Philippe Manoury’s Book of Keyboards, Third Coast Percussion’s Masterful Rendition


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Philippe Manoury (1952- ) is a French composer who worked at IRCAM and is professor emeritus at UCSD.  Knowing just these facts I must admit that I let this one languish a bit before giving it a good listen.  I was just not ready for some obtuse Boulez-oriented complexity.  But Manoury is nothing if not original and even if his music has complexities it does not fail to communicate very well to the listenter.  My apologies to Third Coast Percussion and the ever interesting New Focus recordings for the delay now that I’ve put my fears to rest and given the music a chance.

There are two works on this disc, Le livre des claviers, Six pieces for 6 percussionists (1987) and Métal for sixxens sextett (1995).  The first piece, which translates as, “Book of Keyboards” invites connotations of monolithic masterpieces such as Bach’s Well Tempered Clavier, Boulez’ Livre pour Quatuor, or any of a number of pieces with such aspirations that have the word “book/livre” in the title. The second piece is strikingly similar in sound to the first and is a fitting companion on the recording.

Indeed the 6 movement Livres is a monumental work but its aspirations are to produce a lovely and complex set of pieces for percussion sextet.  Third Coast handles this work, as they do with all they approach, with thought and virtuosity.  This is not a grandiose attempt to create a landmark of western music but rather to add to the oeuvre.  The same can be said for the later work which follows it.

While Manoury has worked with electronics and computers, none of that is in evidence here.  This is purely acoustic, just six virtuoso percussionists and the music is well crafted and shows off the composer’s inventiveness as well as giving these fine young musicians something to show off their considerable skills.  It is absolute music (ie music for the sake of music) and if there are metaphorical aspects they are not immediately evident.

Doubtless there are complexities here, most of which lay beyond the ken of the average listener (your humble reviewer included) but the joys of the sounds and the lucidity of the writing make for an enjoyable experience.  It’s not the minimalism of Philip Glass, nor the complexities of Boulez, nor the dissonances of Xenakis.  This is intelligent, approachable chamber music that will speak to the listener who allows it to unfold.

The first piece has six movements which are named simply for the instruments called for in the score:

  1. 6 Thai Gongs and 2 Marimbas
  2. Marimba Duo
  3. Sixxen
  4. Vibraphone solo
  5. 6 Thai Gongs and 2 Marimbas
  6. Sixxen

As you can see, not all six percussionists are kept equally busy throughout.  Each movement seems to have its own character and probably a great deal of  complexity which will entertain and perhaps frustrate musicologists.  All in all a very entertaining work.

The second work coming in at just over 22 minutes is cast in a single movement and has a more pensive quality.  It does require attention and, like all good music, reveals more on repeated listens.

The recording is, as always with New Focus, lucid and complementary.  This recording also serves to demonstrate the incredible range of this rapidly rising star in the percussion players universe.

Be not afraid, this is great stuff.

Politics and Its Discontents: Sirius Quartet’s New World


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ZOHO ZM 201908

This is a marvelous disc which functions well on several levels.  First it is a fine disc of new string quartet music played by wonderful musicians (who wrote most of the music here as well).  Second it is a disc of music which is designed to put forth sociopolitical reactions/opinions.  This Zoho label production succeeds quite well in these areas.

Starting with the lovely cover art by Aodán Collins, this Sirius Quartet album is their first full album since 2016.  It is, above all, a political statement, or rather, a series of political statements in the form of inventive compositions by these wonderfully talented musicians.  Each track is incredibly entertaining and each has a closely associated subtext of sorts reflecting a variety of sociopolitical issues.  The Sirius Quartet consists of Fung Chern Hwei and Gregor Huebner, violins; Ron Lawrence, viola; and Jeremy Harman, cello.

This disc contains ten works on ten tracks, each with an underlying political component.  All appear to have been written from 2016 to the present though the composition dates are not given explicitly.

The first work, Beside the Point, is by first violinist Fung Chern Hwei and it is a friendly scherzo-like piece which sets the tone for what is to come.  The composer describes this piece as his statement against discrimination and it is a plea for equality.  It is a relatively brief but very compelling work.

Next up is a track written by cellist Jeremy Harman called Currents.  It is another scherzo-like affair, slightly longer than the first piece and its political subtext is described by the composer as evoking currents of elements both dark and light whose powers affect us daily.  Another well-written and very exciting piece.

The eponymous New World, November 9, 2016 is essentially an angry lament in response to the election of Donald Trump as president on that date.  The work quotes judiciously and effectively from Dvorak and Shostakovich in the longest work here coming in at 10:16.  It relies on some extended techniques at times but is an essentially tonal work as are its companions on this disc.  This piece is also distinguished as having won the 2017 New York Philharmonic’s “New World Initiative” competition’s grand prize and it is acknowledged as the seed work which eventually spawned this entire album.

