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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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.

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


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Photo: Ebbe Yovino-Smith

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

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

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

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

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Charles Amirkhanian addressing the small but enthusiastic audience.

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

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

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

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

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

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Martine Joste receives a bouquet as Donald Crockett looks on.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Other Minds 24 Revives the Quartets of Ivan Wyschnegradsky in San Francisco


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.

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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.

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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.

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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.

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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.

 

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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 Alois Hába (1893-1973), Harry Partch (1901-1974), and Ben Johnston (1926- ) to name a few.  

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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.

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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!

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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.

Alan Courtis’ “Buchla Guitar”, an Homage of Sorts


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The late Donald Buchla (1937-2016) Invented many instruments from his keyboardless Model 100 (pictured here is a Buchla 200), the Marimba Lumina, but no guitar. So along comes one Alan Courtis and he creates what Buchla did not live to invent.

Courtis is an Argentine guitarist who was the founder of the group Reynols who collaborated in recordings with Pauline Oliveros. Oliveros was one of the composer/design consultants with whom Donald Buchla collaborated along with Ramon Sender and Morton Subotnick. So this album returns this busy, eclectic musician to his roots back to the days of the Tape Music Center.

Well, it surely doesn’t sound like a guitar for much of the time but the star here (or maybe co-star is more accurate) is the Buchla 200 which is the instrument through which the composer processes his guitar and which widens the range of what he can do with his instrument immeasurably. This album will remind listeners of the work of Morton Subotnick and perhaps early Pauline Oliveros.

There are four tracks, no titles, just absolute music. Courtis is clearly skilled and schooled in the operation of the Buchla 200, so much so that his guitar playing is rather eclipsed. This is likely by design. This is in many ways a tribute to Buchla and peaen to the heady days of radical invention that was the Tape Music Center (later moved to Mills College) and its luminaries

This is not easy listening but it it is a must for anyone interested in the various orbits which surround this historic and creative enclave. I don’t know if this album will appeal to many listeners but it is a huge effort and is, in effect, another brick in the wall as far as the history of electronic music on the west coast of the United States (and its dissemination to Argentina and points beyond)..

While this album came to me as a digital download (something which tests the limits of my technical skills) it does contain at least a little bit of liner notes. More would be nice but Courtis and Reynols seem more concerned with making interesting sounds and compositions and seem rather unconcerned with telling us how they got there except in the most general ways. Bravo Mr. Courtis.

Don Buchla in his last major appearance performing at Other Minds 20.
Don Buchla at a Buchla 100 at the Other Minds Festival 20 in 2015

My 2018 in the Arts


One of the Theater Organs at House on the Rock, Spring Green, WI, a really fun place to visit.


I’m skeptical about year end lists but I have enough people asking me that it would be impertinent to skip this task. I make no claims to having even listened to enough to make any definitive statements about the “best” but I have my own quirky criteria which I hope at least stirs interest. Here goes.

Let’s start with the most read reviews. Without a doubt the prize here goes to Tim Brady’s “Music for Large Ensemble”. This reviewer was enthralled by this recording by this Canadian musician whose work needs to be better known.

This little gem was sent to me by a producer friend and I liked it immediately. I knew none of these composers but I enjoyed the album tremendously. Don’t let the unusual name “Twiolins” stop you. This is some seriously good music making. It is my sleeper of the year.

Running close behind the Twiolins is the lovely album of post minimalist miniatures by the wonderful Anne Akiko Meyers. Frequently these named soloist albums of miniatures are targeted at a “light music” crowd. Well this isn’t light music but it is quite listenable and entertaining.


The creative programming and dedicated playing made this a popular review to New Music Buff readers. Definitely want to hear more from the Telegraph Quartet.

Another disc sent by my friend Joshua. This one is a DVD/CD combo of music by a composer whose existence was only revealed to me a couple of years ago. Marin includes a clever animated video which accompanies the title track.

I was fortunate enough to have been able to hear Terry Riley and Gloria Cheng in an all Terry Riley program at the Yerba Buena Center for the Arts. Both were in spectacular form and the audience was quite pleased.

I would be remiss if I didn’t include the fabulous 6 night series of concerts produced by Other Minds. This is why I am a rabid advocate of OM programs. More on that soon with OM 24 coming up.

And lastly I want to tell you about two more composers who are happily on my radar.

One of the joys of reviewing CDs is the discovery of new artists to follow. Harold Meltzer is now in that group for me. This basically tonal composer has a real feel for writing for the voice and has turned out some seriously interesting chamber music.

Another composer unknown to these ears. I bristle at the term “electroacoustic” because it sometimes means experimental or bad music. Not so here. Moe is fascinating. Definitely worth your time.

OK, gonna can the objectivity here to say that this is possibly the most underappreciated album I’ve heard this year. Combining a recording of the Debussy Preludes along with Schoenberg’s rarely heard “Hanging Gardens”, Webern’s Variations, and Berg’s Piano Sonata creates a picture of a moment in history when music moved from impressionism to expressionism. Jacob Greenberg is very much up to the task. Buy this one and listen, please. It’s wonderful.

Also beyond objectivity is this fascinating major opus by Kyle Gann. It didn’t get much recognition on my blog but it’s a major work that deserves your attention if you like modern music.

Well this is one of my favorite reviews in terms of the quality of my writing. The work is most wonderful as well. Though this review was actually published on December 31st I’m still including it in my 2018.

This is definitely cheating on my part but after that concert at Yerba Buena I can’t resist making folks aware of this wonderful set on the independent label, “Irritable Hedgehog”. Trust me, if you like Riley, you need this set.

I review relatively few books on this site but by far the most intriguing and important book that has made it across my desk to this blog is Gay Guerilla. The efforts of Mary Jane Leach, Renee Levine Packer, Luciano Chessa, and others are now helping to establish an understanding of this composer who died too young. Here’s looking forward to next year.

I know I have left out a great deal in this quirky year end selection but I hope that I have not offended anyone. Peace and music to all.

Gloria Cheng and Terry Riley Rock the Yerba Buena Center for the Arts


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.

Charles Amirkhanian, 25 years later and going strong with Other Minds.

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.  

Cheng deeply focused.

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.

Terry Riley at 84 still going strong as both composer and performer.

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.

Composer Terry Riley warmly greets fellow pianist Gloria Cheng at the end of a wonderful evening of Riley’s piano music from the last 50 years.

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!