Steven Kemper’s Mythical Spaces


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Ravello Records RR 7980

It is this writer’s opinion that the category “electro-acoustic” carries such a wide range of connotations that it is of limited use to a listener.  This album is so characterized and here simply means that both electronics and acoustic instruments are used.  Even the concept of electronic music is difficult since such a designation. Playlists on Spotify and iTunes usually points the listener to a form of pop/dance music if you search for electronic.  Further complicating things (and I think this is at least in part the point here) the electronics here include fixed media (electronics which does what it is programmed to do and does not interact with the performers or simply plays alone) and robotic electronics as well as electronics which interacts with the performer.  You will have to check the composer’s web page for more information on what exactly the “robotic” media are.

This is cutting edge in the sense that it is experimenting with new media in combination with more traditional media (and simple electronics is now “traditional media” having been superseded by the new fangled).  The actual sound of this music seems to inhabit a rather spare sound world akin perhaps to that of late Morton Feldman but with more brevity. These pieces last from 1.5-10 minutes on average and demand some concentration on the part of the listener.  Think maybe a cross between Feldman, Webern and say Subotnick.

Now one could conceivably play this music at a low volume in the manner of so-called “ambient” music. There are not many dynamic changes here to take you away from that sort of reverie.  But that does not really seem to be the composer’s intention. These are concentrated little essays, each seeming to explore the parameters of its context, fixed media, live instruments, robotic media, and combinations of these.

Steven Kemper is a new name to this writer.  His education and wide interests are available on his web site.  While he has an impressive bibliography with cutting edge research interests in music and sound this appears to be his first CD.

There are 15 tracks which comprise 5 works.  Mythical Spaces (2010) is for percussion with fixed media in 5 separate movements.  Breath (2015) is for fixed media alone in one movement.  Lament (2015) is also in one movement and is scored for flute with interactive media.

The longest single movement comprises In Illo Tempore (2012 rev 2017) is scored for saxophone, bassoon, AMI (automated monochord instrument), and CARI (cylindrical aerophone robotic instrument).  It clocks in at 7:48.

Last but not least is The Seven Stars (2012) for amplified prepared piano in 7 movements.

Live performers include Mark Truesdell, percussion; Wayla Chambo, flute; David Wegenlaupt, saxophone, Dana Jessen, bassoon, and Aurie Hsu, prepared piano.

This is music which requires some serious concentration from the listener.  Hearing/seeing this live might provide some additional aspects due to these strange electronic/robotic instruments but the point here seems to be one of an inner voyage which, if you focus you listening energy, transports you into this composer’s imaginary spaces.  Whether you will enjoy this or not is difficult to say but it is certainly worth the effort.

 

300 Years of Virtuosity, Liza Stepanova’s Tones and Colors


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Concert Artist Guild CAG 120

This is the solo piano debut of this talented and incredibly virtuosic artist.  This hard working pianist can be heard on a previous CD (After a Dream) with the Lysander Piano Trio.  Her web site can provide a good idea of the range of solo, chamber, and orchestral music in her repertory.

This CD is a good example of creating a brand, a practice which seems to be the current rage especially among artists who specialize in new music.  I have previously commented on the brands of pianists like Sarah Cahill, Kathleen Supové, Nicolas Horvath, and Stephane Ginsburgh to name a few.  All are amazing musicians but each seems to have been able to carve out an identifiable niche which sets them apart from each other and defines their various artistic missions.  Granted these are soft definitions in that they do not preclude them from playing anything they choose but it gives audiences a sort of general idea of what to expect when they do a program.

Liza Stepanova appears to have chose virtuosity as her signature.  She plays what sounds like fingerbreakingly difficult music with both ease and expressiveness.  Here she chooses to basically survey virtuosity from J. S. Bach to György  Ligeti.  In addition she has chosen to pair each composition with an analogous piece of visual art.

The pairing of music and visual art is as old as dirt and has always seemed to have an inherent validity.  Tone poems like Mussorgsky’s Pictures at an Exhibition or Debussy’s Clair de Lune are familiar examples of music as a visual analog.  But music sometimes suggests pictures even if it was not the stated intent of the composer too.  Stepanova covers the visual territory from the representative to the abstract in this entertaining collection.

