Professor Yeh has been assistant principal clarinet with the Chicago Symphony since 1977 when he was just 19. As a former Chicagoan I can recall that Yeh’s hiring seems to have marked a change in the more traditional image of an orchestral musician. In addition to being an inspiration to aspiring musicians of Asian heritage his media presence also drew interest from both listeners of Asian Heritage but also young listeners (I turned 21 when he was hired and was pleased to find an artist who communicated to me and my age group).
In addition to his duties with the CSO, he has actively supported music and music making in his adopted home town. It is his support for local composers that he showcases here. This disc features music by Alexander Tcherepnin (1899-1977), Stacy Garrop (1969- ), Leo Sowerby (1895-1968), Shulamit Ran (1949- ), Teresa Reilly (1976- ), and Robert Muczinski (1929-2010).
Alexander Tcherepnin, whose father Nikolai was a student of Rimsky-Korsakov, and whose sons, Serge and Ivan, along with grandsons Sergei and Stephan are all highly accomplished composers comprise a multigenerational artistic dynasty of sorts. Russian born Alexander taught in Chicago thus qualifying him for inclusion in Cedille recordings’ mission to promote artists with a “second city” connection. He is well represented in recordings but is less present in the concert hall these days. His brief Sonata in one movement for clarinet and piano (1939) takes the first track on this fine chamber music release. It is a deservedly popular recital piece with a style that sounds a bit like Shostakovich, one of his contemporaries.
Stacy Garrop is a favorite of this reviewer. Her work has been reviewed elsewhere in this blog. She is a freelance composer of immense talent and skill. Her work is featured on at least 12 Cedille albums as well as other labels. Phoenix Rising (2016-18) was originally for alto saxophone (subsequent versions were made for flute and for violin) is presented here in a world premiere transcription for clarinet. As with all her music, Garrop shows herself to be a master of color and texture. She uses both traditional and extended techniques to achieve her compositional visions. These can be challenging for performers but the end result is always worth the effort. Garrop derives inspiration, as she frequently does, from world mythology. Here, of course, the familiar Phoenix bird that lives some 500 years and rises again from the ashes of its funeral pyre.
Leo Sowerby, long associated with Chicago as an organist, composer, and teacher, is represented here by his 1944 clarinet sonata (here in its world premiere recording). Written in the year which saw him win the Pulitzer Prize for music (for Canticle of the Sun), this sonata takes on near symphonic dimensions in its four movements. Sowerby is generally well represented on recordings (8 discs on Cedille alone). His lyrical writing is expressive and accessible and it is perhaps just a matter of time before someone orchestrates this work to present it as a concerto. At just a bit under 30 minutes, it is the largest work on this release.
Shulamit Ran, Israeli/American composer and pianist, student of the great Ralph Shapey, 1991 Pulitzer Prize winner (for her 1989-90 Symphony), Andrew MacLeish Distinguished Service Professor Emerita at the University of Chicago is represented on this recording by her Spirit for solo clarinet (2017). The work is dedicated to the composer’s friend, clarinetist Laura Flax (1952-2017). This is its world premiere recording. Ran’s music has gotten some recordings but her large and substantial orchestral works like the Symphony and a fine Concerto for Orchestra remain unavailable on recordings (even more egregious is the general lack of representation of her mentor, Ralph Shapey’s music). This solo clarinet work is a testament to her compositional talents. Here’s hoping we get to hear more.
Teresa Reilly is a clarinetist, composer, and life partner of Mr. Yeh. The Forgiveness Train (2020) is described as, in part, a response to the COVID epidemic (Yeh notes that much of this album is similarly inspired). The three movement work is essentially a sonata with a loosely poetical program. It is a lyrical work with nods to minimalism and jazz. This is the world premiere recording.
The disc concludes with the four movement Time Pieces for clarinet and piano (1983). This work (the second longest on the disc) is, like the Sowerby piece, substantially a concerto that waits an orchestrator for the piano part. Robert Muczinski, Chicago born composer studied under Alexander Tcherepnin whose music opens this release. The Opus 43 work was commissioned and premiered by former CSO principal clarinet Mitchell Lurie with Muczinski at the piano.
Mr. Yeh is, as always, a joy to hear. He is most ably supported by pianist Patrick Godon on piano (tracks 1, 4-7, and 12-15) and, of course by (more properly with) Teresa Reilly (tracks 9-11). This release, from the Art Institute depicted in (Chicago artist) Steve Shanabruch’s distinctive cover art to the composers represented, is pure Chicago in the best ways.
This album is satisfying on several levels. It is a return to the label that contained the composer’s his first big release, the three disc set on DG which contained “Drumming” (1971), “Six Pianos”, and “Music for Mallet Instruments, Voices, and Organ” (both from 1973). Of course it was the ECM release of “Music for 18 Musicians” (1974-6) that became his signature work incorporating the experimentation heard in the music in that DG box set into the composer’s now familiar mature compositional language. The present release, also available on vinyl, seemingly reflects the post experimental composer’s grappling with the oh, so classical form of the string quartet. It’s a truly fine release and an homage to the composer.
Like many of his peers, Reich eschewed many of the conventions of western art music. His work at the San Francisco Tape Music Center helped him discover “phasing” and use of the speaking voice as a compositional element. His study with master drummers in Ghana taught him about quasi improvisational large ensembles and his subsequent study of Hebrew cantillation further refined his understanding of speech and song in his compositional contexts.
As he is quoted in the accompanying booklet, Reich never thought of attempting to use the string quartet form in his work. But along came the delightfully forward looking and genre breaking Kronos Quartet. That collaboration brought forth his landmark, “Different Trains” (1988). And the rest is, as they say, history. “Triple Quartet” for string quartet and tape (but no voices) came in 1998 and his WTC 9/11 (2010) which used sampled voices much as he did in Different Trains.
