Elegant Affable Virtuosity, Hanzhi Wang at the Music Academy of the West


wang1

Hanzhi Wang with her Pigini concert accordion (publicity photo from the internet)

On the first day of February, on a sunny day in Santa Barbara, rising star Hanzhi Wang presented a solo recital in Hahn Hall at the matinee hour of 4PM.  Despite the beautiful weather a substantial crowd gathered for this event which was part of the always notable UCSB Arts and Lectures series.

This young performer only recently came to this writer’s musical radar a few months ago.  Subsequent research revealed her to be a marvelously accomplished musician.  She earned her Bachelor’s degree at the China Central Conservatory of Music in Beijing, and her Master’s degree at the Royal Danish Academy of Music in Copenhagen as a student of Geir Draugsvoll.  First Prize Winner of the 2017 Young Concert Artists International Auditions, Ms. Wang’s debut opened the Young Concert Artists Series in New York in The Peter Marino Concert at Zankel Hall at Carnegie Hall, and her Washington, DC debut opened the 40th Anniversary Young Concert Artists Series at the Kennedy Center.

Her interesting and rather eclectic program was artfully designed to showcase her strengths.  One of those strengths is certainly her ability to communicate with her audience both is her brief but lovely introductions to her performances using a microphone kept near her seat as well as in her radiant persona which communicates a humility and pleasant affability.  Of course the most important communication to be heard on this afternoon would be the musical.

She began with a couple of Bach pieces which, like most of his keyboard music, can be done equally well on harpsichord, piano, and now, accordion.  It is here that she showed her virtuosity and interpretive skills which reflected an obvious affection for the material.  Though scheduled to perform the famous Chaconne she chose instead to present these shorter, entertaining pieces.

wang3

Her Pigini concert accordion echoed the pleats in the skirt of her tasteful outfit well suited to a recitalist performing these essential works of the western musical canon.  She followed these with three keyboard sonatas by Domenico Scarlatti (1685-1757)(K. 9, 159, and 146).  This writer first encountered these little gems (the composer wrote over 500 of them) in the landmark recording Switched on Bach by Wendy Carlos in the 1970s and they are a delight on any concert program (though not programmed often enough).  She handled these challengingly virtuosic works with seeming ease expertly adding dynamics to define these works to create a wonderfully entertaining concert experience.

Wang followed these with three pieces by another late baroque master, French composer Jean-Philippe Rameau (1683-1764).  “L’ Egiptienne”, “La Livri”, and “Le Rappel des oiseau”.  Her obvious affection for these works have subsequently sent this listener to seek out more of Rameau’s works.  These works on the first half of the program were all characterized by her lovely playing, making a strong case for the role of this nineteenth century folk instrument’s role in the playing of classical music.

After a brief intermission Ms. Wang offered a twentieth century work by the late, great Russian composer, Alfred Schnittke (1934-1998).  Though not originally for the accordion the composer did utilize this instrument in some of his works.  Russian composers at least since Tchaikovsky have utilized the accordion to stunning effect.  And this performance was another demonstration of this young musician’s easy virtuosity and insight offering up these brief pieces inspired by Nikolai Gogol’s novel, “Dead Souls”.  The music is filled with both humor and passion with echoes of the dead souls (in Schnittke’s trademark “polytsylism”) of prior Russian composers.

The soloist’s clear understanding of the modern idiom was made very clear and one need only look to Wang’s website to see that her repertory ranges across 400 years of the western musical canon.  One wonders if there is anything she can’t play well.

Her last scheduled pieces came from the late nineteenth century by a composer which Wang humorously noted eschewed the accordion, Edvard Grieg (1843-1907).  The Norwegian nationalist’s famed Holberg Suite (originally for string orchestra) sounded pleasantly familiar on Wang’s instrument.

After an enthusiastic standing ovation Ms. Wang presented three more pieces, two by the late Argentinian Astor Piazzolla (1921-1992) and a piece by German composer and piano virtuoso, Moritz Moszkovsky (1854-1925).  These were like gifts to the audience which further demonstrated her facility with the tango inflected Piazzola and the playful, though difficult, pianism of Moszkowski.

This young woman is indeed a rising star who belongs on your radar.

 

Patricia Kopatchinskaja and Jay Campbell in Santa Barbara


img_0826

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?

kopacampbellMA

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.

A Tale of Ice and Fire: Dan Lippel’s “Mirrored Spaces”


lippel

This double album by guitarist, composer, producer, etc. Dan Lippel is sort of his Yellow Brick Road, an album which listeners of a certain age know well.  Elton John’s album was more about dropping the shackles of adolescence and conformity but Mirrored Spaces is more about setting aside the shackles of Lippel’s very busy life with ICE (The International Contemporary Ensemble), Flexible Music, and the daunting task of producing for (the also very busy and wonderful) New Focus Records.  Here he presents a virtual manifesto of works for solo guitar with electronics which, if only by proximity of release date, suggests a comparison with Jennifer Koh’s Limitless.

lippel2

Promo photo from the artist’s web site

The present disc is at once a virtual CV of his interests as performer and composer as well as a forward looking compilation by which future new chamber music with guitar will be compared.  It is a collection which looks like he culled the best of his current working repertoire to present a sort of photograph of his vision.

