Das Lied von das Abstimmen: Michael Harrison’s “Seven Sacred Names”


Cantaloupe CA 21157

I first encountered the work of Michael Harrison (1958- ) while searching for Lou Harrison CDs. I came across the New Albion release, “From Ancient Worlds” (1992). It is a disc of short piano compositions played by the composer on an instrument of his own invention, The Harmonic Piano, which was conceived in 1979 and built by1986. Harrison was a student/apprentice of the Godfather of American Minimalism and Guru of non-western tunings, La Monte Young. He has also enjoyed a close relationship with yet another icon of contemporary music and non-western tunings, Terry Riley. Via these associations, Harrison has also studied with Pandit Pran Nath (famously a teacher of both Young and Riley) and Ustad Mashkoor Ali Khan.

He holds a B.M. in composition from the University of Oregon, and and M.M. in composition from the Manhattan School of Music where he studied with Reiko Füting. His collaborations put him in touch with progressive musicians on both the east and west coasts of the United States and he seems to derive a great deal of joy sharing his enthusiasm with many talented artists imparting his knowledge and learning from them as well.

Mr. Harrison’s major opus, “Revelation” (2002-7) for solo harmonic piano is a sort of manifesto or “urtext” and has been the source and inspiration for much of his subsequent work both directly and indirectly. At his 2009 appearance at the Other Minds Festival 14 he premiered “Tone Clouds” (2008) which incorporated a string quartet (Del Sol Quartet) along with the composer at the piano utilizing material from Revelation. Subsequent recordings with cellists Maya Beiser and Clarice Jensen further expanded his use of string instruments along with the piano.

So here we come to Harrison’s second release on Cantaloupe Records (his first was the Maya Beiser release in 2012) this time incorporating Tim Fain (violin), Caleb Burhans (viola), Ashley Bathgate (cello), Payton MacDonald (vocals), Ina Filip (vocals), Ritvik Yaparpalvi (tabla), and Roomful of Teeth, the Grammy winning vocal ensemble in a work which strikes this listener as a grand nearly symphonic effort reminiscent of Mahler’s Das Lied von der Erde. Also, like Mahler, the composer uses non-western (Sufi) texts and (unlike Mahler) non-western tunings derived in part from Hindustani and Carnatic influences, and from his studies with Pran Nath, Terry Riley, and Mashkoor Ali Khan.

The eight sections vary in style but have echoes of Arvo Part, Hindustani/Carnatic musics, minimalism, etc. all integrated into a large form neatly bookended by a prelude and epilogue. It is, in effect, a song cycle and, guess what? It’s about the earth, well, sort of. It is, according to the liner notes by W.H.S. Gebel, music which corresponds to the seven stages of universal awakening outlined in that author’s book, “Nature’s Hidden Dimension”. Maybe Mahler for the New Age?

Only the second movement, “Hayy: Revealing the Tones” derives directly from the aforementioned Revelation but it is clear that Harrison has integrated his diverse musical studies into a personal style descended from artistic and philosophical ancestors. The work struck this listener as being a successfully unified whole and a landmark in this composers still burgeoning career. This is grand and gorgeous music.

The Jack Quartet Plays Cenk Ergün


New Focus FCR 238

Who? Cenk Ergün (1978- ) is a Turkish born, New York based composer and improvisor. His distinctly ethnic Turkish sounding name will trigger fond memories in “listeners of a certain age” of the profoundly significant work of Ahmet and Nesuhi Ertegün, the Turkish/American brothers whose Atlantic Records label helped define jazz, pop, and rock throughout the 50s, 60s, 70s, and 80s. Lesser known is one of Atlantic’s spinoff labels, Finnadar helmed by fellow Turkish/American Ilhan Mimaroglu, himself a composer as well as producer. It was here that one saw the producers’ radar turned to the classical avant garde. And Ergün fits rather comfortably in this category.

Cenk Ergün

A quick Google search reveals Mr. Ergün to have released at least six albums both solo projects and collaborations with composer Alvin Curran, cellist Mariel Roberts, and unclassifiable iconoclastic guitarist Fred Frith. His bio does not document his education but those collaborations show him to be in sympathy with what one might consider the current leading edge of the avant garde.

This disc consisting of two works for string quartet entitled, respectively, “Sonare” and “Celare”. Whether these are separate works or, as this listener perceived them, two parts of a whole, they are engaging works utilizing a variety of extended techniques and tunings. The album lacks liner notes but the works, though complex and unconventional, are rather transparent (at least to ears accustomed to some of the innovations of the last 50 years or so of new classical music).

Sonare is far more rhythmically active than its partner on this disc. Its use of unusual tunings and spectra as well as its apparent micropolyphonies suggest a variety of predecessors including George Crumb (think Black Angels) and some hard to delineate minimalist ideas. Celare, which follows it brings the listener to more of a drone minimalism aesthetic which also suggested Luigi Nono’s “Stille An Diotima” at times. These two pieces (or movements?) collectively clock in at just over 30 minutes which I guess makes this a sort of “CD single”. There is no apparent program other than the music itself and the music suffers from neither understatement nor overstatement and is ultimately a very satisfying experience in the very capable hands of the venerable Jack Quartet.

Put Mr. Ergün on your radar alerts. This is a voice that this listener hopes to hear more from in the near future.

Catherine’s Oboe: Catherine Lee’s New Solo Album, “Remote Together”


Redshift Records

I make reference to “Gabriel’s Oboe” (from the Morricone score to The Mission) in a slightly ironic way to introduce an album in which the artist, Dr. Catherine Lee is on a Mission of a different sort from that of Gabriel in the film. Lee’s mission is the liberation and expansion of the role of her chosen instrument(s).

While many instruments fit comfortably into a solo role such as keyboard instruments, violins, and cellos this is not the case with the oboe and it’s double reed relatives the oboe d’amore and the english horn (Lee is a master of all of these). Indeed many instruments which have populated orchestras and chamber groups for ages have seldom if ever stood on their own. In a phenomenon which I term, “refugees from the orchestra” there have been many instances in which artists have taken their instruments out of the context of those ensembles and began to establish a performing tradition and commission a repertoire suitable for such a venture. In fact there are two west coast musicians who are renowned for their work in liberating their respective instruments from orchestras and into their own domains: Bertram Turetzky (professor emeritus at UC San Diego literally wrote the book on expanded techniques for double bass) and Stuart Dempster (trombonist extraordinaire who also “wrote the book” on the modern trombone). Dr. Lee is poised to make a similar mark on the musical world.

Lee’s previous album reviewed here, “Social Sounds” (2013) focused on music by Canadian composers. The present album (released May, 2021) parallels the tenor of these crazy pandemic times in both title and content. Recorded mostly in 2019 it arguably has some prescience the way good art tends to achieve. Here she includes composers whose milieu includes northern California and the Pacific Northwest in addition to Canada. The six compositions represented here touch on many mythological and actual beings from whom the artists derive their inspiration. Dr. Lee was apparently pleased with my review of her first solo disc graciously sent me a copy of this new effort.

Hurricane Ridge

Now for the last 18 months I have been on a travel contract living and working near Tacoma, Washington. My tenure in my “day job” has run pretty much concurrently with the rise of the pandemic and its attendant restrictions. As a result I had not explored this beautiful area of the world until recently. I decided to remedy this by taking a car trip to explore a bit of the Olympic Peninsula, the westernmost portion of the lower 48 states, and I took this CD along to provide a soundtrack for my trip. This journey of two days took me around and through parts of the Olympic National Park and through various tribal lands where native peoples have lived for thousands of years. Throughout the drive I let the disc play repeatedly and found it curiously satisfying as a soundtrack for the images I saw through my windshield (I did not bring music along on my hikes). Metaphorically Lee accompanied me on this journey.

Mount Olympus, WA

This disc also appears to derive inspiration from several musical mythologies and persons which are also associated with the regions which span from the San Francisco Bay Area north into the Oregon, Washington, and Canada. John Cage, Pauline Oliveros (Lee holds a certification in Oliveros’ “Deep Listening” techniques), Harry Partch, Lou Harrison, Henry Cowell, spectralists (Wyschnedgradsky, Haba, Radulescu, etc.), Morton Feldman, Raymond Murray Schaeffer, Henry Brant and professor Lee who shares one of her own compositions much as she did on the first disc. There are six tracks containing six compositions which, though of different character, share a connection via the historical and mythological dimensions that comprise their roots. This is more about drones than rhythmic complexity and about images more than linear narratives.

The recording begins with the only actual solo composition, Jordan Nobles‘ “Nocturne” (2013). This is in fact a realization of a composition for a “spatialized” chamber group in which the instruments play “self paced melodies”. This track is a somber Cagean etude realized from this material for solo oboe. Spatial dynamics are the realm of both Raymond Murray Schaeffer as well as Henry Brant.