#Still by second violinist Gregor Huebner is perhaps the most gut wrenching piece here.  It’s based on the Abel Meeropol song, Strange Fruit (whose title refers to lynched bodies hanging from trees) iconically recorded by Billie Holiday in 1939.  Sadly its themes remain painfully relevant today and this heartfelt plea for peace and equality is a strikingly powerful work with an adagio section which rivals the Barber Adagio in its beauty.

Huebner’s cover of the Beatles song, Eleanor Rigby occupies the next track.  It is very much in keeping with the political theme of the album with the song’s words about a sad individual “buried along with her name”.  As such it is also one of the finest transcriptions/covers for string quartet that this reviewer has heard.  This is some seriously interesting writing which elevates this to a well crafted piece in it’s own right and not merely a “this string quartet plays…” generic piece.  Jazz inflections seem to invoke Stephane Grapelli and Django Reinhardt at times and a few extended techniques remind us that we are listening in the 21st century.

More Than We Are by cellist Jeremy Harman is described as an “aspirational” composition which was written after the birth of the composer’s son, Silas.  It is an emotional piece, perhaps a paean to hope.

To a New Day by Fung Chern Hwei is, of all things, a celebration of hope for healing politics in the composer’s native country of Malaysia (politics outside of the US and Europe are important too after all).  May 9, 2018 was the date of an election whose result will hopefully heal political wounds and put that country on a more humane and progressive agenda.  There may be more specific references embedded in the music here but that must be left for listeners and musicologists to debate in the future.  It is another gorgeous example of good string quartet writing.

Hwei describes this next piece, “30th Night, Worshiping Heaven and Earth” as a “repurposed prayer”.  It is, he says, an “unapologetically Chinese/Malaysian piece” which uses a combination of Chinese folk melody and specific attention to language to suggest a subversive theme which seeks to encourage a humane approach from a traditionally oppressive government.  It is the only track with vocals.

The penultimate track is another brilliant arrangement (by Huebner) of a rock/pop song, Radio Head’s “Knives Out”.  The political content is expressed by reference to the song’s lyrics and also by musical references which are inserted throughout.  Again an experience of the cover genre that rises above the ordinary.

The album ends with an arrangement by Fung Chern Hwei of the late Stanley Myers’ lovely Cavatina from his score to “The Deer Hunter”.  Like the previous covers this one stands head and shoulders above the usual level of musical discourse for this genre.

All in all an immensely satisfying album.  Kudos to Grammy winning producer and writer (he wrote the wonderful liner notes here) Kabir Seghal and, of course, to the musicianship of this fine ensemble of composer/musicians.  Art continues to struggle in these uncertain times but its struggle can bring forth some amazing creativity and this one sounds like a winner.

 

 

Concertante Music for Flute and Clarinet


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

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

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

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

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

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

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

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

Channeling Casals’ Bach: Amit Peled


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It was in 1936 that the famed Catalan cellist and composer Pablo Casals performed and recorded the now familiar Bach Cello Suites.  Long thought to be intellectual and technical exercises not intended for public performance these works languished for nearly 200 years on manuscript alone.  Casals pretty much single handedly has made these masterworks a staple of the cellists repertory.  Since Casals there have been numerous readings of these works and no sign of any flagging interest.

It is difficult to imagine any really new perspectives on these works and, aside from Kim Kashkashian’s wonderful transcriptions for viola, one gets basically the musician’s take on the music.  So here comes the Israeli cellist Amit Peled who, since 2004 has had the honor (and attendant responsibilities) of playing Casals’ own cello, a 1730 Gofriller personally loaned to him by Casals’ widow.  So in this first volume (second one not out yet as far as I can tell) is the first time Bach’s masterful Cello Suites have been sung by this instrument since it was in Casals’ hands.

What we have here is a sensitive and committed performance that many will want to hear perhaps as “channeling Casals” but ultimately we have a gorgeous performance by a fine musician channeling his own talents and sensitivities to produce a quite viable performance (are those gut strings I hear?).  Perhaps there are nostalgic aspects here as well but whatever your preference, be it channeling, nostalgia, or simply a great performance of these masterpieces you will find all these here.  Can’t wait for volume II.

Mathew Rosenblum: Klezmer, Witches, and the Avant-Garde


Conjuring the spirits of the 1950s/ 60s avant-garde and a few musical references composer Mathew Rosenblum (1954- ) enlists the klezmer spirit of none other than David Krakauer and master conductor Gil Rose with his wonderful Boston Modern Orchestra Project to bring life to this klezmer clarinet concerto.

