Category Archives: composers

Evan Ziporyn: Bang on a Pop


Attempts to meld pop, jazz, and classical music are abundant but many, like some of the poorly done string quartet transcriptions (there are a few good ones but most are guaranteed to offend pop and classical audiences alike). But this set of chamber group incorporations of essentially “pop” music is among the most engaging and convincing.

Here the truly fabulous Reed player, composer, conductor, and Bang on a Can member Evan Ziporyn takes listeners on a journey which, to this listener, are a modern equivalent of Aaron Copland’s “Old American Songs” and, for that matter, Luciano Berio’s “Folksongs”. It is a personal selection with (sometimes) quirky but ultimately convincing transcriptions which rise to the level of full blown compositions that function as an homage to the chosen songs.

Actually these “chamber transcriptions” are for multiple clarinets, all played by Maestro Ziporyn. Doubtless many will hear echoes of Steve Reich’s multitracked instrument pieces in his “counterpoint” series. In that sense this is also a set of pieces that does homage to Reich’s work as well.

Tracks
01 UNCLE ALBERT/ADMIRAL HALSEY (5:05)
(Wings) Paul & Linda McCartney
02 RIDE CAPTAIN RIDE (5:07)
(Blues Image) Mike Pinera, Frank Konte
03 WOODSTOCK (5:32)
(Joni Mitchell) Joni Mitchell
04 ALONG COMES MARY (3:00)
(The Association) Tandyn Almer
05 WOODSTOCK IMPROVISATION/VILLANOVA JUNCTION (6:42) 06 SHINING STAR (2:17)
(Earth Wind & Fire) P. Bailey, L. Dunn, V. White, M. White, S. Burke
07 THAT’S THE WAY OF THE WORLD (5:56)
(Earth Wind & Fire) C.Stepney, V. White, M. White
08 PORTRAIT OF TRACY (2:23)
(Jaco Pastorius) Jaco Pastorius
09 I LIVE ABOVE THE HOBBY SHOP (3:43)
(McFabulous) Benjamin McFadden
10 DEADBEAT CLUB (4:12)
(B-52s) C. Wilson, F. Schneider, K. Strickland, K. Pierson
11 STRAWBERRY LETTER #23 (5:24)
(Brothers Johnson) Shuggie Otis
12 YOUR GOLD TEETH II (4:03)
(Steely Dan) Walter Becker & Donald Fagen

Ziporyn, born in 1959, played in Reich’s ensemble and that sound world is a surprisingly effective one for Ziporyn to share the pop music of his era. Certainly this music can benefit from musicological analysis but it speaks clearly and entertainingly as well to the casual listener. It is helpful but not absolutely necessary that listeners know the music upon which these pieces are based but this may have significant nostalgia for those who do.

Mr. Ziporyn’s familiarity with a wide variety of music ranging from avant garde classical to jazz and pop along with his composer’s acumen of form combine to make this one of, at least for this writer, most convincing and satisfying efforts to appropriate (or perhaps more like simply incorporate) some familiar pop standards. This is a marvelously entertaining album.

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Igor Levit: Defining Tristan


Sony 194399434826 2 CD

Igor Levit is a man of vision and of multiple talents. His pianistic skills and his vast knowledge of repertoire are pretty much unquestioned at this point. His vision is evidenced by his very personal choices in choosing what he will play and record. In my first encounter with this artist, his three disc survey of large keyboard variation works spanning three centuries including Frederic Rzewski’s “The People United…” suggested that this piece represent the 20 century with the Beethoven “Diabelli Variations” representing the 19th century, and Bach’s “Goldberg Variations” the 18th, and virtually the origin of the form.

Levit’s 3 disc survey of large variation sets

I have not heard all of Levit’s albums but those I have seem a similar pattern in his choices of what to record. They seem to serve his vision of choosing works for which he makes the case that they be included in the common concert hall repertoire. His inclusion of Ronald Stevenson’s monumental “Variations on DSCH” alongside the Shostakovich Preludes and Fugues effectively issued a challenge to his fellow artists to consider including those masterworks in the canon of music commonly played in concert halls.

