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!!

 

 

 

 

 

 

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.

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.


 

Tantalizing Debut of Margaret Batjer in Four Violin and Orchestra Works


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This is a helluva introduction to the wide ranging talents of violinist Margaret Batjer, currently the concert master of the Los Angeles Chamber Orchestra.  OMG, why doesn’t this woman have her own web page?  Well this BIS recording is a sort of, “here’s what I can do across 300+ year of repertoire”.  BIS is a Swedish based record label with a well earned reputation both for quality sound recording as well as intelligent choice of repertoire.  This recording succeeds on both counts.

Batjer opens with a new work by American composer Pierre Jalbert (1967- ) whose star is rising steadily on the reputation of his intense and engaging music.  This is the longest work on the disc and perhaps the most challenging technically.  It is a marvelous violin concerto of a modern but quite accessible composer. Jalbert’s fantastic Piano Quintet was reviewed here.

She follows this with a classic of the western canon, Bach’s A minor concerto, then an arrangement for violin and string orchestra with percussion of Arvo Pärt’s “Fratres” (it exists in an arrangement for nearly any ensemble one could imagine), a classic of so called “holy minimalism”.

And she concludes her program with a longer piece (his second violin concerto) by another holy minimalist, Peteris Vasks (1946- ), a composer who also needs a web page.  His Lonely Angel (2006) was written for Gidon Kremer and follows in the tradition of meditative consonance that characterizes the holy minimalist genre.

She plays with her familiar colleagues in the Los Angeles Chamber Orchestra under conductor Jeffrey Kahane in an arrestingly beautiful recording of music spanning nearly 300 years.  The combination of technical skills and interpretive skills (by orchestra and soloist) along with a wonderful sound recording make this a welcome debut for this soloist and leaves this writer wanting to hear more from her and this wonderful little orchestra.

Pauline Kim Harris’ Solo Debut: Heroine


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Pauline Kim Harris is a marvelously accomplished violinist.  Her resume includes her work as composer as well as performer.  At first glance this disc would seem to be an unusual choice for a solo debut but a quick look at her discography reveals that we have here a musician who has chosen experimental and potentially cutting edge music to define her work.  This album is a collaboration with another musician, Spencer Topel, who has chosen a similarly difficult and complex challenge to define his career.

I have chosen for the scope of this review to forego attempts at analyzing these nascent artists and their uniquely defined personas as musicians and have simply provided links to their respective websites.  What I feel obligated to do however is look at the nature of this genre of this music.  Is it ambient?  Is it drone? Is it transcription?  And who is the intended audience?  Musicians? Listeners sitting in a seat in a concert hall?  Background music a la Eno’s Music for Airports?  How will this disc be used?

One clue as to this music’s intended purpose is the recording label itself.  Sono Luminus, a new music label defined largely by a concern with producing the finest sound via digital signal processing.  This independent classical label has sent me several CDs which are reviewed (most favorably) elsewhere in these pages.  One of the things that is notable about this label is the intelligent choice of programming.  Rather than settle simply for quality sound alone they seem to focus their repertoirial radar on new and/or unusual music which is not being heard on other labels.  Their choices have been intelligent in the past.

OK, now to the disc.  There are but two pieces here.  One is a sort of deconstruction of the Chaconne from Bach’s solo violin partita (BWV 1004).  This much lauded masterpiece has received a great deal of attention and composers such as Feruccio Busoni have done transcriptions of the work.  Another recent recording (reviewed here) features a just intonation version of the work.  I’m not sure what Bach would have thought of either of these but the fact is that this is a work very much representative of western music in the high baroque era and one which endures in performances to this day.

The sound, of course, is wonderful.  The range and the clarity of the recording beg to be heard on the highest quality sound system the listener can commandeer.  It is beautiful. It is in a tonal idiom.  But what volume is needed?  Well that depends on your listening context.  For the purpose of this review I listened on my factory sound system in my 2015 Toyota RAV 4.  Not the highest end of audio reproduction but one which did allow me to perceive the quality of the recording.