Perhaps the most interesting aspect of this recording is the pianist’s choice of music.  She does go with the familiar at times such as Debussy’s Goldfish but the majority of this disc contains music that is seldom heard by lesser known composers such as Maurice Ohana (1913-1992), Joaquin Turina (1882-1949), Fanny Hensel (1805-1847), and Lionel Feininger (1871-1956).  There are better known names such as Enrique Granados (1867–1916), Bohuslav Martinú and Leopold Godowsky (1870-1938).  And the most familiar names such as J. S. Bach (1885-1750), Franz Liszt (1811-1886). Claude Debussy (1862-1918), George Crumb (1929- ), and György Ligeti (1923-2006).

There are 13 tracks grouped into 4 visual art themes (A Spanish Room, Nature and Impressionism, Conversations Across Time, and Wagner, Infinity, and an Encore).  The only problem I have here is the photos of the art (which thankfully are included in the little booklet) are necessarily small and really don’t give the consumer the full intended effect.  One would do well to obtain some art books or some larger prints of these to gain the intended effect.

I won’t go into detail about each individual piece.  Suffice it to say that they are all technically challenging and intelligently chosen pieces.  This is a very entertaining program from this emerging artist.

This reviewer is given to speculation as to Stepanova’s next release.  Perhaps Sorabji with some Dada works?  Whatever it is will doubtless be as interesting and entertaining as this disc.  Brava, Ms. Stepanova!

 

The Piano is Calling Me: Nicolas Horvath’s New Music Pilgrimages


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Nicolas Horvath at the piano in Lyon

I first heard of this young Monacan pianist and composer when a composer friend, David Toub, told me that he was going to program one of this piano pieces.  That piece along with quite a few other performances are available on Nicolas Horvath’s You Tube video channel here.

Horvath developed a strong interest in contemporary music from Gerard Frémy among others and has been programming a great deal of new music ranging from the more familiar such as Philip Glass to a host of others including quite a few pieces written for or premiered by him as well as his own transcriptions and reconstructions.  He is known for his concerts in non-traditional venues with very non-traditional lengths of performance as well as traditional concerts.

His current projects include Night of Minimalism in which he performs continuously for 10-15 hours with a wide variety of minimalist and post-minimalist pieces and Glass Worlds in which he performs the complete solo piano works of Philip Glass (approximately 15 hours) along with pieces by an international list of composers written in tribute to Glass.  He is also an electroacoustic composer (he counts Francois Bayle among his teachers) and a visual artist all with a passion for contemporary works.

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The artist standing in one of his installations.

We had corresponded via e-mail over the last year or so and when I suggested the idea of interviewing him he responded by arranging time after a (traditional length) concert he gave in Minsk, Belarus on December 1, 2014.  I prepared for what I anticipated would be a one hour interview after which I imagined he would probably need to get to sleep.  But when I attempted to wrap up our conversation (at a couple of points) he immediately asked, “Don’t you have any more questions?”.  What followed resulted in approximately three and an half hours of delightful and wide-ranging conversation about this man and his art which he ended with the comment, “I must go, the piano is calling me.”  It appears that his seemingly boundless energy extends well beyond the stage.  The following January (2015) he gave the world premiere performance of all of Philip Glass’ 20 Etudes in none other than Carnegie Hall.

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Horvath with spent score pages as he traverses one of his extended performance ventures. (copyright Jean Therry Boisseau)

Since that time we have continued our correspondence and this affable, patient young artist continues on various projects and no sign of his interest or energy waning.  He recently sent me various photos of him in various settings pursuing his varied artistic interests for this article.

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Composer as well as performer in an electroacoustic performance without piano.

Horvath was born in Monaco in 1977.  He studied piano at the Académie de Musique Rainier III de Monaco and the École  Normale de Musique de Paris.  At 16, Lawrence Foster took notice of him in a concert and, securing a three year scholarship for him from the Princess Grace Foundation, was able to invite him to the Aspen Music Festival. After his studies in the École Normale de Musique in Paris, he worked for three years with
Bruno-Léonardo Gelber, Gérard Frémy who instilled in him a sensitivity to music of our time as well as Eric Heidsieck, Gabriel Tacchino, Nelson Delle-Vigne, Philippe Entremont and Oxana Yablonskaya. Leslie Howard got to know him and invited him to perform before the Liszt Society in the United Kingdom. He has been playing professionally for 7 years and puts his own characteristic style into his productions and performances.

