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


Firework Edition Records FER 1122

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

Clarice Jensen Solo Debut Album


jensenmiasmah

Miasmah Records MIA041 

Another refugee from one of those new music groups comes forth with a debut album.  This time it is cellist Clarice Jensen who also serves as artistic director of the American Contemporary Music Ensemble (ACME).  And what amazes this listener is the sheer diversity one can find in solo cello recordings.

This recording focuses on the special tunings by La Monte Young student Michael Harrison who has carved his own unique compositional style as well as some interesting work by the late Johan Johannson and by the soloist herself.  

There are 4 tracks: 
bc by Clarice Jensen and Jóhann Jóhannsson
Cello Constellations by Michael Harrison 
For this from that will be filled (a) by Clarice Jensen
For this from that will be filled (b) by Clarice Jensen

While there are consistencies between the sound world of these pieces they have their own identity.  Johansson’s work opens the disc and sets the tone for all that comes after.  This is not simply a cellist with a set of cool effects pedals.  Rather this is a soloist seeking to become one with her instrument (which includes the electronics).

Michael Harrison’s work is heard too infrequently.  The former student of La Monte Young carries on the tradition of exploring new tunings in a manner one might expect of the next generation of this practice.  Harrison (no relation to Lou) creates dream like worlds with the psychological  effects of these tunings and this work is a stunning example.

Jensen plays the two parts of the title track, “For this from that will be fulfilled”.  Multiple generations beyond the kitschy “one man band” novelty concept, Jensen’s playing must be a mesmerizing live experience.  This track was originally designed to accompany visuals by one Jonathan Turner who did the striking photography of the album’s cover.

The review copy lacked liner notes (a personal bugaboo) and the press release and notes on the soloist’s site and that of Bandcamp also tell precious little.  Fortunately this is music which speaks pretty directly and can easily be  enjoyed with no knowledge of whence it came.  Just sit back, relax, and enjoy.  Jensen’s playing is magical.

Jensen in performance (photo from web site)

Metafagote, Rebekah Heller on Solo Bassoon (mostly)


hellerfagote

For this listener, traversing contemporary music concerts in the 1980s there appeared a trend to modify the traditional look of classical performers. The first striking example I can recall is the venerable Kronos Quartet performing all in tight black leather outfits. And there are performers who have an intentionally different look such as violinist Nigel Kennedy or Kathleen Supove whose look is decidedly unconventional. Focusing on attire could conceivably detract from a musical performance but the previously mentioned performers have in common with the performer on this disc both virtuosity and a distinctly different look which seems integral to their performance delivering decidedly unconventional music.  The photography by Corrie Schneider creates a striking and evocative cover image giving her a sort of superhero ambiance.  Why not?

Rebekah Heller, of course, is also one of the members of the wonderful ICE Ensemble, one of the finest working chamber groups focusing on contemporary music. ICE has in common with groups like Bang on a Can, Alarm Will Sound, ACME, and others the fact that they are populated by some of the finest young musicians who seem to be able to meet any challenge…er, commission thrown at them. In addition many of the musicians in these groups are also interesting composers.  The others have a profound interest in new music that match their skills and passions oh so well.

In Metafagote Rebekah Heller presents 4 works on 4 tracks.  Rand Steiger (1957- ) is a graduate of the Manhattan School of Music and Cal Arts.  Steiger has been at UC San Diego since He is a 2015 Guggenheim Award recipient and though his discography is adequate this writer sees his name, hears his music too infrequently.

Steiger’s work opens this disc with Concatenation (2012) for bassoon and live electronics.  Steiger is skilled in writing for both conventional instruments and for high tech electronics including spatialization, live processing.  Steiger’s work is assertive, pretty much freely atonal, and packs a punch emotionally if memory serves.  There was a vinyl record (this composer is younger than me by one year and I’m guessing still hoards at least a selection of LPs.  The work was Hexadecathlon: “A New Slain Knight” (1984), basically a horn concerto for horn with chamber ensemble.  It burns in my brain still, wonderful 6 minute cadenza at the end too.

Back to Concatenation, it is a sort of all consuming experience, a sound bath if you will.  The timbres achieved with the combination of bassoon with electronics creates some grand, almost orchestral textures.

The second work is by one Jason Eckhardt (1971- ), a name vaguely familiar but his work is new to me,  Eckhardt earned a B.A. from Berklee in 1992 followed by an M.A. (1994) and a D.M.A. (1998).  He has studied with James Dillon, Jonathan Kramer, Milton Babbitt, Brian Ferneyhough, and Karlheinz Stockhausen.  That provenance gives one an idea of what to expect…complexity.  And he dishes that out for solo bassoon.  Heller is up to the challenge in this piece, “Wild Ginger” (2014) from a series of pieces based on native plants in the Catskills.  Again, why not?