The second track is by the only composer on this recording with whom I have some familiarity, Dana Reason, a pianist and sound artist with roots in (the now mythological) Mills College and who is also certified in Oliveros’ “Deep Listening”. It is Pauline Oliveros whose spirit presides in this work. Her “Chanson de Fleurs: Eleanor of Aquitaine” (2017) is a sort of sonic narrative for oboe and soundscape evoking the mythology of the medieval French Queen. This is music that skirts the boundaries between didacticism and program music. It evokes images of the archetype of the eternal feminine. It is a lush and evocative work that brought images to this listener’s mind.

Taylor Brook‘s “Alluvium” (2017) is for oboe d’amore, a slightly lower pitched version of the modern oboe which was popular in the baroque era. It includes an electronic accompaniment and plays on the tuning problems common to these woodwind instruments. The recorded tape is the foil against which the soloist plays and deals with the tuning issues which in turn results in spectral harmonies which are rich and beautiful.

Julian Snow‘s “Red Eyes, Green Lion’s Teeth, Golden Heads” (2017) is also for oboe d’amore and recorded sounds. Here is a piece which ostensibly evokes the sprites and devas of “the flies and dandelions” of the composer’s back yard. Snow seems to channel the world music explorations of Henry Cowell and Lou Harrison in spirit.

Matt Carlson‘s “Chiasmus” (2018) for English Horn and Synthesizer attempts to metaphorically use the literary device of Chiasmus (a type of repetition for emphasis like “all for one and one for all”). This piece is, at 14:20, the longest piece on the disc. It consists of several short movements utilizing a minimalist dearth of materials to create variation structures. It is virtually a concerto whose virtuosic demands are interpretive rather than technical. It is a highly engaging piece that gave this listener joy in both passive and active listening. He seems to channel musical deities like Morton Feldman and Alan Hovhaness, a lovely experience.

The final conjuring on this disc is by Catherine Lee who presents “Silkys” (2020) a meditation for oboe and environmental sounds, a collaboration with sound artist Juniana Lanning. This is a meditation on the life of the domestic silk moth, again a soundscape rather than a narrative. Dr. Lee’s fascination with the natural world is also reflected in the cover art which is the artist’s own photomicrograph of the exoskeleton of a bombyx mori.

This is a subtle but widely embracing collection of music seems to be a logical next installment in Professor Lee’s mission to lead her tribe of double reeds to a new vision appropriate to the new century. Brava! Long live Catherine’s Oboe.

Contemporary Armenian Chamber Music


New Focus FCR 244

This welcome recording presents music by five contemporary Armenian composers: Artur Avanesov (1980- ), Ashot Zohrabyan (1945- ), Michel Petrossian (1973- ), Artashes Kartalyan (1961- ), and Ashot Kartalyan (1985- ). All of these are new names to this writer and, most likely, to the majority of listeners. That is what makes this disc such an exciting prospect. This post WW2 generation of composers are writing music from the perspective of their generations, one which is qualitatively different than that of previous generations but all owe a debt to the man who is arguably Armenia’s first truly modern composer, Tigran Mansurian (1939- ) whose brave integration of modern trends in western music distinguish him from previous generations of classical composers whose focus was either nationalistic (as Copland was to American music) or traditional religious music for the Armenian Orthodox Christian rites. Mansurian, in addition to embracing European modernism also returned to embrace the traditional religious compositions of Komitas. Spirituality is a frequent and revered aspect of Armenian classical music.

Tigran Mansurian in San Francisco at the Other Minds 20 concert in 2015

One must, of course, acknowledge the “elephant in the room” issue of the Armenian genocide of 1915 (only now in 2021 finally acknowledged by the United States) as a factor in some degree in the artistic output of this small nation. There are no obvious references as such in the compositions recorded here but the selection of texts which either inspire or are literally set to be sung are notably somber whether hat be the Latin title of the first work on the disc, Artur Avanesov’s “Quasi Harema Maris” taken from the Book of Job or the beautiful but lonely poetry of Vahan Tekayan set in Artashes Katalyan’s “Tekayan Triptych”. Horrors such as this affect generations after all.

Movses Pogossian performing the US premiere of Tigran Mansurian’s “Romance for Violin and Strings (2011) at the Other Minds Festival in 2015. The concert was in honor of the 100th anniversary of the 1915 Armenian genocide at the hands of the Ottoman Empire.

It was Maestro Movses Pogossian who kindly sent me a review copy of this album. He played a large role in the conceptualization and production of this album. He also plays violin on the first track. The Armenian born Pogossian, a world renowned violinist, is also the head of the Armenian Music Program at UCLA’s Herb Alpert School of Music. He is also the artistic director of the Dilijan Chamber Music Series and artistic director of the VEM Ensemble, a group of graduate musicians in residence at UCLA. His involvement is yet another reason to get this disc. It is clearly a project close to his heart and one upon which he has invested a great deal of artistic energy.

This album was recorded in May, 2019 and released in 2020 where it ran up against the pandemic shutdowns which affected performing musicians and temporarily stifled this reviewer as well. So here is my very appreciative review perhaps a year later than intended.

There are 18 tracks containing pieces by five Armenian composers, all of whom took part in this production.

The first track contains a piece for piano quintet in one movement (Movses Pogossian and Ji Eun Hwang, violins; Morgan O’Shaughnessey, viola; Niall Ferguson, cello; and the composer Artur Avanesov at the piano). “Quasi Harena Maris” (2016) takes its Latin name from the Biblical Book of Job. The title in English reads, “Like the Sand of the Sea”. It is a metaphor spoken by Job as he compares his grief to the sand of the sea sinking in its heaviness. The piece is described by the composer as a set of variations. Microtonal gestures evoke a choir interacting in a sort of call and response strategy with the piano. This is a powerful piece sometimes meditative, sometimes declamatory, but always evoking pain and sadness such as that described by the Biblical Job. While embracing modernism in his compositional methods Avanesov embraces spirituality as well.

The second track contains another single movement work, Novelette (2010) by Ashot Zohrabyan. It is scored for piano quartet (Varty Manouelian, violin; Scott St. John, viola; Antonio Lysy, cello; and Artur Avanesov once again at the piano. This work seems to have much in common with the first in that it embraces modernist techniques with spiritual references to suggest longing and separation. It is another powerful expression which engages the listener with clever invention while evoking a post apocalyptic sadness.

Now we move from quintet through quartet and on to, of course, trio. This work, also in a single movement, is scored for piano trio (Varty Manouelian, violin; Charles Tyler, cello; and Artur Avanesov on piano. Michel Petrossian’s, “A Fiery Flame, a Flaming Fire” (2017), the title a contrasting of two different translations of the biblical event in which the Angel of God appears to Moses in a burning bush. The composer describes this piece as an investigation of identity (his own being variously of “Armenian by birth, Russian by education, and French by culture”). It is also an homage to Mr. Pogossian. More kinetic and varied than the previous two pieces, this tour de force nonetheless also knows pain.

Tracks 4-6 contain the “Tekeyan Triptych” by Artashes Kartalyan showcases the poetry of Vahan Tekeyan in an English translation by Vatsche Barsoumian. The UCLA VEM Ensemble (Danielle Segen, mezzo-soprano; Ji Eun Hwang and Aiko Richter, violins; Morgan O’Shaughnessey, viola; and Jason Pegis, cello). This is a beautifully lyric setting of some mighty somber poetry which is very much in keeping with the tone of this recording. The VEM Ensemble handles this lyricism with ease and professionalism.

We now move on to music for something other than strings and piano, namely the “Suite for Saxophone and Percussion” (2015) by Ashot Kartalyan. This five movement suite puts this writer in the mind of similar works by American composer Alan Hovhaness, the composer whose immersion in Armenian culture introduced many (this writer included) to the splendors of Armenian art music. This piece uses instrumental choices similar to Hovhaness and utilizes contrapuntal writing as well. but one cannot miss the jazz inflections doubtless gleaned from Kartalyan’s exposure to the work of his jazz musician father. This suite is also a more animated piece providing relief from the intense and somber music on the first half of the disc.

The final seven tracks are given to a selection from a series of works by the hard working pianist/composer who performed in the first three works on the disc. And it is here that we can solve the mystery of the title of the album as well. These brief works seem to be etudes, experimental compositional efforts which doubtless become material in some way for later works. The third piece presented here is titled “Modulation Necklace”. This selection comes from what the composers says are some seventy similar works under the title “Feux Follets” (frenzied flames in English). They are said to have no singe unifying aspect but it appears that these are an insight to some of the composer’s compositional methods. They provide a calm and curiously speculative little journey which leaves the listener wanting more.

This is a delightful disc made with serious scholarship and dedication which introduces audiences to the splendors of contemporary Armenian art music. One hopes that this well lead to more and larger works being recorded.