So I listened at a volume which allowed the music to be heard above road and traffic noise.  I wondered if I would have appreciated this from an audience seat.  Hmm, not sure.  Then the more ambient notion suggested itself to me.  Maybe this could be music that is played in the foyer of a concert hall before the concert and during intermissions (regardless of the content of the actual concert to be heard).  Intriguing idea but I know of no one willing to consider this notion in any sizable venue.

I listened to the second track, a “reimagining” of Deo Gratias by renaissance composer Johannes Ockeghem.  Same thoughts…dedicated listener in a chair, music to modify a sonic space.  Both tracks are listed as “Composed by Pauline Kim Harris and Spencer Topel.”  So the artists think of these as their compositions.  Fine by me.  The long standing and ongoing tradition of working with older music and recasting it by changing its instrumentation, writing variations, changing its performance context, etc. is well known and has been put to good use in any number of subsequently respected musical compositions.

So in the end I remain undecided as to the intent (other than experimentalism) of these pieces and will leave my readers with the suggestion that they simply listen and utilize the music as it fits your own life.  It is certainly beautiful but it is not dramatic or assertive, rather it almost subsists inviting listeners to contemplate and choose to do more deeply or to simply allow the music to exist as a pleasing sound object (the listener indeed may be the “Heroine” of the title).  Either way this disc provides much more than what initially meets the ear.  And that would seem to be a significant artistic achievement.

Starkland Captures the Exploding Pianist: Kathleen Supové’s “Eye to Ivory”


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Starkland ST- 233

Kathleen Supové is one of a handful of new music pianists whose repertoire choices are such that anything she does is worthy of at least one listen and most frequently many more.  (She was previously reviewed on this blog for her wonderful The Debussy Effect album from 2017 on New Focus recordings.)  Starkland, analogously, is a label whose choices of both repertoire and artists is similarly reliable.  So it is with this most recent release.

Five composers are represented on 16 tracks.  All but one utilize some form of electronics (computer, sampler, etc.).  It is difficult to characterize the sort of choices Supové makes except to say that she leans toward the experimental but includes a variety of genres that run the gamut from minimalism to obtuse and complex experimentalism.  The issue here is not the genres but the quality of the performer’s choices and that is what makes this release so compelling.

The title track is by the still too little known Mary Ellen Childs (1957- ).  Eye to Ivory (2005) is a commission written for Supové is described in the brief but useful program notes as a composition focused on the sound densities of the various ranges of the keyboard and one which requires a variety of movements by the pianist (including sitting standing, etc.).  Obviously the visual component is not captured here but the sound clusters, no doubt analogous in some way with the movements, make for compelling listening.

Talkback IV (2010/12) by one Guy Barash, a composer new to this reviewer’s ears.  It is described as one of a series of pieces exploring the interaction between the piano and a computer in real time (i.e. the computer responds to what the piano is playing.  Barash does the real time digital processing.  Here is some of the edgy, perhaps even somewhat obtuse (to the casual listener I think) music where Supové and Starkland excel.  Its not easy listening but it is substantial enough to prompt this reviewer to bookmark the composer’s internet page (you should too).

It is with Rama Broom (2000) by Nick Didkovsky aka Dr. Nerve (1958- ) that we begin to hear a more intimate music making via the use of the performer’s voice speaking a text of her own composition. Written for this artist, the piece is an opportunity to showcase her dramatic abilities both as a writer and as a vocal performer.  There are algorithmic composition processes here but the music belies these complexities and what comes through is the drama in music, text, and performance.  Play this one on Halloween (that’s all I’m gonna say).

Also of 2000 vintage and continuing the intimate aspects of this album is the next selection, “In the Privacy of My Own Home” written by the Bang on a Can composer Randall Woolf.  He is also Supové’s husband and a composer of serious note.  If you haven’t yet encountered his work then you owe it to yourself to do so.

The intimacy of the work involves Woolf’s sampling of the pianist’s various types of laughter and playing the laughter on a sampling keyboard more or less simultaneously with the piano.  This twelve movement work has got to be this writer’s favorite of the group both for its melodic invention and the novel use of what is basically involuntary sounds made by or provoke from the pianist.  It’s like, “tickle me, I want to play piano” and it is a piece full of good humor and also deeply personal, even kind of sweet actually.  Will this be played by other artists using Supové’s sampled laugh or will they need to be tickled and sampled?  It is a delightful work.