The third track contains, “Following” (2014) for solo bassoon from a composer whose inspiration also sometimes comes from plants.  Dai Fujikura (1977- ) is a prolific Japanese composer who also comes from a legacy of complexity having studied with the likes of Boulez, Taketmitsu, and Ligeti.  Fujikura’s music may be complex but his music tends to have a softer edge, more like Takemitsu than Boulez.  Again Heller demonstrates her technical skills that rise to meet the challenges posed here.

Last but not least is a piece as large and encompassing as the Steiger.  Felipe Lara (1979- ) is an accomplished Brazilian composer.  He is represented here  by, “Metafagote” (2015), the most recent of the compositions here.  It is scored for bassoon and 6 pre-recorded tracks.  One is naturally put in the mind of Steve Reich’s counterpoint series for soloist playing against multiple pre-recorded similar instruments.  The piece also can, and has been, performed by a soloist with 6 other bassoonists.

While the Reich notion is not the worst place to start, this piece is anything but minimalist.  Rather it is distinctively modernist.  It is a virtuosic exploration of some fascinating possibilities of the lowly bassoon.  Lara owes more to free jazz at times in this epic, almost a concerto, piece.

I don’t know how many bassoon fanciers are out there but if you like new and experimental music of a virtuosic nature this is a great bet.

A New Voice for the Accordion, Miloš Katanić’ The Breath


Let me start with an apology. I received this lovely CD digitally, that is, I had to download it, catalog it (so I don’t lose it), download a picture file, burn a CD, listen and write a review. OK, by now most readers have recognized the whine of a pre-millenial grappling with changes in the music distribution system. The bottom line and the reason for the apology? It took me a bit longer to process this submission.


Miloš Katanić (1991- )

Now let’s get down to the main reason for writing this, the CD itself.
Miloš Katanić (1991- ) is a musician who hails from eastern Europe and is just beginning to gain international recognition. This, as far as I can tell is his first release. It consists of twelve short tracks representing ten composers of which this writer is able to recognize three, Philip Glass, Gene Pritsker, and Robert Moran.

Now just a bit about accordions. This writer’s understanding of accordions is that they are a group of instruments which use reeds to generate sound and a bellows to compress air to vibrate those reeds. Sounds like an organ, right? Well, the concept is basically the same only with an accordion (and with those foot pumped organs once popular), the wind is generated by the operator of the instrument.

The accordion certainly has a history in its folk band origins. It is a rather maligned instrument whose provenance fails to connect it to “respectable” instruments such as one would find in an orchestra (though it has had an occasional appearance in orchestras beginning in the late 19th century.

In the mid to late twentieth century several very serious and talented musicians took up this instrument and forever changed the public’s perception. In order by age I am speaking of Pauline Oliveros who took the accordion places no one imagined it could go, Guy Klucevsek who embraced the maligning and the folk aspects of the instrument, and William Schimmel who simply developed it as a classical instrument capable of virtuosity and, most of all, respect.

So along comes Mr. Katanić who now throws his hat in the ring. He is led in part by the most eclectic and prolific Gene Pritsker who I believe directed him to send me this disc. This young musician has a passion for much music which finds a frequent home in one of my audio players. And, as I suspected, the composers whose name were unfamiliar (Tauan Gonzalez Sposito, Antonio Correa, Wolfgang W. Mayer, Anthony Fiumara, Wellington E. Alves, and Ivan Bozicevic) are also of significant interest. The only problem here is the lack of liner notes and hence there is little on these other composers.

No matter really, This is a very enjoyable album by a truly talented musician. Of course my first stop was the Philip Glass Modern Love Waltz (originally for piano but now in many arrangements particularly those by Robert Moran). It is a delightful reading of the piece and hooked the Philip Glass junky in this reviewer in the process.

He manages to include two additional pieces by this really poorly represented master of American music (Moran) as well as two pieces by the also always interesting Gene Pritsker. The remaining pieces are by the composers that are not household names (. This will take a bit more time to listen but in the meantime I think we have here an auspicious debut by a musician who is poised to define his instrument, the accordion, for the 21 st century.

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.

Mechanical and Microtonal: Kyle Gann’s “Hyperchromatica”


gannchrom

Other Minds OM 1025-2

Kyle Gann‘s interest in the microtonal has been evident at least since his opera Custer and Sitting Bull (1997-99).  Many will be familiar with his justly famed monograph on Conlon Nancarrow’s player piano works.  Given that history this release seems almost inevitable, a series of works (or perhaps it is one big work) written for 3 computer controlled pianos tuned to his 33 note scale based on the harmonics of the E flat scale.