The Bewitched in Berlin, Kenneth Gaburo does Harry Partch for your head (phones)


Neuma 126

As far as I can tell this is only the second recording of Harry Partch’s 1958 dance theater masterpiece. The recording that most folks know is likely the CRI release which used that awful simulated stereo (which is rather unpleasant heard on headphones). That recording (thankfully remastered in the original mono for New World Records) is of the 1958 premiere of this inventive and groundbreaking work originally released on the composer’s Gate 5 label.

Neumann KU100 microphone used to record binaural sound (Photo from Wikipedia)

This release of the 1980 (six years after the composer’s death) Berlin performance is here released for the first time on Neuma records under Philip Blackburn’s new tenure. Neuma’s tagline, “Food for the Mind’s Ear” is curiously reflected in the recording method used here. Binaural recording was pioneered in the late 1960s using two microphones facing away from each other inside a dummy head with anatomically accurate human inner and outer ears. The idea was to produce recordings which, when heard on headphones, simulated the experience of being present in the audience. Of course one can listen on conventional speakers but it is truly worth one’s time and money to get a good set of headphones to appreciate this amazing performance.

This is the second Neuma release which embraces Kenneth Gaburo’s legacy. The above recording (reviewed in an earlier blog post) is of a 1967 choral concert curated and conducted by Kenneth Gaburo at the University of Illinois at Champaign where, nearly ten years before that event, the premiere of Partch’s Bewitched was first imposed on a audience. It is Gaburo’s skills as a musical theater director that come into play in the 1980 Berlin production which features the Harry Partch Ensemble conducted by Danlee Mitchell, a long time Partch collaborator and performer.

The recording has a refreshingly superior sound to the 1958 mono premiere but the crucial significance of this release is of Kenneth Gaburo’s holistic theatrical vision which draws upon world music theater conventions such as Japanese Noh, Hindu Mahabharata performances, Gamelan accompanied Balinese Shadow Puppet theater, and the “happenings” of Allan Kaprow as well as ancient Greek theater. Gaburo rehearsed the musicians and dancers to channel Partch’s grand vision in this, the first of his three major dance/theater works (the others being Revelations in the Courthouse Park, 1960; and Delusion of the Fury, 1965-66). It is a masterpiece of American music.

back cover

The Harry Partch Ensemble in this recording consisted of Isabella Tercero (The Witch), Peter Hamlin (Adapted Koto), Phil Keeney (Spoils of War), Cris Forster (Marimba Eroica), Randy Hoffman (Cloud Chamber Bowls), Francis Thumm (Chromelodeon I), John Szanto (New Boo I), Dan Maureen (Bass Clarinet), Donna Caruso (Piccolo and Flute), Robert Paredes (Clarinet), David Dunn (Adapted Viola), Robin Gillette and Anna Mitchell (Kithara II), Ron Caruso (Diamond Marimba), Gary Irvine (Bass Marimba), David Savage and Paul William Simons (Harmonic Canon II), Ron Engel (Surrogate Kithara). Lou Blankenburg (choreographer/associate director) and Kenneth Gaburo (director). The Partch instruments are as much characters in this piece as the musicians and dancers.

The original recording done by RIAS (Radio In the American Sector) was restored and mastered by David Dunn. The booklet includes commentary from clarinetist Bob Paredes as well as Partch’s original scenario taken from the published score.

The Bewitched is a visionary politically progressive music/dance theatrical satire that parallels the work of Julian Beck and Judith Malina’s Living Theater and presages theatrical and musical trends that would later characterize the 1960s and beyond. This recording is a very significant historical document and a great sounding CD, an essential recording for fanciers of Partch’s work, and a performance that sets a standard for the future.

If you don’t already have a good pair of headphones get one and buy this CD. You won’t regret it.

New Music from Faroese Master Sunleif Rasmussen with soloist Michala Petri


OUR 6.220674

Sunleif Rasmussen is the best known composer from the Faroe Islands which are about mid way between Iceland and Denmark. He turned 60 on March 19th. He is certainly lauded in his homeland but his works have demonstrated him to be an artist whose reputation can hardly be contained by a single country. His works favorably compare with the finest composers from all of the Nordic countries (Iceland, Faroe Islands, Sweden, Norway, Denmark, and Finland). His work is known, as it should be, internationally.

This most recent release on the Danish label OUR Recordings contains music written between 2009 and 2014. All of these works are collaborations with the wonderful recorder player Michala Petri, a Danish artist whose name is as easily recognized as predecessors like David Munrow and Frans Brüggen. She is arguably the first lady of the recorder and the instruments most prominent advocate having first taken up the instrument at the age of three. and gone on to play over 4000 concerts.

The recorder is featured in several different contexts from solo to collaborations with choral, chamber, and orchestral groups. These contexts serve to demonstrate Petri’s facility as a performer as well as Rasmussen’s range of compositional vision.

The album opens with Flow (2012) for recorder and string trio. Here Petri is joined by the Esbjerg Ensemble String Trio with Bogdan Bozovic, violin; Michele Camile, viola; and Pau Codina Masferrer, cello. The piece was conceived as a companion piece to Mozart’s Flute Quartet K.285 (for flute and string trio). This work, in three movements utilizes a variety of extended techniques on the recorder and Petri’s collaboration was essential to provide the composer with information of the possibilities of such techniques with her instrument. The string writing is also laden with harmonics and techniques that were virtually unknown in Mozart’s time. To be clear, this “companion” piece is more homage than imitation but there are phrases which are clearly neoclassical nods to the Austrian master.

“I” (2011) is for the unusual grouping of recorder with chamber choir (with alto and tenor soloists) in a setting of a poem by Danish poet Inger Christensen whose text is a response to Wallace Stevens’ “Thirteen Ways of Looking at a Blackbird”(1917). Christensen’s poem is a personal (and dare I say feminist) response to Stevens’ classic work. Lyrical writing in the composer’s essentially tonal idiom belie the intricate structures of this brief setting. It is clearly a challenge for all but the Danish National Vocal Ensemble under their director Stephen Layton, along with Petri, deliver a truly excellent performance.

Next up is a piece for solo recorder, “Sorrow and Joy Fantasy” (2011), essentially a set of variations on a theme. It is based on a folk melody which was applied to the Thomas Kingo (1634-1703) sacred poem/hymn, Sorrow and Joy. There are twelve variations each with increasing demands on the soloist. It is a stunning vehicle for Petri’s lyricism and virtuosity.

Next is “Winter Echoes” (2014), an homage to the late Danish master Axel Borup-Jørgensen whose work has been championed by OUR records. This piece, scored for recorder and 13 solo strings. Petri is accompanied by the Lapland Chamber Orchestra under Clemens Schuldt. It sounds like a concerto in all but name. The piece requires Petri to play bass, tenor, alto, soprano and sopranino recorders as the piece progresses from low to high, dark to light. Extended instrumental techniques are present for the recorder soloist and the the string players.

The final piece, and the one from which this album derives its title, is “Territorial Songs” (2009). This concerto for recorder and orchestra finds Petri accompanied by the Aaborg Symphony Orchestra under Henrik Vagn Christensen. It is cast in five movements. The composer states that he was inspired by bird song in composing this piece, an inspiration shared by Olivier Messiaen most famously but also by composers who have written for the recorder. Again we have music that is lyrical, basically tonal, and virtuosic for both soloist and orchestra. Rasmussen’s facility with orchestral color make for an exciting listening experience and, as always, Petri meets the considerable demands with grace and seeming ease.

The recording, as seems to be the case with all The OUR Recordings that have met these ears, is bright and clear. The liner notes include a statement from the composer and a very welcome and useful set of liner notes by my friend and colleague Joshua Cheek who alerted me to this release. He provides insight and detail that enhance one’s appreciation of the music. The photography and design are both beautiful and distinctive. Lars Hannibal deserves high marks for his work as producer. It is a fine 60th birthday gift to Maestro Rasmussen and a major release for Ms. Petri. If you don’t know Rasmussen’s work (or Petri’s for that matter) this is a fine introduction that will have the listener craving more.

Michala Petri and Sunleif Rasmussen at Other Minds in San Francisco, 2013

Wilhelmina Smith, a Revelatory Solo Cello Release


ODE 1381-2

I think I can say with assurance that the unaccompanied cello repertoire begins with the Bach solo cello suites. But the concept of this kind of music being worthy of public performance began with Pablo Casals in the early 20th century. Indeed the lovely Bach suites regularly get recorded and performed live pretty frequently with appreciative audiences.

What is generally lesser known is that there exists a large repertoire of unaccompanied cello music which was created in the post Bach era. That’s nearly 300 years and most of this repertory remains largely unknown and, in may cases, unperformed. Rather than attempting to list these I refer the interested listener to the list here on Wikipedia. The list is not exhaustive but it is a fair representation of the extant music.

Wilhelmina Smith, having already produced a fine recording of unaccompanied cello music by Finnish composers Esa-Pekka Salonen and Kaija Saariaho, now surveys works of this genre by Danish composers Per Nørgård (1932- ) and Poul Ruders (1949- ).