Levit’s album of the Shostakovich Preludes and the Stevenson DSCH Variations

The two disc set considered here seems to follow that same pattern. In “Tristan”, Levit makes provocative and unusual but ultimately intelligent choices of what to play.

Here, Levit makes a charming choice of performing the late, great Hungarian pianist, composer, and conductor Zoltan Kocsis whose transcription of Wagner’s “Tristan Prelude” (1857-9) for piano is basically the seed from which this quasi-concept album grows. And finally, in another brilliant move, he includes Ronald Stevenson’s piano transcription of the gorgeous, angst ridden Adagio of Mahler’s unfinished Tenth Symphony 1910-11), making at least the suggestion of a connection between the 19th century of Wagner’s landmark opera and, via Mahler’s post romanticism to Henze’s 20th century Tristan whose inspiration was garnered from that same medieval epic poem.

The centerpiece here is obviously Hans Werner Henze’s “Tristan Preludes” (1974) for piano, orchestra, and tape (a rare but effective choice by this composer). He pairs this large work with curiously connected pieces such as Liszt’s very familiar “Liebestraum No. 3“ (1850), and the less familiar Transcendental Etude, “Harmonies du soir” (1851). Liszt, a contemporary and supporter of Wagner, was the virtuosic showman, the “Liberace” of his day. This helps provide the listener a historical context as well as a contrast to the severe intensity and harmonic rebellion of Wagner’s “Tristan”.

Surprisingly, as far as I can tell, this is only the second recording of this major Henze work (wonderfully conducted by the fine Franz Welser-Möst) and likely the first recording of the Kocsis and Stevenson transcriptions. I have no doubt the Liszt selections have received much attention but they are critical here to Levit’s appropriately lofty (and very much romantic) vision, that of garnering a deserved place for all of this music to be kept alive both in recordings and the concert hall.

Levit’s playing is slow paced, full of romantic angst, and full of nuance. His pacing and his use of a wide dynamic range create an atmosphere that is both dark, and meditative. This album has the deep substance of Levit’s personal vision, a glory to behold. The gauntlet has been laid down.

Collider, The Marvelous Music of Daniel Bjarnason






This is the second album I’ve had the pleasure of reviewing by this wonderfully talented composer and conductor from Iceland. The other album which put his name forever into my watch list was Recurrence. Daniel Bjarnason conducted on that recording which features his work as well as that of fellow Icelandic composers.

The present release is also conducted by Bjarnason and features three amazing works by this young composer and conductor. The works include, “Blow Bright” (2013) for orchestra, “The Isle is Full of Noises” (2012) for chorus and orchestra, and the title work, “Collider” (2015).

Blow Bright and Collider are performed by the lucid Icelandic Symphony. They are joined by the Hamrahild Choir for the three movement, Isle Full of Noises. The recording is also listener friendly (with detail that sent this listener to find headphones to hear them).

It is a mark of genius that this composer already has a clearly defined sound all his own. Hearing these left this listener wanting to hear these pieces again and to hear more of this man’s work.

Blow Bright and Collider are significant contributions to the modern orchestral repertoire and Isle Full of Noises is an opportunity to hear Bjarnason’s vocal writing with orchestra. This listener, no surprise was charmed. His facility in melodic invention, judicious use of modern harmonies make for very listener friendly music that challenge gently but always entertain. Classical music is alive and well…at least in Iceland.

Ann Millikan’s Symphony


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The combination of Gil Rose and his Boston Modern Orchestra Project alone are reasons to buy this disc.  The process of discovering new music can be an arduous task with few hints along the way.  However certain musical gurus have been very helpful to this writer and one of the finest is Mr. Rose and his orchestra.  His curation and the dedication of these incredible musicians pretty much guarantees a satisfying listening experience. The useful liner notes by Bay Area music maven Sarah Cahill also serve to recommend this disc.

