture.  Bravo to Mr Ginsburg who launched Cedille Records 30 years ago while he was a student at the University of Chicago.

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Become Desert will forever be in my memory as the disc that finally got me hooked on John Luther Adams.  Yes, I had been aware of his work and even purchased and listened to albums like Dream in White on White and Songbirdsongs.  I heard the broadcast of the premiere of the Pulitzer Prize winning Become Ocean.  I liked his music, but this recording was a quantum change experience that leads me to seek out (eventually) pretty much anything he has done.  Gorgeous music beautifully performed and recorded.

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OK, I’m a sucker for political classical.  But Freedom and Faith just does such a great job of advancing progressive political ideas in both social and musical ways.  This is a clever reimagining of the performance possibilities of the string quartet and a showcase for music in support of progressive political ideas.

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Michala Petri is the reigning virtuoso on the recorder.  Combine that with the always substantial production chops of Lars Hannibal and American Recorder Concertos becomes a landmark recording.  Very listenable and substantive music.

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I have admired and sought the music of Harry Partch since I first heard that excerpt from Castor and Pollux on the little 7 inch promotional LP that came packaged with my copy of Switched on Bach.  Now this third volume in the encyclopedic survey of the composer’s work on Bridge Records not only documents but updates, clarifies and, in this case, unearths a previously unknown work by the master.  Sonata Dementia is a profoundly important entry into the late composer’s discography.  I owe PARTCH director, the composer/guitarist John Schneider a sort of apology.  I had the pleasure of interviewing him about this album and the planned future recordings of Partch’s music but that has not yet been completed.  You will see it in 2020 well before the elections.

The aforementioned Shakuhachi Trilogy is a revelatory collection which continues to occupy my thoughts and my CD player.

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Gil Rose, David Krakauer, klezmer and the inventive compositional talent of Mathew Rosenblum have made this album a personal favorite.  Lament/Witches Sabbath is a must hear album.

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Another Cedille disc makes the cut here, Souvenirs of Spain and Italy.  The only actual Chicago connection is that the fine Pacifica Quartet had been in residence at the University of Chicago.  But what a fine disc this is!  The musicianship and scholarship are astounding.  Guitar soloist Sharon Isbin celebrates the 30th anniversary of her founding the department of guitar studies at Julliard, a feat that stands in parallel with the 30th anniversary of the founding of Cedille records.  This great disc resurrects a major chamber work by Mario Castelnuovo-Tedesco and presents a definitive program of chamber music for guitar and string quartet.  This one has Grammy written all over it.

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This New Focus recording was my personal introduction to the music of Du Yun and I’m still reeling.  What substance!  What force! Dinosaur Scar is quite an experience.

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Another Starkland release, this album of music by the great new music pianist is a personal vision of the pianist and the creators of this forward looking repertoire.  Eye to Ivory is a release containing music by several composers and championed most ably by Kathleen Supové.

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Chicago born Jennifer Koh is one of the finest and most forward looking performers working today.  Limitless is a collaboration between a curious but fascinating bunch of composers who have written music that demands and receives serious collaboration from this open minded ambassador for good music no matter how new it is.  And Cedille scores another must hear.

Many recordings remain to be reviewed and some will bleed over into the new year so don’t imagine for a second that this list is comprehensive.  It is just a personal list I wished to share. Happy listening and reading to all.

The Jack Quartet Plays Music of Hannah Lash


Hannah Lash‘s name began appearing on my radar about two years ago but this is my first actual encounter with her music.  This recent (2011) Harvard graduate’s star seems to be rising quickly and this is a fine place as any to start to get to know her work.  New Focus Recordings is a label with good instincts regarding new and important music and this one is typical of their collective acumen.

This release features 4 works. One is for harp (Lash’s instrument) with string quartet and the rest are for string quartet alone. I find it difficult to describe Lash’s work concisely. Like many in her generation she seems to have been exposed most comprehensively to a huge range of styles and techniques and she appears to be selecting judiciously among those to apply those techniques by which she can achieve her compositional goals.