In a move reminiscent of Terry Riley’s all night solo improv fests Horvath has performed several lengthy programs.  He has performed Erik Satie’s proto-minimalist Vexations (1893) in performances that ranged widely in length. One notable performance at the Palais de Tokyo lasted 35 hours, the longest solo piano performance on record as far as I can determine.  Previously this piece has been performed by tag teams of pianists (the first in 1967 in New York was curated by John Cage) to perform the 840 repetitions of the piece whose tempo or recommended duration is not specified.  Horvath, taking on a musicological mantle is preparing his own edition of this unique work.  He has published an 24 hour version on his You Tube channel here.

Given his intense schedule and vast repertoire he has been remarkably responsive and has an irrepressibly strong appetite for new music.  He tells me that he had worked on a project in which he planned to play all the piano music of the French composer Jean Catoire (1923-2005),  some 35 hours of material (in a single program, of course). Unfortunately that composer’s relative obscurity seems to have resulted  in insufficient support for the project which is, for now, on hold.  Here’s hoping that this can be realized sometime soon.

Horvath’s fascination with authenticity, completeness and performances of unconventional lengths uninterrupted by applause where audiences are invited to lay on the floor with blankets and sleeping bags and approach the piano seems unusual but he has been getting enthusiastic audiences and has enjoyed overflow crowds.  Like Terry Riley and perhaps even some of Keith Jarrett’s solo concerts there is a ritual feel to these marathon performances.  Regrettably I have not yet been able to attend one but I would love to partake in what must be a powerful shared experience.  He invites people to come to the piano and to watch, look at the score.  It is unlike the conventional recital and therein lies some of its charm.  At least one of his videos features a small sign which reads, “Don’t feed the pianist” and attests to his warmth and wonderful sense of humor.

His passion has parallels in his spirituality and he has pursued sacred pilgrimages which require a great deal of time and energy but without doubt fill a very deep and sincere need. More details and photos are available on his blog.  And, as with music, he is very open to discussing this very personal aspect of his life.

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The artist braving the elements on one of his pilgrimages.

There are conventional two hour with intermission style recitals in more conventional concert venues that he has played and Horvath also enjoys playing with an orchestra.  His performances of both of Philip Glass’ piano concertos can be viewed on You Tube and you can see the intensity of his execution.  This came through in the course of our interview as well when Mr. Horvath would speak of the music and then verbally imitate the rhythms (no doubt endlessly practiced) which drive his enthusiasm.  The music seems to be deeply integrated into his very being.

His first solo commercial recording was released in 2012.  It consists of Franz Liszt’s ‘Christus’, an oratorio composed in 1862-66 for narrator, soloists, chorus and orchestra.  Horvath plays a piano reduction done by the composer.  This is the first known recording of this unique and virtuosic set of piano works.  It is certainly an unusual choice for a debut recording but it is consistent with his very personal tastes.  (He lists Scriabin and Chopin as among his favorite composers.).   He is in the process of recording all of Philip Glass’ piano music for Grand Piano records distributed by Naxos.  At the time of this writing four well-received volumes have been released.  He is also planning to record all of Satie’s piano music and he has just recently released his rendition of Cornelius Cardew’s indeterminate masterpiece, Treatise.

I have seldom encountered a musician with such intensity and drive.  He is also one of the most skilled in using the internet to promote himself and his projects.  And though this is no doubt a man with a considerable ego he is in fact very unpretentious and very genuinely turned on, driven by the music itself.  Don’t get me wrong, he is concerned with developing his image and career but he seems happy to be doing the work he has been doing and he is, like any really good musician, self-critical and a perfectionist.

A quick look at his YouTube channel here reveals some of the range of his interests which include the standard repertoire along with interest in contemporary works.  Just released is a creative video with Horvath playing Glass’ Morning Passages while he apparently experiences a reverie involving a beautiful woman which could have been on MTV at its height.  Perhaps he is even channeling Oscar Levant who embraced roles in films along with his pianistic talents.  His website is a good resource for updates on his various projects and performances.

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Focused concentration at the keyboard.

As of the time of this writing his discography includes:

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Hortus Records 100 (2012)

A very unusual choice for a debut recording.  Nonetheless this is a distinctive recording which reflects the virtuosity as well as the careful scholarship which continues to characterize his work.  He managed to locate a couple of previously lost pieces in this set of composer transcriptions.  One also can’t miss the spiritual dimension here, as close to his heart as music and an equally important aspect of his personality.