The quite excellent liner notes by Søren Schauser do a great job of providing a context and a basic analysis of what the listener is hearing in these works. He also provides some historical context and a fellow Dane’s impression of the deeper associations which might be felt by a Nordic audience. But these works are not insular in their intent or their presentation. Make no mistake that these are major works which will speak to all who care to hear.

I have made no secret of my personal love of the music from the Nordic countries (Norway, Sweden, Finland, Denmark, Faroe Islands, and Iceland). And this disc serves to bolster my enthusiasm further. These works span the years 1953 to 1976 and embody largely neoclassical and and post-romantic styles which are very friendly to the ear.

The sheer nakedness of a performance on an instrument usually embedded in a larger context (accompanied by piano or electronics, in a string quartet, or in a symphony orchestra) brings an intense intimacy to the performance. The performer is fully exposed and the music relies on exactly that intensity. Yes, this is a recording but it is not difficult to imagine these performances eliciting reverent silences, of breaths being held, of a level of engagement that elicits rapt attentions.

Completists will be thrilled to have all three of Per Nørgård’s three Solo Cello Sonatas. Nørgård, an internationally regarded master, is better known for this large orchestral works and concertos but here we get to experience him at his most intimate. The first so called “sonatas” appears to take a more classical approach. Even the naming of the three movements (Lento ma espansivo – Allegro non troppo, Tranquillo, Allegro con brio) suggest a more classical approach. This largely tonal piece has both romantic and neoclassical aspects with soaring melodies and classical developments. The second sonata, subtitled “In due tempi” is unusual in that its two movements are separated by compositional dates separated by 27 years. One thinks of Felix Mendelssohn’s Midsummer Night’s Dream Overture separated by 17 years from the subsequent incidental music. So we have a first movement form 1953 followed by a second movement from 1980. This second sonata has much in common with the sound world of the first but the second movement does hint at a more mature style in kind with other works from that historical period. The third sonata, in three movements as was the first, is from 1999 and it is most clearly of a later style. It carries the subtitle, “What – is the Word!”. The movement titles (Prayer, Outcry, Prayer II) are clues to the more deeply existential mood of this piece. Still using basically tonal language, this sonata seems to describe more painful and introspective moods.

Now we come to a work by Poul Ruders (1949- ), “Bravourstudien” (L’Homme Armé Variations) (1976). This is essentially a set of variations on the medieval tune, “L’Homme Armé” (The Armed Man). It is cast in 10 movements (Overture, Recitative, Serenade 1, Potpourri, Etude, Intermezzo, Fantasia, Serenade 2, Finale: Variation classique, L’Homme armé). It is perhaps more deconstruction than classical variation but one need know nothing of the composer’s compositional techniques to appreciate the results.

This is not the first recordings of these works but these performances and the clean Ondine records sound make this release a welcome addition to the ever expanding discography of solo cello repertory and the music of Nordic master composers. You must hear this.

Dither, a Unique Guitar Quartet


Dither is a guitar quartet comprised of Taylor Levine, Joshua Lopes, James Moore and Gyan Riley.  The present release is their third album and, like the preceding releases is an adventure in listening.  Their intelligently designed web site has some nice sound and video samples.

A quick look at their recorded output places their performing repertoire clearly in the “new music” category and their work has been granted a kind of serious legitimacy by their inclusion (of their second album) in John Zorn’s wonderful Tzadik record label.  So along comes the truly rising star of New Focus Recordings whose service to new music adds yet another imprimatur to this group’s collective resume.

dither tracks

A quick look at the track list on the back of this gorgeously designed album reveals 9 works spread across 12 tracks (one of the works is in 4 movements) which includes one track from each of the musicians alongside some other interesting new music and, at the end, the gift of one older piece which, though certainly modern in concept is too little known. The only negative is the lack of liner notes both on the album and on their website.

I assure you that I don’t mean to trivialize this wonderful album by calling it “post-psychedelic” but it is difficult to not hear the riffs and effects as having an ancestry in the psychedelic sound.  But for this disc the psychedelic sounds appear to include Frank Zappa, Rhys Chatham, La Monte Young, Brian Eno, as well as Jimi Hendrix, Mahavishnu John Mc Laughlin, and their compatriots.

The first track, “The Garden of Cyrus” (1985) by Eve Beglarian, a much sought after composer who emerged from the downtown New York scene and continues to enthrall with her inventive talents.  This track is generally speaking a sort of post minimalist piece with a rather immediate appeal and serves as a fine introduction to the album. It has a variety of sections with varying degrees of rhythmic complexity and harmonic density. It is sometimes microtonal, sometimes spectral, sometimes antiphonal, sometimes dissonant, sometimes warmly consonant, but always engaging.

Next up is “The Tar of Gyu” (2013) by Gyan Riley.  Gyan is indeed his own man musically who has emerged from the shadow of his famed father Terry Riley in a most gracious manner.  His collaborations with his father continue to be a must see concert event and his work in solo and chamber groups reflect a growing and fascinating identity as a composer and musician entirely in his own right.  The present work makes excellent use of the timbres of the electric guitar and makes for another engaging if rather somber track. This work is largely about sustained tones and timbres and shows a real mastery of composing for this unusual chamber ensemble as well as a side of Riley’s compositional style less familiar to this reviewer.

Paula Matthusen, an associate professor of music at Wesleyan where she became the sort of heir to Alvin Lucier’s Music 109 class (documented so well in Lucier’s book of the same name).  Her music combines electronics with instruments and sometimes recorded sounds.  Her piece, “but because without this” (2009) was written for Dither and continues her unique compositional journey. Without notes it is difficult to say much about this work by a composer who tends to insert herself pretty organically into her compositions.

Jascha Narveson is a name new to this reviewer.  He is another composer deeply involved with electronics as well as acoustic instruments.  Ones (2012) is a four movement work written for the Dither Quartet.  This is basically a set of etudes for the effects pedal.  The four movements, titled “The Wah One”, “The Driving One”, “The Warped One”, and “The Floaty One” are each apparently a reference to electric guitar foot pedals and these minimalist etudes exploit the effect created by the pedal as a compositional device. Really fascinating.

Mi-Go (2012) by the ensemble’s own Joshua Lopes and it is here that the Zappa comparison is most evident.  This piece (the second longest on the album at 9:38) sounds like an aural refugee from Zappa’s “Jazz from Hell” (an album much admired by this writer).  Lopes creates a work of some complexity and many moods utilizing the potential of this instrumentation to great advantage creating a work of almost symphonic dimensions.

Up next is James Moore’s Mannequin (2014), one of the shorter pieces here.  After a loud and somewhat cacophonous opening this piece goes on to explore sustained tones and glissandos.

Candy (2010) by Ted Hearne is the first of only two pieces here that was not written by one of the performers.  Hearned earlier released a fine disc of his own music (also on New Focus). Like many of his peers he wields a tool box of compositional styles that includes jazz as well as contemporary classical techniques. This is certainly one of the more complex pieces here but Hearne’s music communicates well with the audience.

Track 11 is by Dither’s Taylor Levine. Renegade (2013) is a relatively brief piece and one which wanders furthest from my characterization of this album being “minimalist”. It seems to have its roots at least partly in noise bands but its complexity engages and seems to fit the program.

Track 12 is by James Tenney (1934-2006).  His Swell Piece (1966) is actually an early example of minimalism an is part of a series of compositions written on post cards and called, “Postal Pieces”. Tenney spent a portion of his career in California teaching at Cal Arts where he mentored many composers and performers working today,  This is a fitting conclusion, an homage to one of the great experimental composers whose music, thankfully, is now getting fine performances and recordings.

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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Other Minds OM-1025-2

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!!

 

 

 

 

 

 

Patricia Kopatchinskaja and Jay Campbell in Santa Barbara


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Shot of the stage of Hahn Hall at Santa Barbara’s historic Music Academy of the West (Photo by author)

The beautiful and acoustically excellent Hahn Hall at the Music Academy of the West in Santa Barbara was the venue for a powerful chamber music concert on Saturday, January 25th.  The not too common combination of violin and cello played respectively by violinist extraordinaire Patricia Kopatchinskaja and the equally matched musicianship of cellist Jay Campbell delighted a near full house with a carefully chosen set of pieces from the 642 CE to the present.  Who knew that there was so much music for this combination of instruments and that it would be so marvelously engaging?

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Patricia Kopatchinskaja and Jay Campbell in Massachusetts (Photo from Patricia’s web site)

This concert was part of the UC Santa Barbara’s always excellent Arts and Lectures series.  Kopatchinskaja was clearly the big name on the marquee for this event but Campbell was clearly a match both in skill and enthusiasm for this night’s event.

A slight change in the program was announced at the beginning which, if this reviewer heard correctly placed a piece originally slated for the second half of the program in the number two slot on the first half.

