I have little expertise in the area of soundtrack music. It is my opinion that they largely serve as comforting souvenirs almost regardless of their quality.
John Lunn’s score does rise above the ordinary with its quasi post minimalist gentle music for this mini cult film. He is not Prokofiev or Herman but that level is not what is needed to support what is in the end a well written and well acted/directed costume drama.
Lunn does not burden his audience with obtuse or even obvious references to British music (folk or classical). No quotes from Nimrod or Rule Britannia (thank God). Just competent and unobtrusive incidental music for a decent film. Doubtless there will be a few live orchestra performances concurrent with screening the film in a concert setting. Enjoy the memories.
I’m not sure who started the trend of so-called”portrait operas” but they seem to be on the increase. Tech Icon Steve Jobs now has a portrait opera as well as a biopic, numerous documentaries, and at least one good biography. And who better than music techie Mason Bates to write the opera?
So here we have what appears to have been a beautifully staged premiere of said work in a definitive performance by the always innovative Santa Fe Opera. Steve Jobs is an icon of the tech industry and the business world and people want to hear about him even if it is a romanticization.
Bates is ideally suited to the task and this is likely to get multiple performances. Of course a video would be a more ideal document but probably prohibited by cost. This is an eminently listenable work and the enthusiasm of this live audience serves to underscore this reviewer’s personal response to this performance.
There are eight roles (one role is silent), a large orchestra augmented but never overwhelmed by electronics. The electronics also serves in a metaphorical way to paint a sonic picture of this tech hero. It also helps remind us that we are in the 21st century in every way.
The cast includes Kelly Markgraf, Edward Parks, Saha Cooke, Wei Wu, Maria Kaganskaya, Johah Sorenson, Garrett Sorensen, Jessica E. Jones, ensemble soloists (I’m guessing that means, “choir”) consisting of Adelaide Boedecker, Adam Bonanni, Kristen Choi, Thaddeus Ennen, Andrew Maughan, Corrie Stallings, and Tyler Zimmerman with the Santa Fe Opera Orchestra marvelously held together by conductor Michael Christie.
Librettist Mark Campbell has an impressive resume and this is an admirable addition to an already impressive list of dramatic successes. Photos of the production in the wonderful booklet which contains the libretto and background information show some visually a creative production. Computer screen shots of Jobs’ various products serve as background and the staging appears to make a few nods to Philip Glass’ Einstein on the Beach, its obvious progenitor.
Only time will tell the ultimate place this work will occupy historically but we can definitely enjoy this really entertaining piece.
This is the second album I’ve had the pleasure of reviewing by this wonderfully talented composer and conductor from Iceland. The other album which put his name forever into my watch list was Recurrence. Daniel Bjarnason conducted on that recording which features his work as well as that of fellow Icelandic composers.
The present release is also conducted by Bjarnason and features three amazing works by this young composer and conductor. The works include, “Blow Bright” (2013) for orchestra, “The Isle is Full of Noises” (2012) for chorus and orchestra, and the title work, “Collider” (2015).
Blow Bright and Collider are performed by the lucid Icelandic Symphony. They are joined by the Hamrahild Choir for the three movement, Isle Full of Noises. The recording is also listener friendly (with detail that sent this listener to find headphones to hear them).
It is a mark of genius that this composer already has a clearly defined sound all his own. Hearing these left this listener wanting to hear these pieces again and to hear more of this man’s work.
Blow Bright and Collider are significant contributions to the modern orchestral repertoire and Isle Full of Noises is an opportunity to hear Bjarnason’s vocal writing with orchestra. This listener, no surprise was charmed. His facility in melodic invention, judicious use of modern harmonies make for very listener friendly music that challenge gently but always entertain. Classical music is alive and well…at least in Iceland.