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Grand Piano GP 677 (2015)

This first disc in the series manages to provide the listener with truly inspired interpretations of Glass’ keyboard oeuvre and gives us a world premiere recording of How Now as well.

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Grand Piano GP 690 (2015)

The complete Piano Etudes by the man who premiered the set at Carnegie Hall.  These etudes were also recorded by the wonderful Maki Namekawa and the opportunity to hear these really different takes is positively revelatory.

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Grand Piano GP 691 (2016)

The third disc in the traversal of Glass’ piano music (original and transcribed) also offers world premieres.  Horvath’s inclusion of Glass’ early Sonatina No. 2 reflects his work under the tutelage of Darius Milhaud and provides insight into the composer’s early development before he developed his more familiar mature style.

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Grand Piano GP 692 (2016)

Haven’t yet heard this disc but I have in queued for ordering in the next few weeks.

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Demerara Records (2016)

Haven’t heard this one yet either but, again, it’s in my Amazon shopping cart.

 

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Horvath’s interpretation of this important work by Cornelius Cardew

Cornelius Cardew (1936-1981) was sort of England’s John Cage, a major voice in 20th Century experimental music.  Scholarship has yet to do justice to the late composer’s work but this disc is an important contribution toward that end..

Horvath’s career is characterized by innovation and passion combined with astute scholarship and a keen sense of what is new and interesting in music  while clearly being schooled in the classic repertoire.  The piano calls him as do his other passions and I highly recommend paying attention as he answers those calls.  He is truly an artist to watch.
N.B.  Mr. Horvath generously read and approved an advance draft of this article shortly after arriving in the United States for concerts at Steinway Hall in Rockville with a Chopin program and a recital at The Spectrum in New York City which will include two pieces written for him by Michael Vincent Waller along with some Chopin pieces.

ICE Debuts on Starkland: Music by Phyllis Chen and Nathan Davis


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Starkland is one of those labels whose releases seem to be so carefully chosen that one is pretty much guaranteed a great listening experience even if that experience might challenge the ears sometimes.  If one were to purchase their complete catalog (as I pretty much have over the years) one would have a really impressive and wide-ranging selection of new music.

I recently reviewed a very fine ICE (International Contemporary Ensemble) recording of music by Anna Thorvaldsdottir here. The present disc is the first appearance on Starkland of this ensemble whose performance skills and repertoire choices show the same depth of understanding as the producers of the label upon which they now appear.

ICE was founded in Chicago in 2001 by executive director and flautist extraordinaire Claire Chase.  The discography on their website now numbers 21 albums including the present release.  The group features some 30+ artists and musicians including a live sound engineer (like the Philip Glass Ensemble) and a lighting designer.  Do yourself a favor and check out the ICE Vimeo page to get some ideas about why having a lighting designer is a good idea.  Their performances are visually as well as musically compelling.  And who knows, perhaps there is a Starkland DVD release in their future.

About half their albums feature music by members of ICE and that is the case with this release.  One always has to wonder at the process that is involved in choosing repertoire to perform and/or record but there is no doubt that this group seems to have good instincts in regards to such decisions as evidenced by the already wild popularity of this disc on WQXR and the positive initial reviews so far.

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Phyllis Chen‘s biographical data is a bit sparse on both the ICE website and her own so I am going to assume that this talented young keyboard player likely began playing at an early age.  Like fellow pioneers Margaret Leng Tan and Jeanne Kirstein before her she has embraced toy pianos and, by extension I suppose, music boxes, and electronics into her performing arsenal.  In addition to being a composer she is one of the regular members of ICE.

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Nathan Davis is a regular percussionist with ICE as well as a composer.  His works range from opera to chamber and solo pieces for various instruments as well as electronics.

The tracks on this release pretty much alternate between these two featured composers.

The first track is Ghostlight (2013) by Nathan Davis, a sort of ragged moto perpetuo for “gently”prepared piano.  This is a good example of how these musicians (pianist Jacob Greenberg in this instance) have really fully integrated what were once exotic extended techniques into a comprehensive catalog of timbral options which are used to expand the palette of creative expression.  This is not a second rate John Cage clone but rather another generation’s incorporation of timbral exploration into their integral canon of sonic options.  This is an exciting and well-written tour de force deftly executed.