This is also hardly Gann’s first foray into the world of the player piano (as it was called in a different age).  His 2005 Nude Rolling Down an Escalator album contains some of his etudes for this computer controlled instrument which is the modern equivalent of the player piano.  And in addition to his fascination with alternate tunings and scales it should be noted that Gann is also somewhat of an expert as regards the player piano itself.  Gann authored one of the finest books on that composer’s music, “The Music of Conlon Nancarrow” (1995).  So it appears intuitive that he would write a magnum opus for the modern equivalent of the player piano, the disklavier, a computer controlled piano.

Gann refers to this work as being the longest composition for a keyboard in alternate tuning.  Indeed this would appear to be the case but a listener could easily hear these as  individual works with poetic titles like one encounters in Debussy’s Preludes.  Like those works one can listen to them individually or as a complete set.  But regardless of how you may choose to file these in your head this is an intriguing and engaging work (or set of works).

A work of  this dimension will necessarily invite comparisons to The Well Tempered Clavier, The Art of Fugue, and similar works because it effectively demonstrates the scales and the various musical possibilities unlocked by the different tuning much as Bach did nearly 300 years ago with well tempered tuning (or, in the latter example, the possibilities of counterpoint).  This work is like a major thesis on alternate tunings and the effects it has on melody and harmony.  Some listeners will be familiar with the interesting but less comprehensive Microtonal Music (1996) CD by Easley Blackwood.  Using a synthesizer Blackwood explores tonal and melodic relationships of various different tunings achieving some of the same goals as Gann.

The titles the composer uses reflect his ongoing fascination with things cosmic as he did with his, “The Planets” (1994-2008).  In this respect we hear Gann, the romantic, writing little tone poems.  Now these tone poems put the listener into a different universe but they fit the same logical category as tone poems written in a more familiar tuning system and hence have the more romantic quality of representational (as opposed to absolute) music.  Of course the composer’s intention of exploring this tuning system keeps this work also in the category of absolute music meaning that it is in large part about the tuning system.  Unlike the Blackwood experiments which were about finding functional harmonies (at least in the commonly understood western music definition) Gann’s work is about expression, motives, melodies.  It is, if you will, a logical step for one who has worked intensely with the complex rhythms endemic to Nancarrow and the fascination with alternate tuning systems gleaned from both western music history and world musics.

Since the end of the Baroque era western music adopted well tempered tuning as a standard and the result is that hearing these alternate tunings sounds wrong to most ears.  One of the things Gann is doing here is to make a foray into what will likely be a more common practice, that being the use of alternate tunings.  They are quite approachable and listenable in this context.

 

 

 

 

 

 

A Wonderful Survey of Helmut Lachenmann via his Clarinet Music


aestheticapp

New Focus FCR 196

Helmut Lachenmann (1935- ) is a composer who has been “on my radar” for some years now but, like a lot of names I get, I had yet to hear much of his music.  Along comes Gregory Oakes  from, of all places, Iowa.  The Midwest in the United States doesn’t have much of a reputation for embracing the avant garde (though they actually do).  So into the CD player goes this one and…wow, I really need to hear more Lachenmann and whoever this Oakes guy is I want to pay attention to what he is doing with that clarinet.
Admittedly this disc languished a bit before I heard it but I am now glad I did.

This disc consists of only three tracks comprising three works by this major German composer from three different periods in his career.  Dal Niente (Interiur III), Trio Fluido, and Allegro Sostenuto.

Dal Niente (1970) is for solo clarinet and, as the title prescribes, the music is to be played as “from nothing” the meaning of the title.  In fact this seems to be practically a textbook of extended techniques for the clarinet.  But far from being a dull accounting of dry techniques, this is a tour de force which will challenge the skills of even the most experienced players.  It is quite musical and listenable but the virtuosity will knock your socks off.  Oakes pulls it off with a deceptive ease that demonstrates his rather profound knowledge of his instrument.  It is easy to see the seeming cross pollination between the avant garde and free jazz here.

Next up is Trio Fluido (1966-68) which is a respectably avant garde trio for clarinet, viola, and percussion with Matthew Coley, percussion, and Jonathan Sturm, viola.  Like the previous work this one is also about extended techniques (for all three instruments this time).  This is a fine example of mid-twentieth century modernism and deserves a place in the repertoire.  All three musicians are challenged to play their instruments in unconventional ways and the effect is almost like some of the electronic music of the era.  It is a complex and pointillistic texture that has a strong and serious content.

Finally Allegro Sostenuto (1986-88) is another trio, this time for clarinet, cello, and piano.  So while this work would make a fine companion work to the Brahms clarinet trio the work is unambiguously avant garde in the finest Darmstadt traditions.  It is, at about 30 minutes, the longest piece here and it reflects the further maturity of the composer as he creates another challenging but almost surprisingly satisfying work.

This album serves as a nice way to be introduced to Helmut Lachenmann and to get to know some major new champions of the avant garde.  And one would do well to stay informed about the work being done by this fine new music clarinetist.