I admit to some trepidation as I proceeded to the beautiful War Memorial Opera House in downtown San Francisco. While I had heard of this composer, Ivan Wyschnegradsky (1893-1979), it was only through one work which was contained on a disc with other microtonal works by John Cage and Harry Partch performed variously by Joshua Pierce, Dorothy Jonas, and Johnny Reinhard (among others). And microtonal music can be tedious in some hands.
This helpful sign in the elevator directed concert goers to the 4th floor recital room known as the Dianne and Tad Taube Atrium Theater
Adding to the sense of obscurity, the concert was in a small chamber music hall on the fourth floor. Other events ran concurrently on this night. The hall was nearly filled to its capacity of just under 300 people most of whom I would guess have never heard of this composer. But they likely had heard of the Arditti Quartet and clearly put their trust in the amazing ear and mind of executive and artistic director Charles Amirkhanian to deliver a satisfying musical experience which he does most reliably. This concert was no exception.
The stage awaits the performers with that OM logo projected on the floor.
The Arditti Quartet was formed in 1974 and quickly became known as one of the finest interpreters of contemporary string quartet music. Their repertoire is vast and they do not shy away from technical difficulty or other artistic challenges. In fact they had recorded the Wyschnegradsky Quartets but, sadly, that recording is out of print. Even more interesting is the fact that tonight’s performance constitutes U.S. premieres for all the works on this concert except for the Haas Quartet (included at the suggestion of Mr. Arditti to fill out the program). Another astonishing fact shared by Amirkhanian is that this is the only time that the quartet has been asked to play this music in concert. There are plans to release those recordings in the near future pending negotiations with record companies.
Amirkhanian reminded the audience to silence those pesky cell phones.
Mention needs to be made of the talents of OM’s graphic designer (and stage manager among other duties), Mark Abramson. His work on this and last year’s program booklets take things to a new level of excellence. The program notes by Charles Amirkhanian, Randall Wong, and Blaine Todd are both lucid and comprehensive (a very necessary thing in dealing with new and obscure music). And the photos of the composer and the performers along with some of the composer’s own art work make this another true collector’s item. Previous programs were certainly well done but this is a step up.
The Arditti Quartet
I chose to just listen and to read the notes later rather than get caught up in details. Indeed that was a good choice. Wyschnegradsky’s approach to the use of microtones seems more focused on the possibilities of extending melodic language than the harmonic and my understanding of complex harmony is admittedly limited anyway. Of course the harmony is necessarily different than the western models of the 18th and 19th centuries but the music, at least in the hands of such talented interpreter’s such as the Arditti speaks rather directly to the listener.
The music was presented chronologically in order of the years these pieces were composed (String Quartet No.1, 1923-4, rev. 1953-4), (String Quartet No. 2, 1930-1), (String Quartet No. 3, 1945, rev. 1958-9), and (Composition for string quartet, 1960, rev. 1966-70) completed the first half of the program. There was surprisingly little in the way of dissonance and the quartet played with a palpable intensity and concentration creating very convincing performances.
Blaine Todd holds the OM bag (a Carol Law design) as Amirkhanian picks two raffle winners after intermission.
The second half began with Wyschnegradsky’s last composition, a String Trio (1978-9). Incomplete at the time of his death the trio was revised completed by Claude Ballif. Again what one hears is not what you might expect from microtonality. The composer has realized a uniquely effective way to use microtones. Hearing this survey makes the composer’s vision clear and places him in the company of such as AloisHába (1893-1973), Harry Partch (1901-1974), and Ben Johnston (1926- ) to name a few.
The Arditti Quartet sans second violin Asot Sarkissjian on stage to play the Wyschnegradsky Trio
The revelation for this listener was hearing a good sampling of the composer’s vision and a creative way to use microtones unlike any other composer really. And it became clear too why Charles chose to revive this unique voice in the musical world. This is beautiful music.
As mentioned earlier Mr. Arditti had remarked that the Wyschnegradsky Quartet and Trio music would not quite fill an evening and he suggested they play the Second String Quartet (of about 6 now I believe) by Austrian born composer Georg Friedrich Haas (1953- ). It was the only work which was not a U.S. premiere.