To be fair, Reich never appears to have intended to engage with the classical form of the string quartet (or any other classical forms for that matter). He uses the convenient availability of musicians sympathetic and sufficiently skilled to perform his compositions. The fact that they happen to be in string quartets is incidental. Much as the inclusion of a singer (as Schoenberg did) bent the quartet to fit his compositional goals, many have subsequently done similar alterations and additions to that classical ensemble. The difference is that Schoenberg adding a soprano, Kirchner (among others) adding electronics, etc. did so but clearly defined their works as “string quartets”. Reich did not do this but this disengagement with classical forms (string quartet, concerto, symphony, etc.) does not detract from the absolute quality of his music.
It would be unfair and would miss the point to try to judge these works via comparison and contrast with Haydn, Beethoven, Bartok, etc. In fact these works are not a part of that canon. Ultimately they stand on their own as part of Reich’s unique vision as a composer and, as such, they succeed very well.
WTC 9/11 and Different Trains are political statements with specific spoken word samples entered into a musical counterpoint. They succeed very well as protest and memorial for the respective events they frame. Triple Quartet, however, is absolute music concerned solely with Reich’s largely contrapuntal techniques of shifting repeated patterns. All three works succeed very well in their ability to engage audiences. All three are finely wrought compositions by by a major composer true to his maverick, experimental beginnings, true to the artist’s personal vision.
The Mivos Quartet does a fine job of navigating these technically difficult works and produce a fitting homage to a wonderful composer and make a strong case for the deeply substantial nature of this music. This is a great release. Highly recommended.
I had previously reviewed an Innova release by this fine Italian pianist whose compelling musical choices and interpretive skills make him one of the bright lights on the current musical scene. And his European perspective (and affinity for) American composers provide an extremely valuable perspective for both listeners and performers.
It comes as no surprise that that Innova album was produced during Philip Blackburn’s tenure and this release is another illuminating journey guided by Arciuli’s finely tuned curatorial and interpretive skills. The journey here focuses on the late post-minimalist William Duckworth (1943-2012).
The first 12 tracks comprise book I (of two) of Duckworth’s genre defining work, “The Time Curve Preludes” (1977-8). These have been recorded three times, first in 1983 by Neely Bruce (who premiered them in 1979 at Wesleyan). Bruce Brubaker recorded Book I in 2009 and R. Andrew Lee recorded the entire set in 2011.
In addition to Arciuli’s take on this composition (I expect a future release will contain Arciuli’s interpretation of Book II) we get a previously unrecorded set of songs for voice and piano, “Simple Songs About Sex and War” (1983-4) to texts by Hayden Carruth. Here Arciuli is joined by Costanza Savarese, a classical guitarist and vocalist, an artist new to this writer. Here she displays her vocal prowess in these pithy little songs reminiscent in some ways of Barber’s “Hermit Songs”.
Duckworth deserves more exposure and Arciuli’s work is always revelatory. So what Duckworth will be paired with the Book II recording? Delighted listeners want to know.
William Susman (1960- ) may not be a household name but, since my first encounter (purely by chance) with this man’s work I have heard, enjoyed, and reviewed several fascinating CDs of chamber music and film music which demonstrate a significant musical voice with some mighty substantial compositions. I don’t know how Mr. Susman feels about being called a “minimalist” but that is the most useful way I can convey with words his musical style. That much used word is a sort of catch all for what is in fact a plethora of compositional styles based in some basic, though hardly rigid, set of practices like static harmonies and repetition.
There are, as of this writing, four books of Quiet Rhythms (2010, 2010, 2012, 2013), each book contains 22 pieces further divided into 11 “Prologues” followed by 11 “Actions”. While I have only the vaguest idea of what processes the composer uses in these works (Book I at least) sounds to these ears like music which should share company with the likes of Terry Riley’s “Two Keyboard Studies” (1965), William Duckworth’s “Time Curve Preludes” (1977-78), Jeroen van Veen’s “Minimal Preludes” (four books1999-2013), Philip Glass’ “Etudes” (two volumes1994-2012). Spiritually they share a kinship with antecedents such as Bartok’s “Mikrokosmos” (six volumes1926-1939), and, ultimately I suppose, Bach’s “Well Tempered Clavier” (1722-1742). Yes, these are a diverse set of works for comparison, but to my ears they seem to share attempts to codify and/or experiment with their respective materials. They are the composers’ working out of their ideas.
And, in a delightful coincidence the pianist chosen to interpret these works is none other than Nicolas Horvath, a name that has graced these pages numerous times since our first online meeting in about 2014. Horvath has become a sort of pied piper for minimalist composers. He has performed solo recitals lasting up to 35 hours including Philip Glass’ complete piano music, a solo rendition of Erik Satie’s “Vexations” (1893-94), whose 840 repetitions were first performed by a tag team of pianists helmed by John Cage (of course) in 1963. He has also recently recorded all the piano music of little known French minimalist composer Jean Catoire (1923-2005) and numerous other projects including his own original compositions and sound/art installations.
Horvath was born to play this music and Mr. Susman kindly informed me that he will indeed record the remaining three books. This musician’s curatorial radar is as unique as it is accurate. That is, he knows good music when he sees/hears it and he searches far and wide. He delivers loving and authoritative performances here. It is, after all, his métier.
Susman’s etudes are experimental only in the sense of a composer exploring his inspiration, transcribing the dictation of his muses. The title “Quiet Rhythms” is quite apt as these are really kind of soothing in their harmony and meandering developments. And, more importantly, they have the weight of substance.
Three of these have been recorded before and I’m pleased to say that the remaining 8 compositions are equal in quality to the ones I’d already heard. Each numbered piece is actually two pieces, a prologue of 90-120 seconds followed by a more complex sounding work using similar methods. At first I had wanted to write about each of the pieces but I found myself enraptured by the music and insufficiently skilled in musicology to do a respectable analysis of these works.