The next two tracks take us into the different but complimentary sound world of Phyllis Chen.  Hush (2011) for two pianos, toy pianos, bowls (presumably of the Tibetan singing variety) and music boxes is a playful gamelan-like piece played by the composer along with pianist Cory Smythe.

Chimers (2011) is a similarly playful work requiring the assistance of clarinetist Joshua Rubin, violinist Erik Carlson and Eric Lamb (on tuning forks) along with Chen and Smythe once again.  Again we hear these unusual instruments and timbres not as outliers in the musical soundscape but rather simply as artistic elements that are part of the composer’s vision.

Track number 4 features a work for bassoon and live processing.  Davis’ On Speaking a Hundred Names (2010) is played by Rebekah Heller and again the (to this listener) usually uncomfortable fit of acoustic and electronic are achieved very smoothly.  Music like this gives me hope that some day I will be able to drop the inevitable negative connotations I have associated with the term “electroacoustic”.  This is very convincing music and not just in the “golly gee, see what they’re doing” sense either.  The experimentation here (including the multiphonics) appears to have preceded the composition giving us an integrated and satisfying listening experience.

Chen comes back on track 5 with another successful integration of acoustic and electronic in her, Beneath a Trace of Vapor (2011).  Eric Lamb handles the flute here playing with (or against) the composer’s prepared tape.  This electroacoustic trend continues in the following track (also by Chen) called Mobius (201-) in which Chen, Smythe and Lamb are credited with playing “music boxes and electronics”.  Once again the integration of electric and acoustic speaks of a high level of music making.

The final four tracks are the big work here and the work that lends its name to this disc, On the Nature of Thingness (2011) by Nathan Davis.  Apparently taking its title from Lucretius’ On the Nature of Things (ca. 1B.C.) the work earlier also inspired Henry Brant in his spatial composition, On the Nature of Things (1956), but the work in this disc does not seem to make any direct reference to that Roman classic poem except perhaps metaphorically.

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Soprano Tony Arnold

The work here is an exploration of language, sound and expression.  This most eclectic and ponderous of the selections is a wonderful opportunity to hear the considerable skills of resident vocalist Tony Arnold who sense of pitch and articulation are incredibly well-suited to this work.  Her performance leaves nothing to be desired and is likely as authoritative as it gets.  The work seems to require a great deal of concentration and coordination on the parts of all involved and ICE takes the opportunity to demonstrate their well-honed skills as they clearly listen to each other and go all out in terms of achieving the subtlety of expression required in this demanding and complex work.

As usual the Starkland recording is clear and detailed without the sense of claustrophobia that such detail can take on and the liner notes are useful without extraneous detail.  This is an ensemble to watch/listen for both for the performers and for the music they choose to program.  You won’t be disappointed.

 

 

 

 

 

Manhattan in Charcoal, a chamber opera by Gene Pritsker


Manhattan in Charcoal  COMCON 0021

Manhattan in Charcoal
COMCON 0021

The efforts to establish a new and functional role for opera in the late twentieth and early twenty first century have produced a wide variety of styles.  One can certainly see the 1976 Philip Glass opera Einstein on the Beach as a landmark in these efforts in the conventional opera house but the development of chamber opera pioneered composers like recent National Medal of Arts winner Meredith Monk and Eric Salzman (both of whom created innovative works in this genre before Einstein) deserve attention as well.

This recording appears to fit into that tradition of chamber opera.  Manhattan in Charcoal (2014) by Gene Pritsker with libretto by poet Jacob Miller requires six singers and a narrator along with a chamber ensemble of about a dozen musicians.  I don’t know much about how this piece has been staged but it works well as theater for the ears.

I knew little of Pritsker’s work prior to receiving this disc for review and I read that his repertoire of techniques range rather widely from classical, to jazz, rock and rap influences.  So I embarked on a bit of a learning mission.  Fortunately I found his You Tube channel here.  I found his web site a bit too busy and distracting even if it does seem quite comprehensive.  (I dare you to try to sleep after confronting his oeuvre.)

Here is a man born in Russia, moved to Brooklyn at age 8 and attended the Manhattan School of Music graduating in 1994.  While there he teamed up with conductor Kristjan Järvi to create the Absolute Ensemble.   He counts approximately 500 compositions ranging from solo pieces to orchestral and vocal works.  My journey of learning left my head spinning but it was not an unpleasant spin.  Pritsker’s work incorporates jazz, rap, beat boxing and eclectic instrumentation as well.  He has been active in the Manhattan downtown scene and may very well be the next generation of musical magicians to successfully grace that hotbed of musical eclecticism.