Arditti’s ear for programming was finely as tuned as ever and this quartet provided a very satisfying finale to the evening filled with wonderful discoveries. While this particular quartet uses some microtones the style is denser and more dissonant overall than the preceding music. This is not to say that it was not entertaining, rather it is illustrative of the rich possibilities of microtonal composition. The Arditti again shows itself to be at the forefront of the finest interpreters of the modern string quartet and clearly Haas is a name worth knowing as well. Bravo!
The musicians acknowledge the standing ovation and warm applause
Save the dates June 15 and 16 for the last two concerts in this year’s Other Minds 24 program.
Ritorna vincitor! I paraphrase from Verdi’s Aida but Charles Amirkhanian introduced this concert telling us that Other Minds held its first concert here 25 years ago. Indeed this was a victorious return (though the first visit was also victorious) featuring, as Amirkhanian correctly emphasized, musicians with a decidedly west coast aesthetic. In fact Mr. Riley was on the board of the nascent Other Minds organization founded under the loving and watchful eyes of Jim Newman (now president emeritus) and Charles Amirkhanian, executive and artistic director.
Gloria Cheng is a California native and is now professor of contemporary performance at UCLA’s Herb Alpert School of Music. She is a Grammy winning artist and has, for many years now, been a champion of Terry Riley’s music among many others.
Terry Riley (1935- ) is also born and educated in the Golden State and is a world renowned composer and performer. His 1964 piece, “In C” pretty much represents the beginning of the “minimalist” style and remains his most performed work.
This was your reviewer’s first time hearing Ms. Cheng live and it is an experience not to be missed. Cheng’s command of the piano and of the wide range of musical styles she demonstrated on this night was nothing short of stunning. In particular her command of the varying styles that are Terry Riley including ragtime, barrel house, jazz, classical, modernism, virtuosic romanticism, etc. In addition to that she demonstrated a truly profound command of the keyboard which left the audience so deeply enthralled that they (we) almost forgot to applaud.
The concert began with Ms. Cheng’s performance of Riley’s early Two Pieces for Piano (1958-59). Here she seemed to be channeling Pierre Boulez and that whole school of post-Darmstadt pointillism with an ever present sense of trying to maintain equality for each of the twelve tones used in these pieces.
The uninitiated might have been put off by these early pre-minimalist works that are not generally the sound image conjured by the composer’s name. Rather they represent Riley’s grasp of and subsequent working through of this material that preceded the compositional insights that characterize his mature style. As a serious fan of Stanley Kubrick’s 2001: A Space Odyssey, it is a useful source for a metaphor. On this 50th anniversary of that film’s debut it seems that Riley, like astronaut David Bowman, steps through the star gate and is transformed beyond even his own wild and creative imagination.
By all appearances this audience seemed to be well-prepared and, as the young man who won the little drawing at intermission stated (I’m paraphrasing), Terry Riley’s concerts are always a good bet. While there may have been people who knew less it is clear that no one was less than entertained and many, this writer included, were positively delighted.
The next work, “The Walrus In Memoriam” (1991 rev. 1994) was originally commissioned for Aki Takahashi, one of several pieces based on Beatles tunes, this one a sort of elegy for John Lennon (1940-1980). The CD is well worth seeking for its creative music and Takahashi is always worth hearing.
As if building to a climax, Cheng really put her performance into high gear with the next set of pieces from 1994 entitled, “The Heaven Ladder Book Seven”. Don’t get me wrong, she was focused and in fine form for those first three pieces but when she sat down to perform the Heaven Ladder pieces one could feel an intensity such that the audience seemed hypnotized, paying attention to Cheng’s every gesture. Despite a few stifled coughs (no doubt residue from our recent awful fires here) the audience was laser focused on this performer as she made Riley’s charming pieces come alive.