The concert opened with an anonymous “Alleluia” from a collection of works only recently (the past 50 years or so) deciphered by scholars.  The slow melismatic voice lines transcribed here for these string instruments was played with the sort of approximate intonation common to so called “period performances” which attempt to provide as much as possible some sense of how the music may have sounded in its time.  It was a slow piece rich in harmonics and reverent in execution.

The next piece, a clearly modern piece from the look of the oversized score on the music stand, was (again if this reviewer heard this correctly) by Hungarian composer Márton Illés (1975- ).  It was the world premiere of “Én-kör III”, a piece that brought us nearly 1500 years forward and evoked the modernist sound world of Darmstadt and the sort of modernism that dominated the 1950s in Europe.  It was a challenging piece for both listeners and players involving special techniques of playing that doubtless made for a fascinating looking score.  On sheer virtuosity and powerful performance alone the piece was well received.  It is complex music that doubtless benefits from repeated hearings and this premiere suggests that that will be the case.  The interested listener would do well to explore the web site of this fascinating composer whose name and music was new to this writer’s ears.

Next up, music by another modernist composer, the German, Jörg Widmann (1973- ).  Two selections (numbers 21 and 24) from his 24 duos for violin and cello (2008) were also of the Darmstadt style modernism mentioned earlier.  The Valse Bavaroise (Bavarian Waltz) had echoes of the 19th century Viennese traditions while the Toccatina all’inglese which followed it was a finger busting virtuosic showpiece, another audience pleaser actually.

Then, as if to cleanse our aural pallets the duo played Orlando Gibbons’ (1583-1625) Fantasia a 2, No. 4 for two “viols”.  As in the opening piece these are transcriptions since the violin and cello as we know them today did not exist.  This little instrumental miniature was a charming and relaxing interlude.

The final piece on the first half of this concert was the too seldom heard Sonata for Violin and Cello (1920) by French composer Maurice Ravel (1875-1937).  This again set the mood to virtuosic modernism.  Even people in the audience familiar with Ravel’s better known works were astounded at the modern sound.  According to the program notes this work was written in the shadow of both the death of his esteemed fellow French luminary Claude Debussy (1862-1918) and the end of the First World War (also 1918).  Indeed there were angry dissonances to be heard but this four movement sonata remains an astounding work and this performance was a powerful and forceful reading conveying the respect that this masterpiece deserves.  It is filled with both jazz influences as well as gypsy music (no doubt dear to the Moldovan born Kopatchinskaja).  And were it not for the visual cues that only two instruments were actually playing one might guess that there were certainly more.  At this point we all needed an intermission just to breathe.

The second half of the concert consisted of (with one exception) music from the region of Kopatchinskaja’s birth.  The Romanian born Iannis Xenakis (1922-2001) produced a great deal of music in the high modernism and experimental traditions but the work which opened the second half of this concert was an early work “Dhipli Zyia” (1951) which sounded much like the work of (also Romanian born) Hungarian composer Bela Bartok (1881-1945) with whom Xenakis had familiarity and, apparently, affection.

The program continued without the punctuation of applause into the 14th century with a work by the French composer Guillaume de Machaut (ca.1300-1377), his Ballade 4.  This is apparently originally a vocal work and was played in transcription for tonight’s soloists.

Again without the transition signal of applause the duo launched into another work which, like the Xenakis, is atypical of his largely modernist oeuvre.  György Ligeti (1923-2006) is perhaps best know for his music’s (unapproved) inclusion in Stanley Kubrick’s 2001: A Space Odyssey (1968).  The work played on this night was “Hommage à Hilding Rosenberg” (1982).  Hilding Rosenberg (1892-1985) was among the earliest Swedish modernist composers and this work was written on the occasion of his 90th birthday.  The piece echoed Ligeti’s affection for the aforementioned Bela Bartok and folk tunes predominated this brief but lovely score.

The duo launched with little pause into a piece by Bartok’s contemporary Zoltán Kodály (1882-1967).  His “Duo for Violin and Cello” Op. 7 (1914) sounded almost like a model for the later Ravel piece heard at the conclusion of the first half of the concert.  This three movement work is unusual in this composer’s catalog in that it is more aggressively modern than much of his more folk inflected pieces (Bartok and Kodaly were early pioneers in ethnomusicology and they collected and recorded a great deal of folk music from the region of Hungary, Romania, etc.)  It was a fantastic finale which garnered the artists an enthusiastic standing ovation.  The smiling and obviously satisfied performers received the traditional bouquets of flowers and returned for a brief little piece (didn’t catch the name) which was a little token of thanks to the equally satisfied and smiling audience.

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


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

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Promo photo from the artist’s web site

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

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

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

Mirrored Spaces

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

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

Partita

Douglas Boyce (b. 1970)

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

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

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

Nadia Shpachenko’s Poetry of Places


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This is another in an ongoing series from various labels which are publishing a selection of repertoire chosen by artists who define themselves by their individual approaches to new and recent music.  Kathleen Supove, Sarah Cahill, R. Andrew Lee, Lisa Moore, Liza Stepanova, and Lara Downes come to mind as recent entries into this field.  In the past similar such focused collections has opened many listeners minds to hitherto unknown repertoire.  One would have to include names like Robert Helps, Natalie Hinderas, and Ursula Oppens, all of whom produced revelatory adventures into the world of new and recent piano music in historical landmark recordings. (A recent such collection by Emanuele Arciuli was reviewed here).

On this Reference Recordings disc Nadia Shpachenko presents a series of works, many commissioned for her, of piano music whose focus is architecture, buildings, facades, etc.  It is a curious and unique angle on choosing new music.  There are 11 pieces here all involving Shpachenko at the piano but sometimes with various combinations of electronics, another piano, and a couple of percussionists.

Strictly speaking this is the third disc by Shpachenko featuring new music.  Last year’s “Quotations and Homages” and 2013’s “Woman at the Piano” are doubtlessly worthy precursors to the present disc.

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These works are neither trite nor easy listening.  They are new works and one can get lost in their complexity worrying about the way in which architecture is incorporated.  Or one can listen simply to hear the gorgeous sounds (this is a Reference Recording) of the introductory interpretations by a master musician of works which may or may not become repertory staples but whose substance deserves more than a passing listen.

I won’t go into any detail about these works except to say that the disc seems to have been well received by virtue of the amount of reviews it received on Amazon (I am frequently the first and only reviewer on Amazon when it comes to new music such as this) and those reviewers seem to have heard this release in a way similar to what this reviewer has experienced.

Shpachenko is an important artist who, along many of the artists mentioned at the beginning of this review, is pointing the way to some of the best music currently being written.

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.

 

bartonblues

This artist continues to draw my attention in wonderful ways.  Her scope of repertoire ranges hundreds of years and she brings heretofore unknown or lesser known gems to a grateful listening audience.  Blues Dialogues is a fine example.  It is also reflective of the larger vision of the Chicago based Cedille label.

jensen

I found myself really taken by this solo debut album by American Contemporary Ensemble (ACME) director Clarice Jensen.  In particular her collaboration with La Monte Young student Michael Harrison puts this solo cello (with electronics) debut in a class all its own, This independent release is worth your time.

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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.

beauty

It has been my contention that anything released on the Starkland label requires the intelligent listener’s attention.  This release is a fine example which supports that contention.  Unlike most such releases this one was performed and recorded in Lithuania by the composer.  Leave it to the new music bloodhound, producer Tom Steenland to find it.  In Search of Lost Beauty is a major new work by a composer who deserves our attention.

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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.

Quantum Koh: Jennifer Koh’s “Limitless”


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Cedille 9000 191

Watching the flowering career of this wonderful violinist has been both a joy and a labor.  First, the labor: she is so consumed with projects that it is difficult to keep up sometimes.  Second, the joy:  All her projects and recordings are fascinating in concept and satisfying to the attuned listener’s ear and to her collaborators.

So it is with this marvelous 2 disc set from Cedille Records (now celebrating its 30th anniversary as one of the finest independent classical labels) which consists of duos with composers.  She partners with a variety of up and coming composers in this varied but always interesting collection. These sincere and intimate collaborations exude quantum sparks of creative genius.

Eight composers and nine compositions span two discs demonstrating the Chicago native’s eclectic interests and marvelously collaborative nature. These compositions represent some of the cutting edge nature of her repertory choices as well as the respect earned from these composers.

It begins with The Banquet by Qasim Naqvi who is perhaps best known for his post minimalist acoustic group, Dawn of Midi. Here Naqvi works with a modular synthesizer utilizing that instrument’s quirks to create a sort of drone with minimalistic effects created by his exploitation of those quirks (this could even be classified as a species of glitch). Koh’s part interacts in ways that seem quasi improvisational, doubtless the product of close collaborative efforts.

Next are the lovely Sanctuary Songs by Lisa Bielawa, a fine singer whose solfege singing was for years part of the defining sound of the Philip Glass Ensemble. (Koh masterfully played the solo violin dressed in costume in the title role in the recent revival of Einstein on the Beach.)  She comes to us on this disc as a both composer and singer in this lovely cycle.