So I’ve chosen to simply say that these are fascinating and engaging pieces whose structure is very much secondary to the quality of the musical content. These are truly post minimal works with a much wider harmonic palette than its minimalist predecessors. The sound is quite rich and the pieces engage the listener transporting them to a powerful emotional experience. The music echoes Steve Reich, Philip Glass, Terry Riley but they also are destined to share a place in the repertoire alongside similar works by William Duckworth, Jeroen van Veen, and Simeon ten Holt.
Horvath is truly in his element here and his performances are hypnotically engaging. I can’t imagine these works being done better but, that said, they are attractive concert pieces for adventuresome pianists to program. Above all these are listener friendly despite the feel that they are almost a sort of textbook or manifesto by the composer which describes in music his vision of minimalism/post-minimalism.
If you’re a fan of minimal/post-minimal music this is a must have. but beware and remember to budget for the forthcoming 3 discs. You will want them all.
OK, I admit that using the term “rogue” is a stretch. But titles of reviews should help draw the reader to it. And “clickbait” is the new “catchy”. But, in another sense one doesn’t generally think of the bass clarinet as a standalone recital instrument, even with electronics. Increasingly, it seems, new music purveyors are liberating instruments once unthinkable outside an orchestra or chamber ensemble. Jazz players have long used the bass clarinet as a solo instrument alongside the ubiquitous family of saxophones and the flute as the woodwinds that comprise most jazz ensembles,
Classical music has been slow to accept the bass clarinet until relatively recently. I don’t know when the first use of a bass clarinet either as a standalone solo or as part of a chamber ensemble occurred but certainly post 1950. Without getting in to the “whys” of this one can simply embrace the increasing presence of this instrument and its fascinating players.
Here, we get another of the subgenre of “COVID Isolation music”, itself a category worth further exploration.
There are five selections with composition dates ranging from 1983 to 2020 and composers from the still underappreciated Isang Yun to a new name, Hidiaki Aomori, a composer and friend of the soloist. And the remainder are risen and rising stars including the late conductor/composer Pierre Boulez, Grawmeyer Award winner Unsuk Chin, and the prolific Japanese composer Dai Fujikura.
The Fujikura work opens this isolated recital with a melancholy piece which appears to be a set of variations and has the character of a cadenza calling upon both technical and interpretive skills of the performer. And do I hear a nod to minimalism at the end? “Contour” (2020) is a fine opener where Lee displays her technical skills and insight to the composer’s vision.
Then its back to 1985 with one of the technical peaks of Boulez’ work at IRCAM, “Dialogue de L’Ombre Double” for bass clarinet with inscrutably complex electronics. This once leading edge example of the avant garde in its day actually sounds a bit dated but the soloist here seems to humanize the piece with her warm interpretation. And, despite what you may hear in the other tracks here, it is the only one using electronics on this disc.
Isang Yun (1917-1995), the late prolific Korean master is beginning to get more of a reckoning, and this 1983 piece, “Monolog for Bass Clarinet” is a fine entry to the expanding recorded oeuvre of this mid/late-twentieth century embattled and neglected genius. This piece speaks deeply of alone-ness.
Unsuk Chin (1961- ), a rising star and Grawmeyer Award winner is represented by a bass clarinet solo from her much lauded opera “Alice in Wonderland”. This stand alone solo, titled “Advice from a Caterpillar” is a maze of hallucinatory nods to Gershwin, Carl Stalling, and perhaps Prokofiev (in a “Peter and the Wolf” sense) using multiphonics and seems to expand the possibilities of this instrument to limits which might only be transcended with electronic assistance.
Hideaki Aomori‘s “Split” is a rather personal addition, a submission from one friend to another, a gift from one alone to another alone. It is another fine solo work which sits stylistically somewhere between the technical extremes of Boulez and Unsuk Chin and the more melodic work of Fujikura and Yun.
This is a very personal disc on many levels and it is a fine calling card by which to introduce listeners to this fine musician.
Receiving this album for review the fact is I actually shed a tear when, upon opening my mail, I found the cover of this album cause my emotions to jump to regions of nostalgic memories deeply treasured.
Another fact is that, due to COVID 19, the virtual stoppage of all live concerts, and shifts in my scheduling priorities I had stopped following the career of Mr. Gibson (1940-2020) for the last few years and I wasn’t even aware that this disc had been released. I had heard that he had died in October, 2020. Gibson is a musician I first encountered, as most people had, via his omnipresence at concerts of the Philip Glass Ensemble where he was a founding member. Gibson’s performances of the saxophone solo in Glass’ “Facades”, which I first heard in 1980, are forever etched in my memory. And I caught pretty much every concert they did in or near Chicago from 1980 to perhaps 2000. So that little personal history gives you some idea as to why seeing this album was a “gut punch” of emotion to me.
I lifted this discography of Gibson’s releases from discogs.com and it does not include his work the Philip Glass Ensemble in which he was a member since 1968. It is probably not definitive but it provides some perspective on Gibson’s range of repertoire and his musical affiliations.
The Dance (CD, Album) Orange Mountain Music 70072013
Relative Calm (CD, Album)New World Records 80783-22016
Jon Gibson’s Visitations Otoroku2017
Violet Fire – An Opera About Nikola Tesla (2xCD, Album) Orange Mountain Music70182019
Songs & Melodies, 1973-1977 (2xLP, Album) Superior ViaductSV1732020
David Behrman with Jon Gibson & Werner Durand -Viewfinder / Hide & Seek (LP, Album, Ltd)Black Truffle BT08220211
Gibson’s brand of minimalism resembles Glass’ at times but Gibson’s eclecticism, his mix of styles bear the fingerprints of a style which will be easily recognized by listeners familiar with some of his previous albums.