Intermission was an opportunity to stretch our legs and breathe again knowing that when we returned we would be hearing both Cheng and Riley. It was a gathering of like minds for the most part and many people validated some of my perceptions that Cheng had transfixed the audience.
During intermission there was more talk about the upcoming Other Minds 24 with programs scheduled on March 23rd and June 15 and 16. More on that in future blogs. And now on to the second half of the concert.
Terry Riley’s energy belies his age. Riley will turn 84 in June and continues to compose, perform and travel extensively. And when he sits down at the piano he is magical.
Riley opened with “Simply M” (2007) written in honor of the late Margaret Lyon, a longtime chair of the Mills College Music Department and one of the people who brought Terry Riley there to teach composition. She had previously presided over teaching tenures by Luciano Berio and Darius Milhaud.
The music had a quasi-improvisational feel (like much of Riley’s music) but channeled classical composers along with ragtime, jazz, ragas, and Riley’s usual eclectic mix of styles. It was a free flowing piece going through abrupt changes in character at different points but the piece seems to rely on some basic classical composition techniques which function as a sort of scaffolding or mold into which the composer pours his creative ideas. The piece was highly virtuosic but gave off a charming hypnotic flow.
He acknowledged the appreciative applause and moved right into the second piece on this half, “Requiem for Wally” (1997). This piece is written as a memorial for Riley’s ragtime piano mentor, Wally Rose. In the very useful notes, Riley states that he combines elements of ragtime with the Hindustani Raga Nat Bhairav. In this piece we got to hear Riley’s distinctive tenor trained in raga singing by the late Pandit Pran Nath. It is this ability to combine and synthesize various musics into a coherent style which this audience clearly knows well, Terry Riley.
Following these performances Riley left the stage and came back joined by Gloria Cheng again for the newest music of this evening, “Cheng Tiger Growl Roar” (2018). It is, by the composer’s description, a four movement suite. Like much of Riley’s music, it involves both notated and improvised material.
Riley’s musical training has always involved a great deal of improvisation and that is true in this work. Cheng, a classically trained pianist, mentions feeling challenged by Riley’s music as it asks her to move out of her comfort zone as an artist. Well, except for Cheng mentioning this in her notes, there was no evidence of discomfort on the part of either artist. They played as though they had always played together and their playing was ecstatic suggesting the depth of both artists’ grasp of the material and the affection they shared performing this piece for piano four hands.
The audience, with their laser focus still intact, came out of their trance to share their warm applause. What a transcendent evening! What amazing artists!
This writer’s first encounter with a bandoneon was the electroacoustic “cybersonic bandoneon” of Gordon Mumma from about 1966. In fact the instrument has its origins around the beginning of the 20th century. It is a small accordion-like instrument which relies on the performer operating a bellows while pushing buttons on the instrument which force air past reeds which vibrate at their tuned pitch. It is a folk instrument in Germany and Argentina where it became best known as the workhorse of the tango bands of the time where it continues to be popular.
It’s appearance in the avant garde with experimentalists such as Mumma did occur but the instrument became best known through the work of Astor Piazzolla (1921-1992) who incorporated tango in much the way Aaron Copland incorporated American folk songs into his classical works. Despite his popularization of the instrument it remains largely just one of the instruments in local tango bands and the classical world appears to have largely withdrawn its interest since Piazzolla’s passing.
Juan Pablo Jofre (from his web site)
Well along comes native Argentinian Juan Pablo Jofre Romarion (1983- ) who appears to want to change that. In addition to running his own tango band and promoting the music of his predecessor Piazzolla he now ventures into the classical realm with no less than a double concerto for bandoneon (of course) and violin.
Now this is not the avant garde stylings of the 1960s and 70s such as that typified by Gordon Mumma. It is also not the sort of experimentation done by Piazzolla as he incorporated his native folk musics into the realm of the classical stage. Instead we have a classically trained virtuoso bandoneon player forging his own style which is in fact quite listenable and seems to be treading a path of significance that may rival his teachers and mentors. If you need a category for this disc try neo-romantic or just world music.