Bielawa has developed her own compositional voice and this little song cycle is a fine example. Both voice and violin are given challenging roles in exploring this unusual combination of musical timbres.  Bielawa compositional voice is entirely her own and her gift for it is evident in this and all that this writer has heard.  The work is in three short movements.

Du Yun, whose astounding work was recently reviewed here is represented by her voice and violin duo, Give me back my fingerprints.  The link on her name will take the curious listener through this composer’s amazing accomplishments but nothing can prepare the listener for the raw energy that characterizes her work.

Rapidly rising star Tyshawn Sorey uses his amazing ear to create this memoriam for one of his mentors, Muhal Richard Abrams. Sorey uses a glockenspiel as a counterpoint to Koh’s violin in this all too brief memorial piece written on the passing of AACM (a gaggle of brilliant musicians whose grouping reminds this writer of France’s “Le Six”, the “Russian Five”, and the early twentieth century “American Five”) founding member, a truly great composer, collaborator, and performer.  The AACM was founded in Chicago.

I had the pleasure of meeting the genial and quick minded Sorey at OM 17.  The link to my blog review is provided for the curious listener.  The concert took place in 2012.  Here is the shortcut to the Other Minds archival page.  Sorey provides no liner notes perhaps because he has succeeded in saying everything he wanted to say in the music (Koh seems quite appropriately tuned in here.

Nina Young‘s Sun Propeller involves the composer on electronics which interact to some degree with the solo acoustic instrument to extend the range of what the audience hears from the violin.  The title refers to the rays of sun one sees when the sun is behind a cloud and the sunbeams radiate out in glorious fashion.  This serves as a metaphor for the process involved in the composition.  But not to worry, the complexity does not hide the beauty of the music itself.

As if all the preceding weren’t enough there is a second disc continuing this collaboration.  First up is another name new to this writer, Wang Lu .  This Chinese American composer uses electronics alongside acoustic instruments in much of her work.  Her digital sampling reflects the eclectic nature of her world comprising everything from Korean pop to Chinese opera and a host of environmental sounds.  This piece also contains an opportunity for the composer to do some free improvisation as well as provide accompaniment to Koh’s violin part.  It is a dizzying and mind manifesting experience.

Next up is Vijay Iyer.  Iyer is perhaps best known as a jazz pianist and, as such, he is a fine example but his south Asian heritage doubtless has had an influence on him musically though that is but one aspect of his work. The American born Iyer, like many of his generation, mine their and our collective heritages as needed for inspiration. The present composition, “Diamond” also draws from his rich cultural background as it refers to the Buddhist Diamond Sutra and utilizes the structure of that religious parable to create the piece.  It is probably the most conventional sounding work here but that tells the listener little given the wide ranging eclecticism.  It is a piece which gives homage to jazz filtered through the experience and the person that is Vijay Iyer and, in this case, shared with the violinist.

The last composer is Missy Mazzoli, an established American composer.  She is represented by two works, “A Thousand Tongues” and (the now Grammy nominated) “Vespers”.  The composer provides accompaniment with piano and electronics.  The first piece has more the ambiance of a pop song though an avant garde one.  The last piece, the Vespers, feels deeper and more haunting.  Both provide more than adequate writing to keep soloist Koh both busy and happy.  

Indeed this album will keep the astute listener happy for its musical content, its progressive interest in new music, its wonderful soloist and beautiful sound.


 

Singing the Unsingable, Bethany Beardslee’s Autobiography


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by Bethany Beardslee and Minna Zallman Proctor

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

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

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

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

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


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Starkland ST- 233

Kathleen Supové is one of a handful of new music pianists whose repertoire choices are such that anything she does is worthy of at least one listen and most frequently many more.  (She was previously reviewed on this blog for her wonderful The Debussy Effect album from 2017 on New Focus recordings.)  Starkland, analogously, is a label whose choices of both repertoire and artists is similarly reliable.  So it is with this most recent release.

Five composers are represented on 16 tracks.  All but one utilize some form of electronics (computer, sampler, etc.).  It is difficult to characterize the sort of choices Supové makes except to say that she leans toward the experimental but includes a variety of genres that run the gamut from minimalism to obtuse and complex experimentalism.  The issue here is not the genres but the quality of the performer’s choices and that is what makes this release so compelling.

The title track is by the still too little known Mary Ellen Childs (1957- ).  Eye to Ivory (2005) is a commission written for Supové is described in the brief but useful program notes as a composition focused on the sound densities of the various ranges of the keyboard and one which requires a variety of movements by the pianist (including sitting standing, etc.).  Obviously the visual component is not captured here but the sound clusters, no doubt analogous in some way with the movements, make for compelling listening.

Talkback IV (2010/12) by one Guy Barash, a composer new to this reviewer’s ears.  It is described as one of a series of pieces exploring the interaction between the piano and a computer in real time (i.e. the computer responds to what the piano is playing.  Barash does the real time digital processing.  Here is some of the edgy, perhaps even somewhat obtuse (to the casual listener I think) music where Supové and Starkland excel.  Its not easy listening but it is substantial enough to prompt this reviewer to bookmark the composer’s internet page (you should too).

It is with Rama Broom (2000) by Nick Didkovsky aka Dr. Nerve (1958- ) that we begin to hear a more intimate music making via the use of the performer’s voice speaking a text of her own composition. Written for this artist, the piece is an opportunity to showcase her dramatic abilities both as a writer and as a vocal performer.  There are algorithmic composition processes here but the music belies these complexities and what comes through is the drama in music, text, and performance.  Play this one on Halloween (that’s all I’m gonna say).

Also of 2000 vintage and continuing the intimate aspects of this album is the next selection, “In the Privacy of My Own Home” written by the Bang on a Can composer Randall Woolf.  He is also Supové’s husband and a composer of serious note.  If you haven’t yet encountered his work then you owe it to yourself to do so.

The intimacy of the work involves Woolf’s sampling of the pianist’s various types of laughter and playing the laughter on a sampling keyboard more or less simultaneously with the piano.  This twelve movement work has got to be this writer’s favorite of the group both for its melodic invention and the novel use of what is basically involuntary sounds made by or provoke from the pianist.  It’s like, “tickle me, I want to play piano” and it is a piece full of good humor and also deeply personal, even kind of sweet actually.  Will this be played by other artists using Supové’s sampled laugh or will they need to be tickled and sampled?  It is a delightful work.

Dafna Naphtali is yet another composer unfamiliar to this reviewer, also one with a fascinating, now bookmarked, internet page.  Her work Landmine (1999-2017) is another work written for Supové and another work involving real time interaction between a computer (which alters the timbre of the piano).  Its four movements are named with computer code (which adds a curious dimension especially to the tech challenged such as I).  And yes, this is probably one of the more obtuse and complex works but one which, with the curation of this artist, demands at least a listen or two.

Enjoy this album for its sonic beauties (Silas Brown’s mastering is always an event in itself) but also as a sort of advance guard suggesting the path of music yet to come.  It is in some ways similar to the CRI SD 288 recordings discs by the late Robert Helps from 1971 which helped guide this writer into the realms of new music.  It is a rich realm.

 

ICE Plays Music of Du Yun, a Powerful Collaboration


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New Focus/Tundra Recordings

This disc was this reviewer’s first hearing of music by the Chinese American composer Du Yun and OMG, as they say.  Just WOW on so many levels.  The ten tracks contain music written between 1999 and 2015.

It is truly a tour de force on many levels. No surprise that this artist has received so many accolades. This sampling of her work by the always interesting International Contemporary Ensemble released by the increasingly vital New Focus recordings (on their TUNDRA imprint).  There are no fewer than ten works on ten tracks.

This has been one of those “How could I have missed this…” experiences.  There is a wealth of music here ranging in style from free jazz to modernism (think Darmstadt perhaps) to world music and they blend well the style of this major Chinese-American composer.

She is the recipient of numerous prizes (including a Pulitzer for her opera Angel’s Bone in 2017).  She is the regular recipient of commissions from the Fromm Foundation, the Rockefeller Foundation, Opera America, and the Asian Cultural Council among others.  She is also a Guggenheim fellow.

The poetic, sometimes cryptic titles of her works and the liner notes are brief but succinct. The serious listener will want to know more about the composer and her wide ranging talents.  She writes for every genre and ensemble from opera to solo work and from intensely personal music to clever collaborations.

Add to this the fact that the performers are from the wonderful International Contemporary Ensemble (also known as “ICE”).  Anything they do is worth the adventurous listener’s attention and this album supports that contention most successfully.  The irony of  that acronym is hard to miss in the composer’s grant from the Carnegie Foundation’s “Great Immigrants” program.  Perhaps that can rescue the association of said acronym to art rather than regressive politics.

As usual with New Focus (the parent label of this TUNDRA release) the recording is lucid and does justice to the music.  The cover design alone is a striking portrait of the composer (another reason to lament the 12 x 12 format of LPs as a size standard).