This is an album’s worth of music written for a performance piece with choreography by the wonderful Lucinda Childs (who choreographed Philip Glass’ “Einstein on the Beach” and commissioned Gibson in 1981 for this piece). Relative Calm (1981) is in four sections (or movements) each with its own character.
1. Relative Calm (Rise) (1981) Composed By, Wind, Keyboards, Autoharp, Sounds [Field Recording] – Jon Gibson Keyboards – Joseph Kubera Percussion – David Van Tieghem
2. Q-Music (Race) (1981) Composed By, Keyboards – Jon Gibson Keyboards – Joseph Kubera
3. Extensions RC (Reach) (1981) Sopranino Saxophone, Composed By – Jon Gibson
4. Return (Return) (1981) Keyboards – Joseph Kubera Percussion – David Van Tieghem Saxophone, Composed By – Jon Gibson
Gibson’s fondness for jazz is evident here but the dominant style is the composer’s brand of minimalism. Relative Calm was commissioned and choreographed by Lucinda Childs with decor by Robert Wilson, it received its world premiere by the Lucinda Childs Dance Company at Théatre National de Strasbourg in Strasbourg, France on November 26, 1981. It’s wonderful and it is a blessing to have this recording available.
This was released in 2016 on New World Records and is now available for streaming on Bandcamp. The excellent liner notes are by Kyle Gann and Dean Suzuki tell you pretty much all you need to know and the album sounds great. Thanks, Mr. Gibson, RIP.
Were it not for the wishes of some of my valued readers I would not produce such a list. It has no more validity other than, “These are my personal choices”. But there is some joy to be had in contemplating these past 12 months as I have lived them on this blog. So here goes.
First I have to tell everyone that March, 2022 will mark the 10th anniversary of this blog, a venture which has been a rich and exciting one. Future blogs will soon include, in addition to album/concert reviews, some articles on subjects which I hope will be of interest to the select group of people who read this material and who share my interest in this music (which I know can be anywhere from difficult to repulsive to many ears). But I have deduced that my readers are my community, a community of kindred spirits freed from the boundaries of geography, a number rather larger than I had imagined was possible and one that I’ve come to cherish. Bravo to all of you out there.
COVID 19 has reduced the number of live performances worldwide and I have not attended a live performance since early 2020. But, happily, musicians have continued to produce some amazing work, some of which gets sent to me, and a portion of that gets to be subjected to the analytic scrutiny of my blog.
My lack of attention to any music should never be construed as deprecatory, rather it is simply a matter of limited time to listen. So if I have provided a modicum of understanding or even just alerted someone to something new I am pleased and if ever I have offended, I apologize. All this is my personal celebration of art which has enhanced my spirit and which I want to share with others. Look what Ive found!!!
So, to the task at hand (the “best of” part):
The formula I’ve developed to generate this “favorites retrospective” has been to utilize WordPress’ useful statistics and look at the top viewed posts. From these most visited (and presumably most read) articles I produce a list of ten or so of my greatest hits from there. Please note that there are posts which have had and continue to have a fairly large readership from previous years and they’re not necessarily the ones I might have expected but the stats demand their inclusion here.
Following that I then toss in a few which are my personal faves (please read them) to produce what I hope is a reasonably cogent and readable list. Following my own description of my guiding principles I endeavor to present the perspective of person whose day job and energies are spent in decidedly non-musical efforts but whose interest and passion for new music drives this blog where I share those interests.
As a largely self taught writer (and sometime composer) I qualify my opinions as being those of an educated listener whose allegiances are to what I perceive as pleasing and artistically ideal based on my personal perception of the composer’s/performer’s intent. I am not a voting member for the Grammys and I receive no compensation for favorable reviews. I have the hope/belief that my blogs will ultimately garner a few more listens or performances of art that I hope brings my readers at least some of the joy I feel.
New Music Buff’s Best of 2021
As of this writing I have published 37 blog posts in 2021. COVID, job and personal stressors have resulted in my failing to post at all in December, 2020, January, June, and July of 2021. And only one post in February, 2021. Surprisingly I have managed to get just over 9300 views so far this year (a little more views than last year actually) and it is my plan to publish 4-5 blogs per month going forward into my tenth year.
Not surprisingly, most of my readers are from the United States but I’m pleased to say that I’ve had hits from 192 countries at last count. Thanks to all my readers, apologies to the many countries who didn’t make the cut this year (you’re all welcome to try again in 2022). So, following the United States here are the subsequent top 25 countries who have viewed the blog:
Canada, United Kingdom, Germany, China, France, Netherlands, Spain, Australia, Ireland, India, Italy, Turkey, Nigeria, Japan, Brazil, South Korea, Denmark, Belgium, Sweden, Finland, Russia, Poland, Philippines, Ghana, Norway.
Top Ten Most Read of 2021
The following are the most seen articles of 2021. Some of these are articles whose popularity surprise me as they were written some time ago and are not necessarily, in my opinion, my best work. But readership is readership and I am grateful for that.
Top article, Linda Twine, a Musician You Should Know. Twine is a musician and composer who has worked for some years in New York theater. I chose to profile her and I guess she is well liked because this article from 2018 is one of my top performers. Kudos, Ms. Twine.
Next up is, The Three Black Countertenors, an article suggested by my friend Bill Doggett whose website is a must visit for anyone interested in black classical musicians. This one, from 2014, continues to find readers. It is about the first time three black countertenors appeared on the same stage. Countertenors are themselves a vocal minority when considered in the company of sopranos, baritones, tenors, contraltos, and basses. Being black adds another level of minority in the world of operatic voices so this was indeed historic.
Art and the Reclamation of History is the first of the articles written this year to make the top ten most read. It is about a fabulous album and I hope more people read about it. This Detroit based reed quintet is doing something truly innovative. You really need to hear this.