His style is mostly tonal and any experiments appear to have been done prior to the composition of the present work.  I must say that his eclecticism and embrace of a wide variety of musical devices puts me in the mind of some of Stravinsky’s work at  times.  But Pritsker is not derivative, rather he wields a large pallete.

What we have here is a form of cabaret, well suited to small venues and friendly to audiences.  It is well within the style and practice of such music and this piece is a good example of the updating of those traditions with contemporary instruments, music and modern performance practice.

The story is not unlike that of La Bohéme and, though hardly Puccini from a musical perspective, is as much a reworking of that old gem as West Side  Story was a reworking of Romeo and Juliet.  Here, however, we don’t see the romantic guise of Puccini but rather the unnecessary tragedy of a Romeo and Juliet beset not by family rivalries but by economic and social realities and perhaps by the inability to see them for what they really are.

This is apparently the first opera (of six) by Pritsker for which he did not write the libretto.  I’m not sure what impact that has had on his overall effort but his ability to set the English language to music is admirable.  All in all a thoroughly satisfying little drama which leaves the audience questioning these issues much as the protagonist has done.

End of an Era and a Summation: In the Mood for Food Dinner/Concert Series


Philip Gelb performing at the June 21, 2015 Garden of Memory Concert at Oakland's Chapel of the Chimes.

Philip Gelb performing at the June 21, 2015 Garden of Memory Concert at Oakland’s Chapel of the Chimes.

For a variety of reasons I have not been able to spend any time with this blog for the last month or two but recent events tell me that I must find the time to get back online and publish.  My apologies to all who are awaiting reviews and such.  They will now be forthcoming.

This past Saturday night June 27, 2015 is among the last of this East Bay series which has been with us for the last 10 years.  Philip Gelb, vegan chef extraordinaire, shakuhachi player and teacher has announced that he will be relocating to New York in the next few months.

I personally discovered this series shortly after I moved to the bay area.  In a nondescript West Oakland neighborhood in a modest loft live/work space I found a vegan dinner which also featured a performance by Bay Area composer/performer Pamela Z.  One concert/dinner and I was hooked.   The opportunity to meet and hear many wonderful musicians and enjoy the amazing culinary magic was just too much to resist.  I have been a regular attendee at many of these concerts and they all are valued memories.

Philip Gelb with Joelle Leandre at one of his dinner/concerts.

Philip Gelb with Joelle Leandre at one of his dinner/concerts.

Phil, who studied music, ethnomusicology and shakuhachi has been a familiar performer in the Bay Area.  In addition to performing and teaching the Japanese bamboo flute, Phil has run a vegan catering business and began this series some ten years ago modeled on a creative music series founded in part by the late Sam Rivers.  As a musician Phil has gotten to know many talented and creative musicians who performed on his series.  Phil is a friendly, unpretentious man with great talents which he successfully combined here.

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Phil and sous chef Cori preparing the evening’s feast.

The 20 seats were sold out for the annual Masumoto Peach dinner.  At the peak of the harvest each year Phil has put together multiple course dinners featuring locally grown organic peaches from the now four generation Masumoto family orchard near Fresno .  In fact a recent film (information on the Masumoto page linked above) has been made about them called, “Changing Seasons” and one of the filmmakers was in attendance.  There was a short discussion with Q and A at one point.

Happy diners anticipating the next course.

Happy diners anticipating the next course.

No music this night but wonderful food and friendly conversations filled the evening.  The meal began with, of course, a taste of the actual peaches.

sous chef Cori serving the peach halves that began the dinner.

sous chef Cori serving the peach halves that began the dinner.

The next course, a peach tomato gazpacho.

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Followed by a grilled peach salad with cashew cheese balls, arugula radicchio,, pickled red onions, and a cherry balsamic dressing.

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Oh, yes, a nice Chimay to quench the thirst.

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And then tempeh char siu wontons (from the local Rhizocali Tempeh), flat tofu noodles, a really great hot peach mustard and peach sweet and sour sauce.

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The main course: peach grilled seitan, peach barbecue sauce, roasted corn and peppers, and some crunchy fried okra.