Dafna Naphtali is yet another composer unfamiliar to this reviewer, also one with a fascinating, now bookmarked, internet page.  Her work Landmine (1999-2017) is another work written for Supové and another work involving real time interaction between a computer (which alters the timbre of the piano).  Its four movements are named with computer code (which adds a curious dimension especially to the tech challenged such as I).  And yes, this is probably one of the more obtuse and complex works but one which, with the curation of this artist, demands at least a listen or two.

Enjoy this album for its sonic beauties (Silas Brown’s mastering is always an event in itself) but also as a sort of advance guard suggesting the path of music yet to come.  It is in some ways similar to the CRI SD 288 recordings discs by the late Robert Helps from 1971 which helped guide this writer into the realms of new music.  It is a rich realm.

 

Concertante Music for Flute and Clarinet


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This release is a fine example of a record label fulfilling its mission by highlighting local talent while also making very intelligent selections of repertoire.  Cedille is one of those labels whose every release is worthy of your attention.  Here is a good example of why that is so. We have here four works for the rather uncommon combination of flute and clarinet with orchestra.  Concerti for multiple instruments probably began with Bach’s Brandenburg Concerti but this combination of flute and clarinet limits the repertoire choices considerably.  Nonetheless the folks at Cedille have gathered two 21st century pieces, one from the high romanticism of the late 19th century and a seldom heard gem from the late 18th century, all for these two instruments accompanied by orchestra.

Just for local interest let’s also add an opportunity for a local youth orchestra to show their considerable talents.  The Chicago Youth Symphony under conductor Allan Tinkham demonstrates the remarkably polished and mature sound of this local gem (Cedille is a Chicago label).  And Cedille, in its support of black musicians brings this marvelous pair of brothers with their expertise as soloists.  All in all a classic Cedille style release, intelligent choice of repertoire, promotion of young artists, promotion of artists of color, and quality recordings.

The disc opens with the world premiere recording of the eponymous single movement work, “Winged Creatures” (2018) by one Michael Abels (1962- ).  It is essentially a 12 minute concertante for the soloists with orchestra.  Abels is best known for having scored the brilliant horror genre film “Get Out” from 2017 (if you haven’t seen it, do make a note to yourself).

Winged Creatures is a well written mini concerto which, despite its recent vintage, tends toward a sort of neo-romantic sound.  The composer gives ample opportunity for the soloists to show their mettle and for the orchestra to demonstrate its facility with the music.  It is a delightful showpiece which seems to have a cinematic feel to it.

Next up, and this is typical of the acumen of the folks at Cedille, is a full blown, heretofore unknown (practically) Sinfonia Concertante from a lesser known contemporary of Wolfgang Amadeus Mozart.  Franz Danzi 1763-1826).  This double concerto for flute, clarinet, and orchestra was published in 1813 and sounds like Mozart and/or early Beethoven.  It is a highly entertaining piece, one which listeners will delight in hearing again.  Who knows this piece could become a sensation in the concert hall once again.  It’s about 22 minutes in length.

The third piece is an early work by French composer, pianist, organist, Charles Camille Saint-Saens (1836-1921).  Tarantella Op. 6 (1857) was written in when the composer was only 22 years old.  This is hardly one of his best works but it is a curiosity worthy of being heard and, like most of this composer’s work, it is eminently listenable.

Finally, we have another large scale concerto (and the second world premiere on the disc), “Concert Duo” (2012) by Joel Puckett (1977- ).  In gestures classical, jazzy, contemporary, but as listenable as anything on this release, Puckett’s work in three movements has tantalizing titles for each of the movements suggesting a wealth of non-musical references.

The ample liner notes provide the listener with a guide to the joys to be heard  on this collection and the recording, as usual with this label is lucid.  You can’t go wrong with this one.

The Apotheosis of Lenny, a New Recording of “Mass”


Leonard Bernstein’s 1971 Mass was commissioned by Jacqueline Kennedy for the opening of the new John F. Kennedy Center for the Performing Arts in Washington, D.C. The premier generated both controversy and paranoia (by Nixon and his crew) but the recording sold well.