Number four is another from this past year, Kinga Augustyn Tackles the Moderns. This album, kindly sent to me by the artist is worth your time if you like modern music. This young Polish/American violinist has both technique and vision. She is definitely an artist to watch.
Number five is a truly fabulous album from Cedille records, David Schrader Plays Sowerby and Ferko. This double CD just fires on all cylinders, a fine artist, excellent recording, interesting and engaging repertoire, amazing photography, excellent liner notes, and love for all things Chicago. This one is a major classic release.
The Jack Quartet Plays Cenk Ergun was a pleasant surprise to this blogger. The Jack Quartet has chosen wisely in deciding to release this recording of new string quartet music by this young Turkish composer of serious substance. I’m glad that many folks read it.
Number seven on this years hit list among my readers is another album sent directly to me by the artist, one whose work I had reviewed before.
Catherine’s Oboe: Catherine Lee’s New Solo Album, “Alone Together” is among the best of the COVID lockdown inspired releases that flooded the market this year. It is also one of the finest examples of the emerging latest generation of “west coast” composers. Dr. Lee is a master of the oboe and related instruments and she has been nurtured on the artistic ideas/styles that seem to be endemic among composers on the west coast of the United States. She deserves to be heard.
Number Eight is an article from 2014, Classical Protest Music: Hans Werner Henze’s “Essay on Pigs” (Versuch uber Schweine). This 1968 noisy modernist setting of leftist political poetry combines incredible extended vocal techniques with the dissonant modernism of Hans Werner Henze’s work of that era. Also of note is that his use of a Hammond Organ and electric bass guitar was allegedly inspired by his having heard the Rolling Stones. It’s a classic but warn anyone within earshot lest they be terrified.
As it happens there is a three way tie for the number ten spot:
Black Composers Since 1964: Primous Fountain is one of a short series of articles I wrote in 2014. I used the date 1964, 50 years prior to the date of the blog post, because it was the year of the passing of the (still controversial) voting rights act. As a result of this and a few related articles I have found myself on occasion categorized as a sort of de facto expert on black music and musicians. I am no expert there but I have personally discovered a lot of really amazing music by black composers which is way too little known and deserves an audience.
I am pleased to tell you that this too little known composer (and fellow Chicagoan) is being recognized by no less than Michael Tilson Thomas who will conduct an entire program of his works in Miami next year. If my blog has helped in any way then I am pleased but the real honors go, of course, to Mr. Fountain and Mr. Thomas (who first conducted this composer’s music many years ago). Stay tuned.
And the third contender for my tenth most read of 2021 is, Kenneth Gaburo, the Avant-Garde in the Summer of Love. This is among the first volley of releases on the revived Neuma label with Philip Blackburn at the helm. Blackburn’s instincts guided Innova records to release many wonderful recordings of music rarely on the radar of larger record companies and this first volley was a harbinger of even more wonderful releases to come. Just do a Neuma search and see what I mean.
The Ones That Didn’t Make the Top Ten
I would be negligent and boringly formulaic to simply report on these top ten. This is not a democratic blog after all, lol. So here are my choices for the ones that many of my dear readers may have missed and should definitely check out. It is anything but objective. They are, in no particular order:
Dennis Weijers: Skill and Nostalgia in an Auspicious Debut Album is a sort of personal discovery for me. This reworking of Philip Glass’ “Glassworks” and Steve Reich’s “Variations for Winds, Strings, and Keyboards” scored for solo accordion and electronics pretty much knocked me over as soon as I heard it. Read the blog to see why but you have to hear this. This is NOT your granddaddy’s accordion.
Vision, Virtuosity, and Interpretive Skill: Igor Levit’s “On DSCH” is an album I just can’t stop listening to. I raved about his earlier set of piano variations by Bach, Beethoven, and the late Frederic Rzewski and I look forward to this man’s musical vision as he expands the concert repertoire with works you probably haven’t heard or at least haven’t heard much. You owe it to yourself to watch this artist.
Black Artists Matter: The Resurrection of the Harlem Arts Festival, 1969 is one of the relatively few times when I write about so called “pop” music. It is wholly unconscionable that these filmed performances from 1969 (many of which predated Woodstock) languished for 50 years in the filmmaker’s basement and were nearly lost. One of the recurring themes in this blog is the lament over unjustly neglected music and this is a glaring example. I was delighted to see that the filmmaker Questlove received an award at the Sundance Festival for his work on this essential documentary of American music.
Less “flashy” but sublimely beautiful is Modern Tuning Scholarship, Authentic Bach Performance: Daniel Lippel’s “Aufs Lautenwerk”. This is a masterpiece of scholarship and a gorgeous recording on a specially made Well-Tempered Guitar played with serious passion and interpretive genius by a man who is essential to the productions of New Focus recordings as well as being a fine musician himself. Read the review or the liner notes for details but just listen. This is another one that I can’t stop listening to.
Unheard Hovhaness, this Sahan Arzruni album really rocked my geeky world. Arzruni, a frequent collaborator with Hovhaness turns in definitive performances of these previously unheard gems from the late American composer. A gorgeous physical production and a lucid recording make this another disc that lives on my “frequently played” shelf.
New Music from Faroese Master Sunleif Rasmussen with soloist Michala Petri is an album of world premieres by this master composer from the Faroe Islands. It is also a tribute to the enduring artistry of Michala Petri. I had the honor and pleasure of meeting both of these artists some years ago in San Francisco and anything they do will demand my attention, they’re that good.
Last but not least, as they say, Robert Moran: Points of Departure is another triumph of Philip Blackburn’s curation on Neuma records. I have personally been a fan of Moran’s music since I first heard his work at the Chicago iteration of New Music America in 1982. Blackburn’s service to this composer’s work can be likened to similar service done by David Starobin at Bridge Records (who have embarked on complete works projects with several contemporary composers) and Tom Steenland’s work with Guy Klucevsek and Tod Dockstader at Starkland records. Blackburn had previously released the out of print Argo recordings of Moran’s work and now, at Neuma has released this and a few other new recordings of this major American composer’s work.