The concerto, titled, “Lament/Witches Sabbath” (2017) is a tour de force for the soloist and certainly a challenge for the large orchestra.  Using elements of klezmer style along with musical references such as Berlioz in suggesting the evil sabbath revels the composer creates an unusual but fascinating canvas.  Nothing evil here, just some truly exciting musicianship. In addition we hear various noisy avant-garde effects and even voice overs reminiscent of Robert Ashley.  Ultimately it is also a species of classical which has a sociopolitical view and this is both memory and homage to the composer’s past, lamenting the suffering and pondering the evil that fueled it.

Krakauer’s facility with his instrument is simply astonishing.  He has the klezmer thing down but he also brings with him a great virtuosity as a classical clarinetist and a working knowledge of free jazz.  It’s not clear how much creativity this soloist was allowed within the constraints of the piece but the bottom line is that it works very well.  Gil Rose’ expertise in handling all this potential chaos is impressive as always and he delivers ultimately a very enjoyable performance despite those noisy avant-garde moments.  Indeed it is Rose’ ability to select repertoire with which he can grasp and from which he can conjure a compelling performance.  It is Rosenblum’s family biography taking him from the pogroms of the Ukraine to the United States.

The second track (of 4) is a solo for percussion.  Again the avant-garde remains interesting and both performance and recording communicate well with the listener.  Northern Flicker (2013) is no filler, it is an interesting, if rather brief, work.  Lisa Pegher is the busy soloist.

Falling (2013) is a complex work involving pre-recorded audio as well as a chamber group in a song cycle based on the James Dickey poem of the same name.  It is a retelling of an incident in which an airline stewardess who died when she was sucked out of a defective emergency exit in the plane and fell to her death.  The cycle recounts an imagined look into her psyche as she fell to her death.  It is an affecting, if unusual, presentation but Rosenblum’s judicious use of modern elements  while still using recognizable melodies and more traditional techniques make for a listenable, if harrowing, experience.

Here the Pittsburgh New Music Ensemble consisting of Lindsey Goodman, flute; Eric Jacobs, clarinet; Nathalie Shaw, violin; Norbert Lewandowski, cello; Ian Rosenbaum, percussion; and Oscar Micaelsson, piano/keyboard join with soprano Lindsey Kesselman with conductor Kevin Noe to produce this rewarding work.

Finally we get another large work, this time for multi-tracked string quartet with percussion titled Last Round (2015) which is also biographical in that the composer is attempting to evoke a time in the 1980s when he frequented an establishment with fellow composers.  The composer, in his entertaining and informative liner notes recounts his time with fellow composer Lee Hyla and friends and seeks to evoke elements of the downtown scene of that era.  This is a rather large work with its own complexities but one which speaks easily to an audience, even one not experienced in the time and place the composer attempts to evoke.

This is a marvelous recording of a music by a composer unfamiliar to this writer (until now) whose work deserves your attention.

From Appropriation to Incorporation, Cornelius Boots’ Innovative Shakuhachi Trilogy


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Portrait of composer/performer Cornelius Boots from his website

If one pays any attention to creative music in the Bay Area the name Cornelius Boots will come up with some frequency.  He is a good example of the rich cross cultural traditions which have flourished in this area.  California was (and is) in many ways the ground zero of east/west collaborations and Boots contributes his unique take on music and on some unusual instruments.  He is known for organizing the world’s first Bass Clarinet Quartet named, “Edmund Welles”.  He characterizes himself as, “Pied Piper of the nerdy, strange and enlightened.”  How California is that?

Boots has released a trilogy, virtually a manifesto, of his take on Shakuhachi, the Japanese bamboo flute, and our current musical/cultural proclivities.  In particular he favors the Taimu, described as the “baritone brother” of the shorter, higher pitched shakuhachi which is seen/heard more commonly.  The strange breathy sound of this instrument is widely known in traditional Japanese music and it is associated with Zen Buddhist traditions (Boots uses two different shakuhachis in this recording).  Here is where I derive my title for this review.  What Boots is doing is arguably cultural appropriation.  That pejorative epithet is thrown about rather cavalierly these days but what this artist does in this trilogy is to cross the bridge from mere appropriation to incorporation.  He has absorbed the traditional aspects of the instrument and is now at a point where he can inject his own musical consciousness into and through this unique instrument giving listeners a perspective heretofore unavailable.  That is art.