It is not difficult to imagine Jofre writing for the instrument of his own virtuosity but he also manages to write a substantial part for the other instrument in this double concerto, a violin. He engages Belgian classical violinist Michael Guttman to share the stage in this large and substantial composition from 2016-17 and gives him a great deal to do.
Jofre has distinguished himself as one of the important interpreters of tango with his own band and, in particular, the works of Astor Piazzolla. Now we get to hear the next phase of this emerging artist as he ventures into the world of the classical stage bringing his diminutive folk instrument to the fore.
In this tasty little recording we get to hear two highly skilled soloists and none other than the Orpheus Chamber Orchestra who do justice to Mr. Jofre’s first (and one hopes not the last) concerto for bandoneon and violin with chamber orchestra. It is difficult to say if Jofre is going to be able to handle large musical forms (like symphonies, opera for example) but he is quite adept at writing for these three to five minute movements which constitute the concerto’s structure.
Jofre is at his best writing for the two solo instruments and some of it is ravishingly beautiful. All of it is quite listenable and one must surmise that Jofre is a rising star with great talent and that he will continue to write music of this quality and passion. It would be wonderful to hear more of the possibilities of combining the bandoneon with other classical instruments, maybe a concerto for accordion and bandoneon (of course the possibilities are boundless). Clearly this is just the beginning for this emerging artist who seems poised to take on the mantle of Argentina’s other great tango composer, Astor Piazzolla both in his compositional and performance skills.
This substantial concerto (which chooses to split the outer movements into two parts) covers five of the six tracks on this disc. The remaining three tracks are for bandoneon and violin. These duos provide a glimpse of the powerful and intimate nature of Jofre’s compositional skills. This is beautiful music and here’s hoping that this disc will be the start of a mini renaissance of tango, Piazzola, etc.
It may be some time before the bandoneon is a common instrument in classical concert halls (or maybe it will never become common) but there is no doubt that Jofre’s instrument and his music deserve serious attention. I would stay tuned if I were you.
I believe the composer himself sent me this disc. I was not familiar with this composer/musician prior to receiving this but, a quick search on Amazon revealed several albums by this artist. Cissell‘s web page validates my initial impression of an artist who will not easily fit in a category. That is to say that this music wears several hats.
There is nothing experimental or difficult about this CD nor is it exactly pop or easy listening. It is a rather personal recording. Indeed the composer plays most of the parts and the concept is entirely his own. Not having heard Cissell’s other recordings it is difficult to say whether this most recent one is a continuation of a style or a departure. What is clear is that this music is easy to listen to but difficult to market efficiently.
This entirely self composed and produced album consists of 13 tracks ranging from 2 to 5 minutes or so in length. The instrumentation consists of mandolin, electric bass, strings, and electronics and all are performed by the composer. He identifies the track, “Follies” as being most appropriate for classical radio and the track, “Serf Shop” for pop/alternative radio. It is lovely material with some folk leanings as well as classical leanings. Cissell has classical training and that comes across in his writing but suffice it to say that his influences are eclectic and wide ranging. He clearly is well trained in his ability to write effectively for these instruments and hearing this work makes one wonder what his more classically oriented work sounds like.
If this disc has languished for longer than it should have in my “to be reviewed” queue then blame it in part on the reviewer’s organizational strategy but also on the difficulty pigeon holing such a release. There is little doubt that most who hear this album will find it entertaining but it is not clear how easy it will be for fans to find such a release unless they are searching for this specific composer.
In reviewing “classical” recordings one can rely on the “sounds like” strategy to provide listeners with some idea of what to expect. That does not seem to work here. The music is very listenable but it is not strictly classical and not exactly pop so while it is a very good disc I’m not sure how easily it will find an appreciative audience.
This reviewer will pay attention to this composer and looks forward to hearing his more classically oriented work as well. Kudos, Mr. Cissell.