My apologies to the albums I’ve reviewed which didn’t make it to this year’s end blog but I have to draw a line somewhere. Peace, health, and music. And thank you for reading.
Laura Kaminsky (1956- ) is a native New Yorker and has plied her trade there for some time. So how does she wind up on a label so intimately dedicated to Chicago music and musicians? Well, the answer is simple, Ursula Oppens. Oppens (a member of the American Academy of Arts and Sciences) is also a New Yorker but her 14 year tenure as Distinguished Professor of Music at Northwestern University (1994-2008) certainly qualifies her as a valued Chicago artist. Realistically she is a highly accomplished and world renowned musician with an admirable history of supporting new music through her many definitive performances and recordings. With the exception of Fantasy, all the music here was commissioned by and/or written for Ursula Oppens, (Reckoning written for Oppens and Lowenthal destined for this recording).
This very welcome disc features three major works: Piano Quintet (2018), Fantasy (2010), and Piano Concerto (2011). as well as Reckoning: Five Miniatures for America (2019), a set of miniatures for piano four hands. As noted on the back cover, all are world premiere recordings. And these are very fine, actually definitive recordings. The Quintet, Fantasy, and Reckoning were all recorded at Brooklyn College, the concerto at Arizona State University. All were produced by the wonderful Judith Sherman and mastering was done by the equally wonderful Bill Maylone.
While Kaminsky works in a largely tonal post-modern idiom, this is not populist music, rather it is music by an accomplished composer who works well within such a medium. Her work is compelling and intriguing as well as entertaining.
Let’s start with the Piano Quintet. This medium is strongly associated with the romantic era. Piano Quintets by the likes of Franz Schubert, Robert Schumann, and Johannes Brahms largely define the genre and there are many lesser known examples which were produced well into the early 20th century. The genre seems to be enjoying a re-emergence and even modernists like Elliott Carter and Iannis Xenakis have penned masterworks in this form.
Kaminsky’s Piano Quintet is very much in the classical/romantic style. It is cast in three movements some of which reflect the variety of influences in her compositional palette. Her compositional skills allow her to evoke pretty much whatever emotion she chooses. Her style shows influences and echoes from classical forms, jazz, pop, minimalism all integrated into a largely tonal/post romantic style which easily engages listeners and manages to be highly expressive. The three movements are generally modeled on classical forms but Kaminsky manages to personalize her wide stylistic gestures and create a work that is celebratory rather than derivative. That said this piece is quite a ride for the listener as well as a significant addition to the repertory.
The Fantasy is a large and challenging work which ventures through a variety of styles and moods. This is a big work whose pianism reminds this writer of Rzewski and his rather Lisztian virtuosity. It might as easily be called, “rhapsody” for its rapid transitions of mood and style. Oppens manages to give form to this complex piece that does not appear to be easily interpreted by any but the best musicians.
The five miniatures that comprise Reckoning are brief but powerful statements written for Oppens and her sometime collaborator, Jerome Lowenthal, another highly skilled artist whose collaboration on a previous Cedille release, the Rzewski “People United” variations. These two are a good match of technical skills as well as interpretive ability.
The concerto is the big work here. Cedille saves the best for last notwithstanding the preceding masterful compositions. Here in a large orchestral piece with piano, Kaminsky demonstrates even more clearly her facility with instrumental colors which she uses to great effect in this grand concerto.
It is a piano concerto very much in the tradition of the classical soloist/orchestra which features the pianistic skills of the soloist. The orchestral “accompaniment”, if one can even call it by that name, derives more from the grand romantic tradition utilizing a large orchestra to which is given the role of coordinating with the pianist. But here the orchestra is given technical challenges nearly equal to the solo piano part. This is as grand as a Brahms concerto with the orchestra given a great deal to do and for the listener to enjoy. In addition to the nearly athletic, fingerbusting piano part, there are delightful passages in the orchestral playing that sort of sneak up on and charm the listener.
Kaminsky’s Piano Concerto was reportedly inspired by visual images of sunlit rivers in New York City and St. Petersburg, Russia. Oppens gave the world premiere with the St. Petersburg Chamber Philharmonic led by its artistic director Jeffery Meyer. On this world-premiere recording, Meyer, who is also director of orchestras at Arizona State University, conducts the ASU Symphony Orchestra and, like Oppens, meets a very challenging task with both grace and insight.
Kaminsky is a solid, disciplined composer who produces music of substance which intelligently engages audiences. This is a fine introduction to her work or a fine addition to an already established collection of her music. Her music was unknown to this writer’s ears before hearing this album and now leaves me wanting to explore more of the work of this fine American composer.
This Lou Harrison (1917-2003) concerto is one of his lesser known works largely due to the unusual instrumentation and the labors needed to tune the piano to the gamelan orchestra. A quick search revealed previous recordings, one by its dedicatee, Belle Bulwinkle with the Bay Area New Gamelan (BANG) recorded at Mills College (and overseen by Jody Diamond) from 1992 (now out of print) and one by pianist Adrienne Varner with Gamelan Pacifica (artists who participated with Harrison during his residency at the Cornish College of the Arts in Seattle) on New World records from 2012.
As a dedicated Harrison fan, I can’t imagine why this work is not better known. It is, in fact, Harrison’s second piano concerto, the first being his 1985 concerto for piano and orchestra. This first concerto has received two recordings by Keith Jarrett (the concerto’s dedicatee) and, more recently by Joanna MacGregor. This concerto also requires tuning the piano but to a just intonation scale, not to the orchestra as in the second concerto. All these recordings were made with significant collaboration with the composer. And here now is a chance to hear this second concerto in a new and defining recording by the next generation of musicians, all of whom have had significant and long term relationships with Mr. Harrison.