The works include the single movement, Frayed followed by Suite: Remembered and Imagined (in 6 short movements), the single movement Pulse-Space, and the three movement Filigree in Textile which features Lash on harp along with the Jack Quartet.  The rather sparse liner notes are by the composer.  They may lack detail as to composition date, commissioner, etc. but they do reflect what the composer’s thought processes were with each piece.  She is clearly more concerned with conveying her metaphorical ideas than the technical aspects of her work.  That is perhaps best left to future musicologists.

Her work is direct, one might even say concise.  Using a basically tonal palette, the composer explores a variety of musical and metamusical ideas.  These are intimate and interesting works that seem very much to the point.  Keep in mind too that this is simply a disc of recent chamber music which gives no idea as to how she handles larger forms.  But from the perspective of this album alone her brevity has an almost Webernian quality (not the thorny harmonies or difficult rhythms, just the brief and direct statements she makes with the music here).

The always wonderful Jack Quartet plays in two different configurations here.  Tracks 1-8 feature Christopher Otto and Ari Streisfeld, violins; John Pickford Richards, viola; and Kevin McFarland, cello.  Tracks 9-11 feature: Austin Wullman and Christopher Otto, violins; John Pickford Richards, viola; Jay Campbell, cello; and Hannah Lash, harp.

As usual with well written new music multiple listens reveal more detail.  The music is both interesting at first listen as well as compelling enough to provoke yet another listen.  Lash is a rising star who deserves the attention of a new music audience who will learn the subtleties of her musical language.  There is great beauty here.

Quantum Koh: Jennifer Koh’s “Limitless”


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Watching the flowering career of this wonderful violinist has been both a joy and a labor.  First, the labor: she is so consumed with projects that it is difficult to keep up sometimes.  Second, the joy:  All her projects and recordings are fascinating in concept and satisfying to the attuned listener’s ear and to her collaborators.

So it is with this marvelous 2 disc set from Cedille Records (now celebrating its 30th anniversary as one of the finest independent classical labels) which consists of duos with composers.  She partners with a variety of up and coming composers in this varied but always interesting collection. These sincere and intimate collaborations exude quantum sparks of creative genius.

Eight composers and nine compositions span two discs demonstrating the Chicago native’s eclectic interests and marvelously collaborative nature. These compositions represent some of the cutting edge nature of her repertory choices as well as the respect earned from these composers.

It begins with The Banquet by Qasim Naqvi who is perhaps best known for his post minimalist acoustic group, Dawn of Midi. Here Naqvi works with a modular synthesizer utilizing that instrument’s quirks to create a sort of drone with minimalistic effects created by his exploitation of those quirks (this could even be classified as a species of glitch). Koh’s part interacts in ways that seem quasi improvisational, doubtless the product of close collaborative efforts.

Next are the lovely Sanctuary Songs by Lisa Bielawa, a fine singer whose solfege singing was for years part of the defining sound of the Philip Glass Ensemble. (Koh masterfully played the solo violin dressed in costume in the title role in the recent revival of Einstein on the Beach.)  She comes to us on this disc as a both composer and singer in this lovely cycle.

Bielawa has developed her own compositional voice and this little song cycle is a fine example. Both voice and violin are given challenging roles in exploring this unusual combination of musical timbres.  Bielawa compositional voice is entirely her own and her gift for it is evident in this and all that this writer has heard.  The work is in three short movements.

Du Yun, whose astounding work was recently reviewed here is represented by her voice and violin duo, Give me back my fingerprints.  The link on her name will take the curious listener through this composer’s amazing accomplishments but nothing can prepare the listener for the raw energy that characterizes her work.

Rapidly rising star Tyshawn Sorey uses his amazing ear to create this memoriam for one of his mentors, Muhal Richard Abrams. Sorey uses a glockenspiel as a counterpoint to Koh’s violin in this all too brief memorial piece written on the passing of AACM (a gaggle of brilliant musicians whose grouping reminds this writer of France’s “Le Six”, the “Russian Five”, and the early twentieth century “American Five”) founding member, a truly great composer, collaborator, and performer.  The AACM was founded in Chicago.