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And, for dessert, peach rosewater cake with peach walnut sorbet.  As is his custom Phil went around offering more of that sorbet which most folks, present writer  included, availed themselves.

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This was a thoroughly enjoyable evening.

But, as I said, this tradition is coming to an end.  Not to fear, however.  Phil is in the process of writing a cookbook sharing the secrets of his culinary mastery and the book will also document some of the many musicians whose talents graced many an evening here.

La Donna Smith and India Cooke playing an improvised duet.

La Donna Smith and India Cooke playing an improvised duet.

Bassists Mark Dresser and Barre Phillips play together for the first time at In the Mood for Food.

Bassists Mark Dresser and Barre Phillips play together for the first time at In the Mood for Food.

The amazing Stuart Dempster at Phil's loft a few years ago.

The amazing Stuart Dempster at Phil’s loft a few years ago.

Gyan Riley, Terry Riley and Loren Rush attending the dinner/concert which featured Stuart Dempster.

Gyan Riley, Terry Riley and Loren Rush attending the dinner/concert which featured Stuart Dempster.

Pauline Oliveros and her partner Ione performing at a recent dinner.

Pauline Oliveros and her partner Ione performing at a recent dinner.

So this little sampling of photos provides some idea of the scope and significance of this series.  Happily it is being documented in a book for which an Indiegogo campaign is presently in process.  You can donate and receive any or many of a variety of perks ranging from a copy of the book for $40 and perks including an invitation to celebratory dinners planned in both New York and Oakland.  My copy and my dinner invite are reserved.

There are 34 days left in the campaign at the time of this writing and the project is now at 106% of its funding goal.  This is a piece of Bay Area music and culinary history that will please music enthusiasts and those who appreciate creative vegan cuisine.

Here is a list of musicians taken from the campaign site to give you an idea of the scope of the series:

Tim Berne – alto saxophone (Brooklyn)

Shay Black – voice, guitar (Berkeley via Ireland)

Cornelius Boots shakuhachi/bass clarinet

Monique Buzzarte – trombone, electronics (NYC)

Chris Caswell (2) – harp (Berkeley)

Stuart Dempster – trombone (Seattle)

Robert Dick (flute) NYC

Mark Dresser (2) – bass (Los Angeles)

Mark Dresser/Jen Shyu duet – bass, voice/dance

Sinan Erdemsel – oud (Istanbul)

Sinan Erdemsel/ Sami Shumay duet – oud, violin

Gianni Gebbia – saxophones (Palermo, Italy)

Vinny Golia- winds (Los Angeles)

Lori Goldston – cello (Seattle)

Frank Gratkowski (2) – clarinets, alto sax (Berlin)

Daniel Hoffman/Jeanette Lewicki duet violin, voice/accordion (Berkeley, Tel Aviv)

Shoko Hikage – koto (Japan-San Francisco)

Yang Jing – pipa (Beijing)

Kaoru Kakizakai (4) – shakuhachi (Tokyo)

Marco Lienhard shakuhachi (Zurich-NYC)

Mari Kimura – violin, electronics (Tokyo-NYC)

Yoshio Kurahashi (5) – shakuhachi (Kyoto)

Joelle Leandre – contrabass (Paris)

Oliver Lake – alto sax (NYC)

Riley Lee (2) shakuhachi (Australia)

Jie Ma – pipa (China, LA)

Thollem Mcdonas Jon Raskin duet piano/sax (wanderer/Berkeley)

Roscoe Mitchell – alto, soprano saxophones (Oakland)

David Murray – tenor sax (Paris)

Michael Manring (5) – electric bass (Oakland)

Hafez Modirzadeh – winds (San Jose)

John Kaizan Neptune – shakuhachi (Japan)

Rich O’Donnell – percussion (St. Louis)

Pauline Oliveros (2) – accordion (NY)

Tim Perkis/John Bischoff duet computers (Berkeley)

Barre Phillips solo and duet with Mark Dresser – contrabass (France)

Alcvin Ramos shakuhachi (Vancouver)

Tim Rayborn/Annette duet oud, strings, recorders (Berkeley/Germany)

Jon Raskin/Liz Albee duet sax/trumpet (Berkeley/Berlin)

Jane Rigler – flute (Colorado)

Gyan Riley (5) – guitar (NYC)

Terry Riley (2) – voice, harmonium (universe)