The details and complexities of tuning and notation are beyond the scope of this review and, indeed, beyond the expertise of this writer. But suffice it to say that though the performers must run quite a gauntlet of complexity, the listener will likely find this music very accessible. I have included a link here to a PDF of the original score for those who want that sort of detail but this is simply beautiful music when well executed as it is here in this performance.
This new recording of the Concerto for Piano and Gamelan was performed and recorded at the Cleveland Museum of Art in 2017, part of the celebration of Harrison’s centennial. It was one of many such celebrations worldwide of a true American master.
This 1986-7 work is from a very productive period in Harrison’s life and demonstrates his deep understanding of writing music for Javanese Gamelan which he studied for many years in Indonesia and later with Jody Diamond. His mixing of western classical music with that of other cultures is one of his claims to fame as is his interest and application of non-traditional tunings and scales. This concerto is one of many pieces he wrote for gamelan and western instruments during the aforementioned residency at the Cornish School in Seattle, Washington.
One of the most striking things about Lou Harrison for this writer has been his connectedness. He was collaborative and very inclusive. He touched many lives via his composition, his teaching, and his general openness to others. Harrison was born in 1917 in Portland, Oregon and this recording is a document of one of the many centennial celebrations of his music which occurred world wide. At one of those events, Other Minds 22, held at the beautiful Mission Dolores Basilica in San Francisco (a church where Harrison went to learn to sing Gregorian Chants as a young man) the master of ceremonies, Charles Amirkhanian took an informal poll of the large audience. He simply asked how many people there had met Lou Harrison. Indeed about 2/3 of the audience raised their hands (this writer included).
Harrison was very connected and his influence continues, a fact very much in evidence in this release. This is one of those discs I would buy just for the performers. Sarah Cahill, Jody Diamond, and Evan Ziporyn are all highly accomplished performers, all with deep connections to Mr. Harrison. Cahill, a very fine pianist with an encyclopedic knowledge and real feeling for modern repertoire, can always be counted upon to provide definitive, exciting interpretations of music which deserves to be heard. Her facility with west coast composers as well as her collaborative relationship with many of them makes her an ideal choice to play scores by the likes of Terry Riley, Dane Rudhyar, Henry Cowell, John Adams, Frederic Rzewski, Pauline Oliveros, Ingram Marshall, and Lou Harrison to name just a few.
Cahill writes in the wonderful liner notes:
“One of the great pleasures of studying Harrison’s music involves his community, as his friends and colleagues have continued his legacy and performance practice. For the Concerto for Piano with Javanese Gamelan, I consulted Belle Bulwinkle, to whom the concerto is dedicated, and met with musicians with the most intimate knowledge of Harrison’s music, including Robert Hughes and William Winant. Best of all was performing the piece with Jody Diamond, who worked so closely with Harrison on his gamelan compositions and was so essential to the premiere in 1987, and with Evan Ziporyn, who has championed Harrison’s music for decades. Our work together culminated in performing and recording at the Cleveland Museum of Art, which brings together its extraordinary collections of Eastern and Western art “for the benefit of all the people forever.” It’s hard to imagine a better home for Lou Harrison’s concerto.”
The Pasadena, CA born Jody Diamond is a composer/performer and scholar who has worked with Gamelan for many years. She was one of the founding members of Gamelan Son of Lion, an American Gamelan ensemble which continues to play traditional music and collaborations with western contemporary composers. She studied gamelan in Indonesia on a Fulbright Fellowship. Diamond writes in the liner notes regarding her relationship with Harrison:
“Jody, you better go help Lou, because he won’t know what all the instruments are supposed to do.” This instruction from my teacher, the eminent K. P. H. Notoprojo, followed his 1976 invitation to Lou Harrison to compose for a Javanese gamelan. This was the beginning of my relationship with Lou, one that would continue until his death in 2003. During that time, I was Harrison’s gamelan teacher, orchestrator, music director, publisher, and friend. Lou and his life partner, Bill Colvig, were the witnesses at my wedding and “honorary Grandpas” to my daughter.
Evan Ziporyn, born in Chicago, Illinois, is the only Midwesterner in the group but his connections and musical proclivities make him a very comfortable fit with Diamond and Cahill. He is a composer, clarinet and saxophone player and, wait for it, a gamelan player. He studied gamelan in Indonesia with the same person who introduced Colin McPhee (1900-1964) to gamelan. McPhee is known for having been the first westerner to do an ethnomusicological study of gamelan. Ziporyn is the founder and director of MIT’s Gamelan Galak Tika which counts Jody Diamond as a former member.
The concerto is cast in three movements much as in the classical style. The first movement is entitled “Bull’s Belle” and is the longest of the three movements. The piano takes the lead and the gamelan enters at first almost unnoticed as its gentle tinkling notes seem as if they come from the piano. This is not the classical call and response between soloist and orchestra best displayed in the classical era (think Mozart) but rather an integration much closer in ways to a baroque concerto grosso where the solo instrument is not as clearly differentiated from the other instruments (think Bach). The piano writing is generally rather muscular and Brahmsian but the sound will remind listeners of the music of Alan Hovhaness and even echoes of Keith Jarrett’s solo improvisatory efforts.
The second movement is without a title. The gamelan opens with its gentle chime like percussions and the piano enters almost surreptitiously mirroring the entrances which occurred in the first movement. Like a classical concerto this is a slower movement with a more lyrical and overall less virtuosic feel.
The third and final movement is entitled, “Belle’s Bull”, begins with the gamelan entering first and then the piano. This movement has a lighter feel overall than the grand first movement and even introduces some minimalist repetition passages.