The two discs are actually an overwhelming listening experience of new material.  Here are the tracks:

01 Amorphose 2
Amorphose 2
Daniel Lippel, guitarPhilip White, live electronics 7:13
02 Aphorisms: Whom the Gods…
Aphorisms: Whom the Gods…
Daniel Lippel, guitar 0:52

Mirrored Spaces

Orianna Webb (b. 1974)/Daniel Lippel (b. 1976)

Daniel Lippel, guitar
03 I. Refracted
I. Refracted
4:41
04 II. Sturdy
II. Sturdy
4:03
05 III. Cadences
III. Cadences
4:17
06 IV. Reflected
IV. Reflected
2:00
07 V. Rondo
V. Rondo
4:20
08 VI. Song
VI. Song
4:58
09 Aphorisms: When Music Itself…
Aphorisms: When Music Itself…
Daniel Lippel, guitar 0:57
10 Descent
Descent
Daniel Lippel, guitar 10:34
11 Aphorisms: Solon the Lawmaker…
Aphorisms: Solon the Lawmaker…
Daniel Lippel, guitar 0:45
12 Primo cum lumine solis
Primo cum lumine solis
Daniel Lippel, guitar 3:43
13 Aphorisms: It Needs a Body…
Aphorisms: It Needs a Body…
Daniel Lippel, guitar 1:01
14 Like Minds
Like Minds
Daniel Lippel, guitar 11:48
15 From Scratch
From Scratch
Daniel Lippel, guitarSergio Kafejian, electronics 11:18
16 Aphorisms: Whosoever is Delighted…
Aphorisms: Whosoever is Delighted…
Daniel Lippel, guitar 1:23
17 Detroit Rain Song Graffiti
Detroit Rain Song Graffiti
Daniel Lippel, guitar 6:02
18 Aphorisms: We Seek Destruction…
Aphorisms: We Seek Destruction…
Daniel Lippel, guitar 1:11

Partita

Douglas Boyce (b. 1970)

Daniel Lippel, guitar
19 I. Cumiliform
I. Cumiliform
2:50
20 II. Galante
II. Galante
1:37
21 III. Empfindsamer (offstage)
III. Empfindsamer (offstage)
3:10
22 IV: Air de cour
IV: Air de cour
3:15
23 V. Brise
V. Brise
2:32
24 Aphorisms: There is No Excellent Beauty…
Aphorisms: There is No Excellent Beauty…
Daniel Lippel, guitar 1:56
25 Joie Divisions
Joie Divisions
Daniel Lippel, guitar 6:54
26 Aphorisms: Man Comes into the World…
Aphorisms: Man Comes into the World…
Daniel Lippel, guitar 1:19
27 Arc of Infinity
Arc of Infinity
Daniel Lippel, guitarChristopher Bailey, electronics 16:27
28 Aphorisms: Love is Necessarily…
Aphorisms: Love is Necessarily…
Daniel Lippel, guitar 1:43
29 Scaffold (live)
Scaffold (live)
Daniel Lippel, guitar 7:00

Its easy to see the richness and complexity of this release from the track listing alone.  Having already demonstrated his facility with minimalist classics like his wonderful recording of Steve Reich’s Electric Counterpoint he presents selections from what appears to be his current active repertoire.  It is a joy to see the diversity of composers he has chosen.  Clearly he confronts the new and technically challenging works with the same zeal with which he approaches his various other responsibilities as performer and producer.  We even get to hear some of his chops as a composer in the live recording of Scaffold as well as his collaborative work with Oriana Webb on the eponymous Mirrored Spaces.  These are unusual works, not the “usual suspects” nor the latest rage but new and interesting music.  Even the presentation of Kyle Bartlett’s pithy Aphorisms are scattered among the other tracks like pepper on your salad at a restaurant (personally my obsessive nature wants to re-order these tracks in sequence) demonstrating a sensitivity to alternate ways to present music.

I have at best a passing knowledge of most of these composers having heard some of the work of Douglas Boyce and some of Kyle Bartlett.  I know Ryan Streber via his work as a recording engineer.  the rest of the names are new to these ears.  And that is exactly the point of this wonderful collection.  I really can’t say much useful about the individual pieces except to say that they are compelling listening.  The liner notes included in the CD release are useful and informative.  (Now last I looked the CD version is not available on Amazon so you will have to go to Bandcamp to order it but I highly recommend it for the notes alone.)  Many of these pieces will have a significant performance life and you heard them here first.  Much as Jennifer Koh defines new collaborative adventures in Limitless with her trusty violin, Lippel brings his axe down on some challenging but substantive music in this forward looking collection.

Devonte Hynes’ Fields, Another Triumph for Third Coast Percussion and Cedille


fields1

Cedille CDR 90000 192

This recent release by Cedille Records (which turned 30 this year) is a fitting example of their vision as well as daring.  It is in some ways characteristic of Third Coast Percussion whose albums range widely in their creative explorations ranging from definitive performances of accepted masterpieces as well as of works written for them and/or co-created by them with their own compositional and improvisational skills.  Their Steve Reich disc, Perpetulum, and Book of Keyboards CDs have been reviewed here and can be seen to represent the range about which I speak.