It took this listener several listens to begin to grasp this music.  It is varied and sometimes complex but it is always compelling and seems to have depth and substance.  If you don’t know this composer this is a fine place to start and if you already know her work you will want to add this fine recording to your collection.

 

Jason Vieaux with the Escher Quartet


 

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Though this album was actually released a few months before the Sharon Isbin recording containing, purely by chance, two of the same guitar quintets is perhaps an indicator that these quintets are making their way into the active performing repertoire.  I’m not really interested in the differences between the two recordings but I am interested in hearing two of the finest guitarists working today finding the two works on their respective radars at more or less the same time.

The present disc with Jason Vieaux (whose fine work has been reviewed elsewhere in this blog) and the Escher Quartet begins (as Isbin’s does) with the inconceivably little known masterpiece, the Guitar Quintet Op. 148 (1950) of Italian composer Mario Castelnuovo-Tedesco (1895-1968).  The composer’s style sounds pretty much mid-century post romantic with a wealth of Spanish references.  The high romanticism of the quintet format (compare Schubert’s Trout Quintet, Brahms and Schumann’s Piano Quintets) is well served here in an incredibly engaging work which makes significant demands on the musicians but is musically very transparent to the listener.  It is a wonder that this piece is not better known and, for that matter, that the rest of Castelnuovo-Tedesco’s output is not being explored in a big way.

The second work here also deserves more hearings.  Aaron Jay Kernis’ (1960- ) 100 Greatest Dance Hits is another piece which can be described as post romantic and audience friendly.  Kernis uses some extended techniques like using the instruments percussively at times but its basically a consonant melodic experience.  It’s scoring for guitar and string quartet keep the listener in basically the same sound world and, except for Kernis’ curious titlings, this is a guitar quintet in all but name.  And the use of dance forms is a tradition that goes back at least the baroque era.  Like the opening work, it is cast in four movements.

Luigi Boccherini (1743-1805) is a prolific Italian composer who spent a great deal of creative life in Spain and, as a result, has incorporated Spanish rhythms and idioms into his work.  This contemporary of Mozart and Haydn shares a similar late classical style.  The last work here is another four movement Guitar Quintet (1793), the fourth of nine he wrote and probably the best known.  The only difference between this rendition and the one by Isbin and the Pacifica Quartet is the absence of castanets in the fandango last movement.  In fact that may be one of the hooks for completists who want to hear what it sounds like in its original version (both work very well).

The performances are all full of enthusiasm and seemingly easy virtuosity that one expects from musicians of this caliber.  If you are stumped as to which one of these to get I think the only reasonable answer is, of course, both.

 

 

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.

 

 

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.

Contemporary Operatic Portraiture, Mason Bates’ The (R)evolution of Steve Jobs



I’m not sure who started the trend of so-called”portrait operas” but they seem to be on the increase.  Tech Icon Steve Jobs now has a portrait opera as well as a biopic, numerous documentaries, and at least one good biography.  And who better than music techie Mason Bates to write the opera?

So here we have what appears to have been a beautifully staged premiere of said work in a definitive performance by the always innovative Santa Fe Opera.  Steve Jobs is an icon of the tech industry and the business world and people want to hear about him even if it is a romanticization.

Bates is ideally suited to the task and this is likely to get multiple performances.  Of course a video would be a more ideal document but probably prohibited by cost.  This is an eminently listenable work and the enthusiasm of this live audience serves to underscore this reviewer’s personal response to this performance.

There are eight roles (one role is silent), a large orchestra augmented but never overwhelmed by electronics.  The electronics also serves in a metaphorical way to paint a sonic picture of this tech hero.  It also helps remind us that we are in the 21st century in every way.

The cast includes Kelly Markgraf, Edward Parks, Saha Cooke, Wei Wu, Maria Kaganskaya, Johah Sorenson, Garrett Sorensen, Jessica E. Jones, ensemble soloists (I’m guessing that means, “choir”) consisting of Adelaide Boedecker, Adam Bonanni, Kristen Choi, Thaddeus Ennen, Andrew Maughan, Corrie Stallings, and Tyler Zimmerman with the Santa Fe Opera Orchestra marvelously held together by conductor Michael Christie.

Librettist Mark Campbell has an impressive resume and this is an admirable addition to an already impressive list of dramatic successes. Photos of the production in the wonderful booklet which contains the libretto and background information show some visually a creative production. Computer screen shots of Jobs’ various products serve as background and the staging appears to make a few nods to Philip Glass’ Einstein on the Beach, its obvious progenitor.

Only time will tell the ultimate place this work will occupy historically but we can definitely enjoy this really entertaining piece.

Because Isaac Schankler


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aerocade music

Isaac Schankler billed on their own website as “composer, etc.” clearly has a sense of humor but that characterization is as good as any to describe this composer, performer, teacher, writer.  Suffice it to say it is worth your time to check out that web site.

Schankler’s name and music are new to this writer’s eyes/ears bit it is delightful to make the acquaintance of this artist via the present release.  Three electroacoustic works are presented.  Schankler does the electronics and an array of musicians play the acoustic instruments.

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Isaac Schankler (from the composer’s web site)

The combination of acoustic instruments with electronics (fixed and/or interactive) goes back at least to Edgar Varese and has practitioners which include Mario Davidovsky, David Behrman, Milton Babbitt, and a host of others too numerous to discuss within the scope of this review.  The point is that Schankler seems to be a part of these traditions and has developed a personal way to work with this hybrid medium.

One of the problems this writer has experienced while trying to understand and write meaningfully about electronic music (with or without acoustic instruments) is that textbooks on such music seem to end their surveys in about 1990.  Add to that the fact that electronic music, once a category banished to a sort of appendix in the days of the Schwann Catalog, has now acquired multiple meanings.  Electronic music now apparently includes dance music, dark ambient musings reminiscent of Pink Floyd and Tangerine Dream, individual experiments typified by artists like David Lee Myers and Kim Cascone, and the original meaning with work by pioneers like Subotnick, Luening, Babbitt, etc.

This disc would have been listed in that little appendix I mentioned earlier if it had been released in the 70s or so.  It is, in this listener’s mind, classical electronic music.  Perhaps one could dance to it but it seems to be written with the intent of presenting musical ideas and highlighting the musical skills of performers on their acoustic instruments.  This one is best heard with headphones and serious attention.

The first track is Because Patterns/Deep State (2019) is a sort of reworking of two earlier pieces Because Patterns (2015) for prepared piano duo (Ray/Kallay Duo) and The Deep State (2017) for double bass and electronics.  There is an interview on Schankler’s website that discusses the composer’s processes in each piece and the reasons for combining the two into the present form.  The solo parts, such as they are, are performed by Aron Kallay and Vicki Ray on keyboards and Scott Worthington on double bass (curiously the soloists were recorded in different studios).

From a listener’s perspective one of the most striking things was how deeply embedded the solo performers are.  This is like a concerto grosso in which the instruments are more embedded in the texture.  It is a complex piece which demands the listener’s attention but ultimately rewards said listener in a musically satisfying way.  In short, your reviewer has only the faintest grasp of the processes involved but appreciates the end product.  At about 25 minutes this is a commitment but one worth tackling.

Mobile I (2009) is written for violin and electronics (interactive) and is described by the composer as an audio analogue of mobile sculpture.  Think Calder set to music perhaps.  Again regardless of the process the main concern for the listener is whether the result actually entertains. Here, where the soloist (Sakura Tsai) is more at the forefront, it is easier to hear the interactive nature of the music as the gestures of the violin are responded to by the electronics.  It is a form of call and response with the soloist in the lead and the electronics answering.

The third and final track is Future Feelings (2018) commissioned and premiered by Nadia Shpachenko and, according to the composer’s website was the result of experiments seeking pleasing sounds for the composer’s first child.  This is not a lullaby but rather a working out of ideas.  It works as a concert piece as intended but is probably not going to make its way onto a “soothing sounds for babies” CD any time soon.

This digital and vinyl release semis to have precious little in the way of notes to guide the listener but this label aerocade can be forgiven on the strength of their choices in repertoire and quality of recorded sound and the composer’s website is nicely designed and informative. Their release of the Post-Haste Duo was reviewed most favorably in these pages earlier and a quick scan of the label’s website suggests that this label (established by Meerenai Shim , who also did the lovely design of the cover, this is the 11th release of a label that deserves the attention of new music fanciers).  Links are provided for the interested listener, all of which will lead to a better understanding and will serve as a guide to find similarly interesting and creative music.

World Premieres and a Resurrection: Partch Vol. 3 on Bridge Records


Bridge Records is one of those labels whose every release is worth one’s attention. Their series of music of Elliott Carter, George Crumb, et al are definitive. And while this listener has yet to hear the first two volumes of the Harry Partch series this third volume suggests that Bridge continues to maintain a high standard as they do in all the releases that I’ve heard.