This is by my count the fifth commercial recordings not counting the one DVD release. In addition there are numerous full performances available on YouTube. All have their individual highs and lows.

This work is in many ways the single work that embraces all the facets of a truly multifaceted composer. There is serious classical music passages, cheesy electronic music, excellent choral writing, showtunes, dancing, and, above all, political protest.

This writer fell in love with the original Columbia vinyl boxed set on the mid seventies and that recording remains a critical reference point but the joy of multiple interpretations begins to show the depth and complexity of this work. It is, in this writer’s mind this composer’s song of the earth, struggling with all its complexities both beautiful ones and sad ugly realities.

The present release is very enjoyable but is marred at points by some clunky miking if the singers. No doubt this is due in part to the fact that this is a document taken from several live performances. That makes it difficult to hear the words at times.

Nezet-Seguin is strongest in his interpretation of the orchestral parts where he elevates the discourse effectively placing Bernstein alongside the great masters who he championed as a conductor. If his and the singers’ interpretation don’t swing the way Bernstein’s own did I would assert that it’s OK to hear those passages differently. Every serious interpretation is effectively a dialogue between composer, performers, and audience. And this one is moving.

Fantastic New Music for Piano and Strings, The Jupiter Quartet with Bernadette Harvey


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There is no small irony for this reviewer in the title of this offering.  As soon as it was removed from its packaging I, much as Alice was implored by the comestibles in Wonderland, felt compelled by joyous expectation to consume it with eyes and ears.  And I was not disappointed.

Three composers are represented with one work each (two by Mr. Jalbert) in an album of recent compositions in modern but essentially tonal chamber music for highly skilled musicians. All But one (Secret Alchemy) are world premiere recordings commissioned by the Arizona Friends of Chamber Music and all contribute most handsomely to the piano and strings literature.

The highly skilled musicians are the extraordinary Australian Bernadette Harvey on piano with the Jupiter Quartet (Nelson Lee and Meg Freivogel, violins; Liz Freivogel, viola; and Daniel McDonough, cello).  They play extremely well together despite having to navigate all new and challenging material.  Harvey, in addition to traditional repertoire is a major advocate for living Australian composers.

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Pierre Jalbert

The album opens with Piano Quintet (2017) by Pierre Jalbert (1967-  ) which draws as much on the romantic tradition (can one hear the ensemble name “piano quintet” without thinking of Schubert, Brahms, and Schumann?) of that ensemble’s configuration as on his more modernist sense of rhythm and harmony.  It is cast in four movements titled, Mannheim Rocket, Kyrie, Scherzo, and Pulse.  This is a major work by a composer new to these ears and apparently very substantial.  This is highly engaging music with romantic leanings perhaps but there is nothing derivative here.  This composer is a voice that deserves an ear or two.

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Steven Stucky

Next up is music by the late lamented Steven Stucky (1949-2016).  While I regret not having gotten to know a lot of his music during his lifetime I find myself enthralled at the power and lyricism of each work I hear (the man was prolific too so I have much listening to catch up on).  This one is no exception, Piano Quartet (2004-5) is in a single movement with multiple sections of varied character.  Anyone who has heard any of Stucky’s music will find this piece both exciting and accessible.

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Carl Vine

Carl Vine (1954- ) is a prolific Australian composer (the only non-American composer represented) whose work certainly deserves to be better known outside of his native country.  He does appear to get recognition and respect there and with Fantasia for Piano Quintet (2013) we can see why.  This one movement work is (like the Stucky piece) divided into sections played without pause.  This is another work of both power and virtuosity which holds the listener’s interest and, ultimately, provides a satisfying concert experience.

The program ends with another substantial work from Mr. Jalbert, a piano quintet in all but name.  Secret Alchemy (2012) allows us to hear some earlier chamber music writing by this composer.  Again each movement is given a title but this time they are more like expression markings and less poetic.  They are: Mystical, Agitated, Timeless, and With Great Energy.  Why that’s practically a program note!  And like the piece that opened this disc it indeed has great energy and will engage the listener.