If those accolades are not enough for you let me tell you that this was my first encounter with this composer so I went in with few expectations and no negative prejudices.  What I found was a hugely entertaining work of deep substance which grows on the listener with each run through.

The work is in four movements, each concerned with each focused upon one theme or idea related to the life of Robert Millikan, the composer’s brother. The movements are, “science”, “animals”, “rowing”, and “violin”. Each one describes an aspect of his life and, while elegy is a part of the intent in this music (which it does well), each one stands on its own musically and the work entertains on a purely musical level as well.

That last movement is virtually a violin concerto and seems among the most personal of the four. No doubt there are many personal references but the overall feeling is celebratory, the step just past mourning.

All in all a great listening experience which will send this listener on a quest for more of this composer’s work.

Unheard Piano Trios, Chicago’s Lincoln Trio Finds Neglected Wonders


Cedille 90000 165

 

The Lincoln Trio is a Chicago based piano trio (founded in 2003) consisting of Desiree Rushtrat, violin; David Cunliffe, cello; and Marta Aznavoorian, piano. Their choice of repertoire is particularly wide ranging and includes basically the entire history of the piano trio including contemporary works.  

The present (already Grammy nominated for chamber music performance) offering, titled “Trios from the Homelands” gives us readings of piano trios by Rebecca Clarke (1886-1979), Arno Babajanian (1921-1983), and Frank Martin (1890-1974).  All are described as being outsiders whose work is little known outside of their native lands of, respectively, England, Armenia, and Switzerland.  

In many ways this recording is representative of the strengths of the Cedille imprint.  Attention to fine local musicians, a unique ear for truly interesting repertoire from a variety of time periods (largely 20th century), and high quality recording.  Whether or not these selections become incorporated into the common performing repertoire for piano trios is secondary to the fact that these selections are eminently listenable and entertaining.  They may very well find a place in many listeners’ playlists.

The first selection by Rebecca Clarke was premiered in 1922 (the oldest piece here) with none other than Dame Myra Hess at the keyboard.  Clarke’s music is hampered by gender prejudice but not by depth or talent.  This is a substantial work which is highly entertaining and contains material that continues to reveal wonders with repeated listenings.  There are three movements and the style is basically tonal, perhaps post romantic.  

Next is the trio by Arno Babajanian.  Most listeners (this reviewer included) have little exposure to Armenian classical composers outside of the Armenian derived works by the fine American composer Alan Hovhaness and perhaps some exposure to the truly wonderful work of Tigran Mansurian, the living ambassador and dean of Armenian composers.  On hearing this substantial Chamber work from 1952 listeners are alerted to the fact that there is much quality music that has seldom been heard outside of a country whose best known attribute at the present moment may rest largely on the 2015 centennial commemoration of the Armenian genocide perpetrated at the hands of the Turks.  

The last piece is by the most familiar composer, Frank Martin.  Though not exactly a household name his oeuvre is the best documented in recordings even if his presence in the performing repertoire is still somewhat limited.  Martin is best known for some of his orchestral and choral music.  This “Trio sur des melodies populaires irlandaises” (1925) is described as a significant early example of the composer’s chamber music and the only work for piano trio.

As with the first two trios this is a substantial work whose three movements provide both technical challenges and very effective musical development.  This is not simply a pastiche of Irish tunes.  It is a very accomplished use of so called “popular” melodies to fashion major piece of chamber music.  

This disc is another fine entry into the Lincoln Trio’s recordings of lesser known repertoire that deserves at least a second hearing if not a promotion to more common live performances.  Their previous releases have included music by Joaquin Turina and a disc of music by women composers.  It would seem they are an ensemble that bears watching/listening.