I had the pleasure of meeting the genial and quick minded Sorey at OM 17.  The link to my blog review is provided for the curious listener.  The concert took place in 2012.  Here is the shortcut to the Other Minds archival page.  Sorey provides no liner notes perhaps because he has succeeded in saying everything he wanted to say in the music (Koh seems quite appropriately tuned in here.

Nina Young‘s Sun Propeller involves the composer on electronics which interact to some degree with the solo acoustic instrument to extend the range of what the audience hears from the violin.  The title refers to the rays of sun one sees when the sun is behind a cloud and the sunbeams radiate out in glorious fashion.  This serves as a metaphor for the process involved in the composition.  But not to worry, the complexity does not hide the beauty of the music itself.

As if all the preceding weren’t enough there is a second disc continuing this collaboration.  First up is another name new to this writer, Wang Lu .  This Chinese American composer uses electronics alongside acoustic instruments in much of her work.  Her digital sampling reflects the eclectic nature of her world comprising everything from Korean pop to Chinese opera and a host of environmental sounds.  This piece also contains an opportunity for the composer to do some free improvisation as well as provide accompaniment to Koh’s violin part.  It is a dizzying and mind manifesting experience.

Next up is Vijay Iyer.  Iyer is perhaps best known as a jazz pianist and, as such, he is a fine example but his south Asian heritage doubtless has had an influence on him musically though that is but one aspect of his work. The American born Iyer, like many of his generation, mine their and our collective heritages as needed for inspiration. The present composition, “Diamond” also draws from his rich cultural background as it refers to the Buddhist Diamond Sutra and utilizes the structure of that religious parable to create the piece.  It is probably the most conventional sounding work here but that tells the listener little given the wide ranging eclecticism.  It is a piece which gives homage to jazz filtered through the experience and the person that is Vijay Iyer and, in this case, shared with the violinist.

The last composer is Missy Mazzoli, an established American composer.  She is represented by two works, “A Thousand Tongues” and (the now Grammy nominated) “Vespers”.  The composer provides accompaniment with piano and electronics.  The first piece has more the ambiance of a pop song though an avant garde one.  The last piece, the Vespers, feels deeper and more haunting.  Both provide more than adequate writing to keep soloist Koh both busy and happy.  

Indeed this album will keep the astute listener happy for its musical content, its progressive interest in new music, its wonderful soloist and beautiful sound.


 

World Premieres and a Resurrection: Partch Vol. 3 on Bridge Records


Bridge Records is one of those labels whose every release is worth one’s attention. Their series of music of Elliott Carter, George Crumb, et al are definitive. And while this listener has yet to hear the first two volumes of the Harry Partch series this third volume suggests that Bridge continues to maintain a high standard as they do in all the releases that I’ve heard.

Harry Partch (1901-1974), like Philip Glass and Steve Reich would later do, formed his own group of musicians to perform his works. For Glass and Reich they could not find performers who understood and wanted to play their music. For Partch this issue was further complicated by the fact that he needed specially built instruments which musicians had to learn to play to perform the very notes he asked of them.  And keep in mind that Partch managed to do a significant portion of his work during the depression.  He is as important to the history of tonality as Bach, Wagner, and Schoenberg.

I will confess a long term fascination with Partch’s music.  Ever since hearing a snippet of Castor and Pollux on that little 7 inch vinyl sampler that came packaged with my prized copy of Switched on Bach I was hooked.  That little sampler also pointed this (then 13 year old) listener to Berio’s Sinfonia, Nancarrow, Steve Reich, and Terry Riley.  And so it continues.  But it is not just nostalgia that recommends this disc, it is the definitive nature of the scholarship, the intelligence of the production, and the quality of both performances and recordings that make this an essential part of any serious collector of Partch, microtonal music, musicology, and good recordings in general.