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Shakuhachi Unleashed Vol. I

There is a curious unity to this trilogy of albums which suggests a major reckoning by the composer as he draws musical conclusions filtered through the lens of his experience and the traditions of his chosen instrument.  The unique playful cover art (by Nakona MacDonald) is one of the great unifying factors here.  In fact these CDs are dense with ideas and are worthy of close scrutiny to reveal their richness and how well integrated they are into this production.  Even the numbering of the tracks segregating each disc into a virtual “side A and side B” in the tracklist are a reference and homage to the days of vinyl records.  And of course the big unifying factor is the music itself.  All the music is the responsibility of Mr. Boots who also sings.  The only other noise is made by percussionist Karen Stackpole whose stomping is credited.

This first volume (2016) consists of:

Side A: Darkness

  1.  Blacken the Cursed Sun (Lamb of God)
  2. Heaven and Hell (Black Sabbath and Dio)
  3. Purgatory
  4. Until You Call on the Dark (Danzig)
  5. Damaged Soul (Black Sabbath)
  6. No Quarter (Led Zeppelin)

Side B: Salvation

  1. Hymn to the She Dragon of the Deep
  2. The Devil Points
  3. Taste of Nothing
  4. Year of the Gost God of the Flute
  5. Generuslu
  6. Behind the Wall of Sleep (Black Sabbath)
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Shakuhachi Unleashed Vol. II

This second disc:

  1. Run to the Hills (Iron Maiden)
  2. The Wayward Meteor (Man or Astroman?)
  3. Obscured by Clouds (Pink Floyd)
  4. Baby Bear Drinks Tea
  5. One Brown Mouse (Jethro Tull)
  6. Green Swampy Water
  7. Snake Dreams of Dragon
  8. Sycamore Trees (David Lynch and Angelo Badalamenti)
  9. Creature Within the Atom Brain (Roky Erikson)
  10. Shadow of the Wind (Black Sabbath with Dio)
  11. The Greening of Mount Subasio
  12. Hung from the Moon (Earth)
  13. Over the Hills and Far Away (Led Zeppelin)
  14. Freebird (Lynyrd Skynyrd)

 

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Shakuhachi Unleashed Vol. III

Here now is the latest release:

Side A: Kung Fu Flute

  1. Chim Chim’s Badass Revenge (Fishbone)
  2. Fisticuffs (Primus)
  3. Return and Enter the Dragon (Bruce Lee Movie Themes)
  4. Death of the Samurai
  5. Battle Without Honor or Humanity (Kill Bill movie music)
  6. Big Boss (Bruce Lee movie theme)
  7. Kung Fu and the Silent Flute (David Carradine theme music)
  8. Hey Joe (Jimi Hendrix)
  9. Rebel Rouser (Duane Eddy)

Side B: Buddhist Blues

  1. Black Earth
  2. Purple Haze (Jimi Hendrix)
  3. Shine On You Crazy Diamond Part II (Pink Floyd)
  4. The Mysteries of Harmony and Focus
  5. Beautiful Demon
  6. Shakthamunki
  7. You’re Gonna Find Your Mistake (James Kimbrough)
  8. It Hurts Me Too (Elmore James)
  9. Breathe (Pink Floyd)

There are wide ranging references and playful references like “shakthumunki (shock the monkey)” exist alongside music obviously important to this artist including traditional blues and a curious selection of blues’ baby, rock and roll as well as some very personal compositions.  There is much to ponder here.  There are references to prog rock, movies, Lovecraft, covers of some familiar tunes.  References seem to exist here to beat culture as well as, more prominently, psychedelic culture.  But no Grateful Dead?  Well, that’s another thing to ponder as we follow the piper who calls us to join him.

 

Beethoven, Bartok, and Davidovsky with the Julliard Quartet


The Julliard Quartet is a hallowed name in classical music. This release reflecting its current generation of musicians is consistent with their practice of playing established classics alongside the modern. These are interesting choices of string quartets from the 18th, 20th, and 21st centuries.

Many will likely speculate on the motivations for these choices but it is a typical set of choices for a Juilliard Quartet recital, an intelligent mix of standard repertoire, not the “usual suspects” or most popular but musically solid pieces. And, of course, there is their all important embrace of the modern.

The Beethoven and the Barton are lovely choices intelligently played but the real draw, at least for this reviewer is the Davidovsky. Mario Davidovsky (1934- ) is a major American composer who deserves more performances and documentation of his work. Fortunately Bridge Records has taken on this task.

He is best known for his “Synchronisms” series pairing electronics with various acoustic instruments. This won him a Pulitzer Prize. But his music sans electronics is just as substantial and this 2016 String Quartet, his sixth, provides ample evidence of that substance.

Near as I can tell this is only the second recording of any of his quartets but it is sufficiently intriguing to whet the appetite for the other 5.

As a recital disc this one is thoroughly enjoyable and it’s inclusion of the Davidovsky is gloriously consistent with the overall image of the hallowed name of the Juilliard Quartet.