The present disc is by an English musician, composer, and producer Devonte Hynes.  He is better known by his pseudonym Blood Orange under which he has released several albums whose style might be described as electronic dance music.  One might think it unusual that someone who works in a sort of “Pop” genre would have his work appear on a basically “classical” label.  And one would be wrong.  One need only think of David Byrne’s on The Knee Plays and his work written for string quartet or the incursions into modern classical by Brian Eno on albums like Music for Airports.

fields2

So here we have three works by Mr. Hynes played by one of Chicago’s finest musical exports, Third Coast Percussion.  The music was entirely written by Hynes on a digital work station, not on score paper (goodbye 20th Century) and transcribed (on to score paper) for the percussion quartet by the musicians.  One of the difficulties in writing for an instrument you don’t play is learning exactly how to write for a given instrument.  That is where the members of the percussion quartet add their expertise to this collaborative effort.  The results will likely surprise many listeners.  There are echoes (or homages) to Philip Glass and likely other such echoes as well.  The bottom line is that this music will not fail to engage.

Hynes’ style might be described as post minimal (as might a lot of dance music) with an eclectic spectrum.  The first work, For All Its Fury is a sequence of 11 distinct sections ranging from just over a minute to just over six minutes for a total of just over 35 minutes of music.  One hear the variety of musical ideas that comprise the composer’s style (s).  Rather than try to describe or identify these styles I will only say that the music is a journey which is designed to be experienced as a whole.  As such it is a very listenable and engaging piece.  It is followed by two single movement works titled respectively Perfectly Voiceless and There Was Nothing, each coming in at around 12 minutes.

While there are some clues to the meaning or intent of the music and titles the listener is basically left with the sound object to contemplate.  But wait, and this is perhaps one of my tired “memes” but the design and artwork of the album and accompanying booklet are themselves a joy to behold as visual objects (oh, for the 12 inch by 12 inch format).  Perhaps there are clues one might glean from this packaging as meanings underlying the sounds therein but I would be seriously remiss to fail to credit Sonnenzimmer, the collective output of artists Nick Butcher and Nadine Nakanishi.  And the photographers Stephanie Bassos and Timothy Burkhart of People vs. Places, another collaborative.  These images are strikingly beautiful and they serve to augment this release in a way that can’t be done on radio or any of the streaming services.  What we have here is closer to an art object with sound.  Congrats to Cedille, Third Coast Percussion and Devonte Hynes (aka Blood Orange) and Happy New Year to all!

My 2019 in the Arts


Dempster2

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.

OM 240010

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.

OM230102

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:

Linda-K-Twine-Image-page-001

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.

fa2

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.

choi20190008

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.

kanchelisun

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.

schanklerpatterns

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.

 

 

LCMS1903

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.

breath

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.

 

 

cd cover

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.

blueviolet

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.

 

 

 

 

 

 

 

 

boots1

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).

boots4

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.

 

bartonblues

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.

jensen

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.

img_2017

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

horvatdiedtrying

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.

donut

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.

beauty

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.

img_2088

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.

project w 365

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.

adamsdesert

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.

publiquartfreedom

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.

amerecorder

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.

img_0564

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.

img_2011

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.

isbinpacqr

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.

duyundino

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.

eyetoivory

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.

kohlimit

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.

Singing the Unsingable, Bethany Beardslee’s Autobiography


beardslee

by Bethany Beardslee and Minna Zallman Proctor

This is not, strictly speaking, an autobiography.  It is perhaps more in the style of a memoir.  It traces the career and life of a woman whose voice drove much of the avant garde from the 1950’s to the 1980’s.  It is told with a sober tone as the artist looks back on the highs and lows of life and career well spent.  She tactfully shares just enough of her personal life and relationships to provide a context for her tales.

Anyone with an interest in new music during those years had to encounter Beardslee’s carefully cultivated soprano voice.  Along with names like Phyllis Bryn-Julson, Cathy Berberian, and Jan De Gaetani, hers was a very familiar and welcome voice which led listeners (including this writer) reliably and frequently definitively through the plurality of styles that comprise the 20th Century.  Of course she was trained in and also sang the so called “classics” meaning Mozart, Beethoven, Schubert, Schumann etc. but she will likely be best known for her extraordinary service to new music.

Beardslee’s lengthy and sometimes rambling tome is a very personal look at a long and productive career.   She recounts teachers, other singers, composers, conductors, accompanists, and husbands over the span of a rich and interesting career.  The rambling quality of her prose serves only to cast an even more personal light on these accounts of her life and artistry.  Never is there a dull moment and this book will delight singers, composers, historians, and just plain listeners.

In the end this was a very satisfying read and the intelligent decision to include a discography as well as a list of Ms. Beardslee’s world and US premieres makes this book a useful document for further research into her career and the music which drove it.

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


eyetoivory

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.