With the aforementioned interest/fascination I reached a point where I had pretty much collected and listened to all I could find of Partch’s music.  Certainly everything of his had been recorded, right?  Well ain’t this a welcome kick in an old collector’s slats?  Not only have the folks at Bridge (read John Schneider) found and recorded a heretofore practically known composition but they’ve done it with a brand of reverence, scholarship, and quality of both recording and performances such that this is a collector’s dream and a major contribution to the history of microtonal musics and American music in general.

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John Schneider from a You Tube screen capture

Let me start with the liner notes by producer John Schneider.  As one who is given to complain about the lack of liner notes I am so pleased to encounter such as these.  They alone are worth the price of the CD and read at times like the adventure they describe, to wit, this recording.  The tasteful and well designed (by one Casey Siu) booklet provides an intelligent guide to the music which enhances the listening experience.  Schneider’s web site also provides a wealth of information and references for further research.  Many would think that these liner notes are comprehensive as they are and there should be no need for anything more…so the link provided to even more info on the web site of the performing group on this disc, PARTCH.   These folks are Grammy winners and they perform on scholarly copies of the original Partch instruments executed by Schneider and his associates.  This release is solidly built from the ground up.

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PARTCH performing at RedCat copyright Redcat

PARTCH includes: Erin Barnes (Diamond Marimba, Cymbal, Bass), Alison Bjorkedal (Canons, Kitharas), Matt Cook (Canon, Cloud Chamber Bowls, Spoils of War), Vicki Ray (Canons, Chromelodeon, Surrogate Kithara), John Schneider (Adapted Guitars, Bowls, Canons, Spoils, Surrogate Kithara, Adapted Viols, Voice), Nick Terry (Boo, Hypobass), T.J. Troy (Adapted Guitar II, Bass Marimba, Voice), Alex Wand (Adapted Guitar III, Canons, Surrogate Kithara)

The 21 tracks contain five Partch compositions.  It opens with one of Partch’s more unusual pieces (for him), Ulysses at the Edge of the World (1962).  This piece was written for Chet Baker but Baker never got to play it.  It kind of sits a bit outside of Partch’s work and is his most direct use of the medium of “jazz”.  The piece has been recorded twice before.  For this recording two fine new music/jazz musicians were chosen, saxophonist Ulrich Krieger and trumpet player extraordinaire Daniel Rosenboom.  Excellent choices for this too little performed piece.

Tracks 2-13 contain the Twelve Intrusions (1950) which is basically an accompanied song cycle with instrumental pieces placed at the beginning.  These are great vintage Partch works but do read the liner notes on the evolution of Partch as he was writing these.  They describe some of Partch’s evolution during that time.

Next is another discovery (or restoration if you will).  Partch’s scores exist in various versions for various reasons.  Windsong (1958) was written as a film score for the Madeline Tourtelot film of that name.  It was later reworked into a dance drama (Daphne of the Dunes, 1967).  Here we have a live performance of the entire score which (read them notes) includes things not heard before, not to mention the most lucid sound of this recording.

Now to the putative star of this release, the Sonata Dementia (1950).  It too comes with some nice detective work allowing listeners to hear substantially what Partch intended but neither recorded nor rejected.  There are three movements and let me just say that they are captivating and substantial.  This deserves to be heard again and again.

Now two little bonus tracks (reminiscent in nature but not in content of the sampler I mentioned earlier) add significantly to Partch and his place in music history.  First is a Edison cylinder recording from 1904 of a traditional Isleta Indian chant which Partch, who had been hired to transcribe these songs, later incorporated into his music.  It’s early date and the nature of that old recording method provide a picture of early ethnomusicological work.

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Photo of Partch with adapted guitar found on web

The second bonus is a real gem.  Again, read the liner notes for more fascinating details.This is an important find, an acetate recording made of Partch performing his Barstow (1941) for an appreciative audience at the Eastman School of Music from November 3, 1942.  This early version (of at least three) for adapted guitar and voice was reconstructed by John Schneider and released on the Just West Coast album of 1993 (Bridge BCD 9041) and later performed so beautifully at Other Minds 14 in 2009.  But I believe that Schneider’s reconstruction predated the discovery of this recording.  Pretty validating to hear this now I would think.