Harry Partch (1901-1974), like Philip Glass and Steve Reich would later do, formed his own group of musicians to perform his works. For Glass and Reich they could not find performers who understood and wanted to play their music. For Partch this issue was further complicated by the fact that he needed specially built instruments which musicians had to learn to play to perform the very notes he asked of them.  And keep in mind that Partch managed to do a significant portion of his work during the depression.  He is as important to the history of tonality as Bach, Wagner, and Schoenberg.

I will confess a long term fascination with Partch’s music.  Ever since hearing a snippet of Castor and Pollux on that little 7 inch vinyl sampler that came packaged with my prized copy of Switched on Bach I was hooked.  That little sampler also pointed this (then 13 year old) listener to Berio’s Sinfonia, Nancarrow, Steve Reich, and Terry Riley.  And so it continues.  But it is not just nostalgia that recommends this disc, it is the definitive nature of the scholarship, the intelligence of the production, and the quality of both performances and recordings that make this an essential part of any serious collector of Partch, microtonal music, musicology, and good recordings in general.

With the aforementioned interest/fascination I reached a point where I had pretty much collected and listened to all I could find of Partch’s music.  Certainly everything of his had been recorded, right?  Well ain’t this a welcome kick in an old collector’s slats?  Not only have the folks at Bridge (read John Schneider) found and recorded a heretofore practically known composition but they’ve done it with a brand of reverence, scholarship, and quality of both recording and performances such that this is a collector’s dream and a major contribution to the history of microtonal musics and American music in general.

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John Schneider from a You Tube screen capture

Let me start with the liner notes by producer John Schneider.  As one who is given to complain about the lack of liner notes I am so pleased to encounter such as these.  They alone are worth the price of the CD and read at times like the adventure they describe, to wit, this recording.  The tasteful and well designed (by one Casey Siu) booklet provides an intelligent guide to the music which enhances the listening experience.  Schneider’s web site also provides a wealth of information and references for further research.  Many would think that these liner notes are comprehensive as they are and there should be no need for anything more…so the link provided to even more info on the web site of the performing group on this disc, PARTCH.   These folks are Grammy winners and they perform on scholarly copies of the original Partch instruments executed by Schneider and his associates.  This release is solidly built from the ground up.

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PARTCH performing at RedCat copyright Redcat

PARTCH includes: Erin Barnes (Diamond Marimba, Cymbal, Bass), Alison Bjorkedal (Canons, Kitharas), Matt Cook (Canon, Cloud Chamber Bowls, Spoils of War), Vicki Ray (Canons, Chromelodeon, Surrogate Kithara), John Schneider (Adapted Guitars, Bowls, Canons, Spoils, Surrogate Kithara, Adapted Viols, Voice), Nick Terry (Boo, Hypobass), T.J. Troy (Adapted Guitar II, Bass Marimba, Voice), Alex Wand (Adapted Guitar III, Canons, Surrogate Kithara)

The 21 tracks contain five Partch compositions.  It opens with one of Partch’s more unusual pieces (for him), Ulysses at the Edge of the World (1962).  This piece was written for Chet Baker but Baker never got to play it.  It kind of sits a bit outside of Partch’s work and is his most direct use of the medium of “jazz”.  The piece has been recorded twice before.  For this recording two fine new music/jazz musicians were chosen, saxophonist Ulrich Krieger and trumpet player extraordinaire Daniel Rosenboom.  Excellent choices for this too little performed piece.

Tracks 2-13 contain the Twelve Intrusions (1950) which is basically an accompanied song cycle with instrumental pieces placed at the beginning.  These are great vintage Partch works but do read the liner notes on the evolution of Partch as he was writing these.  They describe some of Partch’s evolution during that time.

Next is another discovery (or restoration if you will).  Partch’s scores exist in various versions for various reasons.  Windsong (1958) was written as a film score for the Madeline Tourtelot film of that name.  It was later reworked into a dance drama (Daphne of the Dunes, 1967).  Here we have a live performance of the entire score which (read them notes) includes things not heard before, not to mention the most lucid sound of this recording.

Now to the putative star of this release, the Sonata Dementia (1950).  It too comes with some nice detective work allowing listeners to hear substantially what Partch intended but neither recorded nor rejected.  There are three movements and let me just say that they are captivating and substantial.  This deserves to be heard again and again.

Now two little bonus tracks (reminiscent in nature but not in content of the sampler I mentioned earlier) add significantly to Partch and his place in music history.  First is a Edison cylinder recording from 1904 of a traditional Isleta Indian chant which Partch, who had been hired to transcribe these songs, later incorporated into his music.  It’s early date and the nature of that old recording method provide a picture of early ethnomusicological work.

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Photo of Partch with adapted guitar found on web

The second bonus is a real gem.  Again, read the liner notes for more fascinating details.This is an important find, an acetate recording made of Partch performing his Barstow (1941) for an appreciative audience at the Eastman School of Music from November 3, 1942.  This early version (of at least three) for adapted guitar and voice was reconstructed by John Schneider and released on the Just West Coast album of 1993 (Bridge BCD 9041) and later performed so beautifully at Other Minds 14 in 2009.  But I believe that Schneider’s reconstruction predated the discovery of this recording.  Pretty validating to hear this now I would think.

It is this reviewer’s fondest hope that this wonderful Partch project will continue with its definitive survey of Partch’s work.  Bravo!!

 

 

 

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.

PUBLIQuartet: Freedom & Faith


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Bright Shiny Things BSTC 0126

There are seemingly more string quartets performing these days than ever before and they are fine musicians.  Whether we’re talking about the Kronos Quartet, Arditti Quartet, Pacifica, Telegraph, etc. all contain truly finely trained and virtuosic musicians.  The problem is to distinguish one’s self (or one’s ensemble) in some way.  I’m not going to go into how each of the mentioned string quartets have done this so don’t worry.

My point here is to review this fine disc by yet another new music quartet called PULBIQuartet.  They have chosen, at least in this, their second release, to continue their efforts at “genre bending”, exploring music and transcribing music that is atypical of the standard quartet repertoire.  Like their colleagues they are aiming at a redefinition or perhaps a revitalization of the string quartet genre.  The performers are: Curtis Stewart, Jannina Norpoth, violins; Nick Revel, viola; and Amanda Gookin, cello.

The album at hand, titled “Freedom and Faith” presents music predominantly written by or associated with women.  Get into the Now (2017) by Jessica Meyer is classical in the sense that it uses the standard 2 violins, viola,and cello and is divided into three movements played with short pauses.  Content wise this is a strong piece which requires a great deal of virtuosity and a handful of extended techniques involving percussive use of the bodies of the instruments themselves and even a few spots that require the musicians to vocalize.  All in all a riot of a piece with good humor.  It lasts about 20 minutes and begs to be heard again.  Very entertaining!

The next 9 tracks fit into the PUBLIQuartet’s project called Mind|the|Gap which is at the heart of their efforts to breathe new life into the string quartet and, hopefully, garner some new fans.  All members of the quartet share arrangement and, at times, co-compositional duties.

Tracks 4, 5, and 6 contain transcriptions of sacred vocal music by female composers.  The Medieval Hildegard von Bingen’s, “O ignee Spiritus” is followed by Francesca Caccini’s, “Regina Coeli”, and then Chiara Margarita Cozzolani’s, “O quam suavis est Domine spiritus tuus”.  The vocal originals must be quite lovely but these works seem to retain their sacred ambiance even without the words.  So ends the section which contributes to the “faith” in the title of the album.

Who knew that “A tisket, a tasket…” was by Ella Fitzgerald’s arranger Van Alexander.  The PUBLIs (if you’ll forgive the truncation) do a marvelous and entertaining arrangement of this novelty song.  It provides a sort of comic relief dividing the faith segment of the program to the “freedom” segment.

The next 4 tracks focus on transcriptions of popular music.  These are serious pieces, not the “pop” type songs that are basically feel good or dance tunes but the type of music that is in the shadow of serious social issues.  Who better  than Nina Simone?  These are loving and strikingly original arrangements of Herb Sacker/Nina Simone’s, “Blackbird”, Leslie Bricusse/Anthony Newly’s, “Feelin Good”, Nina Simone/Weldon Irvine’s, “Young Gifted and Black”, and Nina Simone’s powerful antiracist reproach in her, “Mississippi Goddam”.

These transcriptions are done in a free manner with echoes of Stephane Grappelli, Cajun music and, doubtless, references that this reviewer has not grasped.  They are highly entertaining.

The album ends with another string quartet.  This one is by Shelley Washington and it is a powerful piece.  In its relatively short ten minutes or so she manages to create some memorable sound worlds.  There are few program notes that give a clue as to the background and intended meanings of the purely instrumental works (those not derived from vocal music) but one senses political stirrings.

All in all a unique little recital which at least challenges the common notions of this chamber grouping and, frequently, succeeds.