This album exceeded my enthusiastic expectations and I will listen again, probably many times.  Well done.

 

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!!

 

 

 

Michala Petri in the 21st Century


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OUR Recordings 8.226912

Since her debut in the mid 1970s Michala Petri has proven herself as one of the great masters of the recorder.  The recorder is an instrument which, until the 20th century was pretty much only heard in music written before 1750 or so.  Many previous masters such as David Munrow and Franz Brüggen restricted their playing to early music.  Petri has certainly broken that mold.  She has mastered baroque, renaissance and contemporary music for her instrument as her recent releases demonstrate.  And her skills as a musician have only grown stronger and more convincing.

This disc is her celebration of American music for the recorder.  We hear four 21st century concerti for the recorder.  Composers include Roberto Sierra (1953- ), Steven Stucky (1949-2016), Anthony Newman (1941- ), and (a new name to this reviewer) Sean Hickey (1970- ).  These are fine compositions but they are basically mainstream sort of neo-romantic/neo-classical/neo-baroque works.  These are all finely crafted compositions but nothing here is experimental.  Despite the names all are basically concerti which highlight the interplay between soloist and ensemble.  Therein lies the joy.

The disc begins with Roberto Sierra (1953- ) wrote his “Prelude, Habanera, and Perpetual Motion (2016) as an expansion of an earlier recorder and guitar piece but, obviously, with a great deal of expansion and orchestration.  Despite its colorful title the work is basically a concerto and a fine one at that.  Petri here performs with the Tivoli Copenhagen Philharmonic under Alexander Shelley.  From Sierra’s web page there is a link to a video of the premiere here.  Sierra, born in Puerto Rico, affirms his skills as a composer in this exciting work.

Next up is music of the late Steven Stucky (1949-2016) sadly known almost as much for his recent demise as for his compositions.  However Petri’s performance of his “Etudes” (2000) for recorder and orchestra goes a long way to affirming some of the gravity of the talent we lost and the wonderful legacy he left.  The Danish National Symphony under Lan Shui do a fine job of handling the complex orchestral accompaniment and Petri shines as always.  This concerto is in three movements titled: Scales, Glides, and Arpeggios respectively.

Anthony Newman (1941- ) is a name that must be familiar to classical recording buyers in the late 1970s into the 1980s when Newman’s exciting recordings of Bach dominated record sales.  It is no wonder that he composed an essentially neo-baroque concerto pitting the recorder against an ensemble consisting of a harpsichord (deliciously played by Newman) and a string quartet (in this case the Nordic String Quartet).  Clearly a more suitable sized ensemble that might have been used in the 18th century.  This is the only piece on this album that is actually called a concerto by its composer.  Concerto for recorder, harpsichord, and strings (2016) in four movements (Toccata, Devil’s Dance, Lament, and Furie) shows this performer, musicologist, and composer at the height of his powers in this lovingly crafted work.

Last (and certainly not least as the cliché goes) least is by a composer unfamiliar to this reviewer, Sean Hickey (1970- ) is also the youngest composer here.  His A Pacifying Weapon (2015) is subtitled, “Concerto for Recorder, Winds, Brass, Percussion and Harp” which tells you about the rather gargantuan dimensions of his work.  While not representing a specific “program” the work is the only one on this CD that espouses some political content.  The title reflects the composer’s desire to use this concerto to represent some of his response to “current events”.  The three movements are simply numbered 1, 2, and 3.  I can only begin to imagine the problems of balancing the little recorder against such a huge and loud ensemble but the Royal Danish Academy of Music under conductor Jean Thorel are clearly up to the task.

Hickey originally hails from Detroit and is now based in New York.  A quick perusal of his web page suggests that listeners like your humble reviewer have much to hear from this up and coming young composer.

All these are world premiere recordings which show Michala Petri at the height of her powers.  Indeed she is an international treasure whose instrumental skills and her range of repertory continue to amaze and entertain her audience.  The recording under Lars Hannibal’s direction is, as usual, lucid and very listenable.  Joshua Cheeks liner notes save this writer a great deal of research time and pretty much answered all this listener’s questions.

Happy listening all.  This recording has it going on at many levels.