February 18th, Mark Your Calendars: Other Minds 22, A Must Hear


OMDI1Harrison

Lou Harrison (1917-2003)

The American composer Lou Harrison (1917-2003) and Korean composer Isang Yun (1917-1995) turn 100 this year and Other Minds 22 has a wonderful celebration that is not to be missed.  On February 18th at 7:30 PM in the beautiful, historic Mission Dolores Basilica in San Francisco’s famed Mission District.  This is actually only the first of two concerts which will comprise the Other Minds season 22 which is subtitled, “Pacific Rim Centennials”.  It is curated by Charles Amirkhanian, the reliable arbiter of modern musical tastes in the Bay Area and beyond.  (The second concert, scheduled for May 20, will be an all Lou Harrison concert closer to the composer’s May 14th birthday.)

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Yun Isang (1917-1995)

Harrison is well known to new music aficionados, especially on the west coast for his compositions as well as his scholarship and teaching.  His extensive catalog contains symphonies, concertos, sonatas and other such traditional classical forms as well as some of the finest of what we now call “world music” featuring instruments from non-western cultures including the Indonesian gamelan.  He is also the man responsible for the preparation and premiere of Charles Ives’ Third Symphony in 1946 which was subsequently awarded a Pulitzer Prize.

Yun is perhaps less of a household name but is known for his many finely crafted compositions in the modern western classical tradition and, later, incorporating instruments and techniques from his native Korea.  He was infamously kidnapped by South Korean intelligence officers in 1967 and taken from his Berlin home to South Korea where he was held and tortured due to allegations (later proven fabricated) of collaboration with North Korea.  Over two hundred composers and other artists signed a petition for his release.  After several years he was returned to his adopted home in Berlin in 1969 where he continued to compose prolifically and teach until his death in 1995.

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                              Dennis Russell Davies (from the American Composers Orchestra site)

This celebratory and memorial concert will feature world renowned artists including Grammy Award winning conductor and pianist Dennis Russell Davies who knew and collaborated with both Harrison and Isang.  Other artists will include pianist Maki Namekawa, violinist Yumi Hwang-Williams, percussionist William Winant (with his percussion group), and the Other Minds Ensemble.

The program is slated to consist of:

Sonata No. 3 for Piano

(1938, Lou Harrison)

Dennis Russell Davies

Kontraste I for Solo Violin

(1987, Isang Yun)

Yumi Hwang-Williams

Gasa, for Violin & Piano

(1963, Isang Yun)

Yumi Hwang-Williams, Dennis Russell Davies

Grand Duo for Violin and Piano (excerpts)

(1988, Lou Harrison)

IIII. Air
II. Stampede

Yumi Hwang-Williams, Dennis Russell Davies

Intermission

Canticle No. 3

(1941, Lou Harrison)

William Winant Percussion Group
Joanna Martin, ocarina
Brian Baumbusch, guitar
Dan Kennedy, Loren Mach, Ben Paysen, William Winant, Nick Woodbury, percussion
Dennis Russell Davies, conductor

Interludium A

(1982, Isang Yun)

Maki Namekawa, piano

Suite for Violin, Piano & Small Orchestra

(1951, Lou Harrison)

I. Overture
II. Elegy
III. First Gamelan
IIII. Aria
V. Second Gamelan
VI. Chorale

Yumi Hwang-Williams, violin
Maki Namekawa, piano
The Other Minds Ensemble:
Joanna Martin and Janet Woodhans, flute
Kyle Bruckman, oboe
Meredith Clark, harp
Evelyn Davis, celesta
Andrew Jamieson, tack piano
Emil Miland and Crystal Pascucci, cello
Scott Padden, bass
William Winant, percussion
Dennis Russell Davies, conductor

Other Minds is also co-sponsoring (with the Berkeley Art Museum/Pacific Film Archive) a screening of the 2015 German television produced film, Isang Yun: In Between North and South Korea on February 19th (4:15PM) at the Pacific Film Archive in Berkeley.  Dennis Russell Davies and composer Charles Boone will also be present to discuss the film.

If you do know these composers you probably already have your tickets but if you don’t know them you owe it to yourself to check out these performances.