Diana Rowan (2) – harp (Berkeley/Ireland)

Bon Singer/Shira Kammen duet (voice, violin) (Berkeley)

LaDonna Smith/India Cooke duet (2) violin, viola (Birmingham, AL, Oakland)

Lily Storm/Diana Rowan – voice, harp (Oakland/Ireland)

Lily Storm/Dan Cantrell (2) – voice/accordion (Oakland)

Howard Wiley – tenor Saxophone solo and duet with Faye Carol voice

Theresa Wong/ Ellen Fullman duet

Amy X (3) – voice, electronics (Oakland)

Pamela Z – voice, electronics (San Francisco)

Game of the Antichrist, a spectacular new music drama by Robert Moran


 

Cover of Game of the Antichrist

Game of the Antichrist (Innova 251)

Despite the title, this is neither a Stephen King adaptation or that of a given miniseries.  This is an actual medieval mystery play which was performed to disseminate religious ideas during that period.  The medieval passion plays are better known but eclectic composer Robert Moran managed to find an actual drama and added to it his unique blend of experimentalism, minimalism, jazz and lyrical melodies to create this visually and musically striking (there is a Video here) setting of this forgotten little play.

Moran (1937- ) studied in Vienna with Hans Erich Apostel, a student of both Berg and Schoenberg.  He earned a master’s degree from Mills College having studied with Darius Milhaud and Luciano Berio.  He has produced everything from electronic music, to happenings involving whole cities and has written in musical styles derived from chance operations to minimalism and is not afraid to write beautiful melodies.  His collaboration with Philip Glass in The Juniper Tree (1985) is a fine example of his facility with vocal writing and music drama.

This drama is performed in a cathedral space and Moran takes advantage of the resonant space by the inclusion of Alphorns, harp and organ whose tones are transformed in part by that space.  Musical styles vary suited to the unfolding drama and work well with the staging of the piece.

Moran, who professes a love of opera since about the age of 9 or 10 has a great sense of the dramatic and for beautiful vocal writing.  He says he listens to operas all the time.  His 2011 Trinity Requiem was written for similar forces and performed in a similarly resonant space also to great effect.  And his sense of eclecticism allows him to select from a wide variety of musical styles and effects.

The end result is, for this reviewer, a very successful integration of the composer’s various skills and influences.  It would be hard to imagine a better setting of this piece.  He starts with an anonymous text from Quirinus Monastery Cloister Tegernsee in Bavaria ca. 1150 and, with Alexander Hermann, creates a realization for performance.  The piece is scored for children’s chorus, vocal ensemble, soprano, mezzo-soprano, counter-tenor, oboe, english horn, Alp horn, Bar piano and organ.  In addition there are two other defined ensembles consisting of harp (representing the Heathen and his Babylonian followers), guitar, recorders and synthesizer (representing the Synagogue and Jerusalem), trumpets, horn, trombone, bass trombone, tuba and percussion (representing the Church and its Devotees).

There are roles for dancers and, in the performance depicted on the CD cover, choreography by Jarkko Lehmus and Bettina Hermann design by George Veit and menacing puppets created by Fabian Vogel.  Unfortunately there are no current plans to release a DVD of this work but settling for the music alone is hardly a terrible sacrifice.  Moran brings his eclectic musical range, knowledge of opera and music theater combined with careful selection of dramatic text to create a piece that can work as aural theater as well.

The disc concludes with another piece, Within a Day (2014), of aural theater which, in this case, has no specified stage actions.  It is a collaboration with the Thingamajigs Performance Group, Edward Shocker’s improvisational ensemble.  It is an example of Moran’s ability to write less determined music as well as his ability to collaborate with other creative artists.  The piece premiered at San Francisco’s Center for New Music in January, 2014 and subsequently recorded in Lisser Hall at Mills College in May, 2014.  It is a collective improvisation based on what appears to be an indeterminate score by the composer.

This is a clearly different music with more abstract aims and it contrasts strangely with the music drama but this is a good example of Moran’s facility with the art of composition as well as collaboration (Can you get more collaborative as a composer than an indeterminate score?).  This more ambient sort of music is a little sonic theater for the mind based loosely on Moran’s interest in Tibetan texts invoking the gods and goddesses through their chants.

This disc made one of my best of 2014 and I highly recommend it for listeners interested in music drama and sound theater.