It is this reviewer’s fondest hope that this wonderful Partch project will continue with its definitive survey of Partch’s work.  Bravo!!

 

 

 

Other Minds 24, Concert Three, Reviving the Music of a Forgotten Master


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Photo: Ebbe Yovino-Smith

The staging was simple and practical but nonetheless imposing for this third and last OM 24 concert series.  Imagine four Steinway concert grand pianos arranged in a semicircle with a conductor and a music stand at the apex.  The heavy black curtain at the back served to emphasize the instruments and the musicians in a visually standard concert presentation.

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But, and this is significant, pianos 2 and 4 (looking stage left to stage right) had been tuned down 1/4 step.  I had the pleasure of speaking with Jim Callahan of Piedmont Pianos (who provided the instruments for this event).  When I inquired about this he replied quickly and authoritatively, “From stage left to right, pianos 1 and 3 are A 440 (concert pitch) and the others are tuned down 1/4 step.  When there are two pianos the one stage left is concert pitch and the one on the right tuned down.”

If you have any familiarity with the piano keyboard you know that there are black keys and white keys which correspond to the twelve divisions of the octave (from middle C to C) common to most western music.  A quarter tone is half way from the note you hear when you hit a white key and the note you hear if you hit the adjacent black key.  Ivan Wyschnegradsky was not the first person to seek more divisions to create the sound he sought.  1/4 tones are common in some middle eastern cultures but not seen in western music much before the twentieth century.

Ivan Wyschnegradsky (1893-1979) was a Russian born composer who spent much of his creative years in Paris.  It was there that tonight’s producer, Charles Amirkhanian and his wife Carol Law met him and learned of his work.  This concert along with the first OM 24 concert heard in March by the Arditti String Quartet (reviewed here) constitute a lovely revival of this unjustly forgotten composer as well as a personal connection to this “missing link” in music history.

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Charles Amirkhanian addressing the small but enthusiastic audience.

While some of this composer’s work uses the conventional western music scales (examples were present in this concert) his extensive work with other tunings necessarily limited performances of his music.  That, along with his rhythmic complexities, limited the amount of performances he would be able to receive.  One hopes that these concerts will spur further interest in his work.

The program booklet, prepared under the direction of Other Minds production director Mark Abramson, contains a wealth of information, knowledge and photographs.  You can download a PDF file of the program here.  It is a gorgeous production loaded with information for further exploration.

One might have expected 1/4 tones to create a very dissonant harmony but the surprise tonight was that the harmonies sounded like an extension of the work of Debussy and the impressionist composers.  Rather than harsh sounds, much of this music comes across like an impressionist painting might sound if it were music.  Tuning is a whole subject unto itself and a good resource can be found in the web pages by another Other Minds alumnus, Kyle Gann.  His extensive information on the subject can be found here.

The concert opened with Cosmos Op. 28 (1939-40, rev. 1945) for 4 pianos.  It is unusual to see a conductor at a multiple piano concert but the logistics of performance required a conductor to guide them through the complexities of rhythm and even the complex use of sustain pedals.  The pianists Sarah Gibson, Thomas Kotcheff, Vicki Ray, and Steven Vanhauwaert were ably led by conductor Donald Crockett.  This was a US premiere.

Overall the music has echoes of Stravinsky, Messiaen, Debussy, and Schoenberg (from his pre 12 tone days).  This large work, according to the program notes, does not have a specific program, rather it is a grand exploration of densities and registers. It does have a cinematic quality that suggests a program.

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Martine Joste receives a bouquet as Donald Crockett looks on.

Next on the program was Étude sur le carré Op. 40 (1934, rev. 1960-70) for solo piano (another US premiere).  The French title translates as “Study on the Musical Magic Square”.  It is a reference to the structure of the piece which involves repetitions of melodic sequences analogous to the magic square with words or numbers.  What is important is the musicality of course and Martine Joste played it with passion and intensity providing the audience with a performance that sounds absolutely definitive.  Her amazing technique at the keyboard and her focus on this music truly brought life to this technically difficult piece.

Joste is a master pianist and president of the Association Ivan Wyschnegradsky and has been active in the performance of contemporary music along with the better known classical canon of works.  She would appear in the second half of the program.

If you are exploring the limits of composition with a new technique it makes sense to write some music that will demonstrate that technique.  Much as Bach wrote his Well Tempered Clavier to showcase the (now standard) well tempered tuning.  So Wyschnegradsky composed his 24 Preludes Op. 22a (1934 rev. 1960-70) to demonstrate his ideas.

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Shot of the two piano stage set up.  Remember the concert pitch instrument is stage left.

It was from this collection that we next heard Preludes Nos. 1, 3, 4, 5, 9, 10, 15, 16, 19, 20, 23, and 24 played by the performing duo Hocket.  As if they are not busy enough as solo pianists (and composers in their own right) Sarah Gibson and Thomas Kotcheff perform as a duo.  The link to their work in that area can provide more information,

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Sarah Gibson (l) and Thomas Kotcheff (r) performing as the Hocket Duo

They managed to navigate the complexities of these pieces nimbly, as though they had been playing them all their lives.  It certainly sparked this listener’s curiosity about the remaining preludes which we did not hear on this night.

Again the 1/4 tones sounded strange to western ears at times but never really harsh.

Following intermission the usual OM raffle of various prizes were drawn.  As if the fates intervened the colorful Ivan Wyschnegradsky clock went to master microtonalist John Schneider, another OM alumnus.  This clock is available in the Other Minds Store along with a cache of really interesting CDs, clothing, etc.

The four pianists, Gibson, Kotcheff, Ray, and Vanhauwaert again teamed up for a performance of Étude sur les mouvements rotatoires, Op. 45 (1961, rev. 1963).  This time they performed without a conductor.  Here the magic square becomes a magic octagon, at least metaphorically.  This is another example of using extramusical principles applied to organize music differently.  And again, as in the previous pieces, the harmonies were friendly and actually quite beautiful.

Mme. Joste returned to the stage for a solo performance (and the third US premiere) of Three Pieces for Piano, Op. 38:  Prelude (1957), Elévation (1964), and Solitude (1959).  Again we were treated to virtuosity and a seemingly definitive performance.  The title puts one in the mind of Schoenberg and his voice, along with that of Messiaen, Debussy, et al were present.  What was striking was her energetic and fluid performance which made the notes on the page (Joste performed from traditional paper scores, not the iPads used by the others) come alive in a delightful way.

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The stage had to be reconfigured for the final piece, another 4 piano work which took perhaps a minute or two.  Mr. Crockett again led these young and enthusiastic performers in Ainsi parlait Zarathustra, an early work which was originally written for a quarter tone piano played by six hands(such things do exist), a quarter tone harmonium (4 hands), a quarter tone clarinet, string ensemble, and percussion.  This score has been lost but we heard the 4 piano transcription tonight.  It is a sprawling work with four defined sections much like a symphony.  The movements are titled Tempo Giusto, Scherzando, Lento, and Allegro con fuoco.

This piece takes its title from the same Nietszsche novel that inspired Richard Strauss’ tone poem “Also Sprach Zarathustra” or, in English, “Thus Spake Zarathustra”.  Only Wyschnegradsky’s Zarathustra seems more pained and less the romantic hero of Strauss’ 1896 orchestral work.

Wyschnegradsky’s piece is virtually a symphony and, though one can scarcely imagine how the now lost orchestration might have sounded, there was still a grand romantic sweep to it.  With a scherzo worthy of Bruckner the piece was a coherent whole with the last movement recapitulating, if not literally, the spirit of the fire dance that ended the first movement.  This was also a premiere and surely another definitive performance of a true masterpiece.

On this night we witnessed nothing short of a resurrection of the art of a very important 20th century composer.  The audience, like the performers were enthusiastic in their response.