All told this is a performance against which all subsequent performances should be measured. It is a fitting tribute to Lou Harrison, his instrument builder and life partner Bill Colvig as well as a landmark in the performing careers of Cahill, Diamond, and Ziporyn.
I know this review is “late out the gate” but this disc really needs to be heard. When I did finally listen to this disc in its entirety while on a long drive I was positively mesmerized. This odd mixture of 1/4 tone tunings along with post minimalist repeating patterns takes on the character of drone as well as its own take on minimalism and even spectralism to some degree. These three homages are gestures of respect to three composers whose work obviously has great meaning for Georg Friederich Haas (1953- ). The composers selected for these homages are György Ligeti (1923-2006), Josef Matthias Hauer (1883-1959), and Steve Reich (1936- )
It echoes a similar work by Ligeti, Three Pieces for Two Pianos – Monument – Selbstportrait mit Reich und Riley (und Chopin ist auch dabei) – Bewegung (1976) but with conventional tunings. Haas has had a long interest in microtonal music by composers like Ivan Wyschnegradsky, Alois Hába, as well as the music of Pierre Boulez and Luigi Nono.
It is easy to see why he chose Ligeti for the first homage (written in 1984). Haas’ work owes much to Ligeti’s influence including dissonant harmonies and micropolyphony. This first homage is the longest, clocking in at about 30 minutes. And Steve Reich has met with admiration and homages from many fellow composers but I must admit to having been stumped at the inclusion of Hauer’s work. This one I had to look up. Hauer was a Austrian composer whose substantial oeuvre is not really well known in the United States but deserves at least a second look. Hauer created his own 12 tone system apparently in parallel with Arnold Schoenberg but achieved little recognition despite a large catalog of works. That appears to be the reason why he was chosen. Hauer’s homage is placed second in this performance and Reich’s is last. Both the Hauer and Reich homages were written in 1982. And though this piece requires 2 pianos it also requires only the two hands of a talented pianist.
Mabel Kwan‘s recording is the world premiere of this work which is among Haas’ earliest published works (having heard it a couple of times it is difficult to imagine why it waited so long for a recording). Kwan, a founding member of the Chicago based Dal Niente (whose name literally means, “from nothing” but is used in music to indicate basically a long diminuendo, a fade) is no stranger to new and experimental music.. Her musical credentials are extensive and this world premiere recording is a major feather in her musical cap and a demonstration of her formidable interpretive and performing skills. Brava! Ms. Kwan.
I don’t recall when I first heard Guy Klucevsek but I think it was the early 90s. I grew up hearing a great deal of accordions in polka bands at weddings throughout my childhood. This instrument had, pretty much since its beginnings in the early 19th century, been associated primarily with folk bands and not at all with classical music. I don’t think one can find an accordion used in a classical orchestra before Tchaikovsky’s 1822 Second Orchestral Suite and only sparingly after that. So when I discovered this New York musician via his releases on the Starkland label, Transylvanian Software (1999) and Free Range Accordion (2000) and the CRI disc Manhattan Cascade (1992). I was curious to see what this musician would do with this traditionally “low brow” folk instrument.
I had come to trust the Starkland label (which began in 1991) as one whose releases were usually very much to my taste and I was not disappointed to hear Klucevsek’s playing of pieces written by him and other composers for this instrument. Unlike Pauline Oliveros who did much to expand the very nature of the instrument itself, Klucevsek retained, and sometimes parodied, the humble folk/pop origins and reputation of the instrument while still pursuing its possibilities in the New York downtown experimental music scene where he worked with people like Laurie Anderson, Bang On a Can, Brave Combo, Anthony Braxton, Anthony Coleman, Dave Douglas, Bill Frisell, Rahim al Haj, Robin Holcomb, Kepa Junkera, the Kronos Quartet, Natalie Merchant, Present Music, Relâche, Zeitgeist, and John Zorn among many others. Klucevsek expanded the role of the accordion in his own way.
Klucevsek later put together a commissioning project called, “Polka from the Fringe” (1992), a project which echoes the 1981 “Waltz Project” by Robert Moran and presages another accordionist William Schimmel’s “The Tango Project” of 2006. All of these commissioning projects utilized dance forms common in the 20th century as a “stepping off” place for a new musical piece. And it was Starkland which rescued the fascinating two disc release of Polka from the Fringe (2013) from over two decades languishing in “out of print” status. These projects are significant in that they invite composers to get out of their comfort zone and demonstrate their take on the given dance form. Like Klucevsek’s earlier releases this Polka collection is a veritable Who’s Who of working composers of the era much as the Variations (1819) project of Anton Diabelli collected some 51 composers’ works based on Diabelli’s waltz-like theme (Beethoven’s gargantuan set of variations was published as volume 1 and the other 50 variations in volume 2 which included composers like Schubert and Liszt).
So here comes Starkland to the rescue again in this (languished for some 25 years after only having been available for two years) very personal recording which displays Klucevsek’s substantial compositional chops as well as his knowledge and use of extended instrumental techniques for his instrument. It presents pieces written for a dance performances and shows a very different side of Klucevsek, one which shows more of his substance as a composer alongside his virtuosic skills on his instrument. In this digital only release there is an option to include (for a mere $3.00 more on the Bandcamp site) a series of 13 videos featuring Guy Klucevsek talking about the music on this album and his various musical interests. A gorgeous 10 page booklet providing further detail including the original liner notes with updates is included in all purchases. The album will also be available on Spotify, You Tube, and other streaming services but the videos are only available on Bandcamp.
Listeners may find this new release has some in common with Starkland’s previous Klucevsek release from Starkland, “Teetering on the Verge of Normalcy” (2016) which features some similar compositional diversity in a disc entirely of Klucevsek’s works. The line from Citrus, My Love to Teetering on the Edge of Normalcy seems to be a logical succession in Klucevsek’s compositional development. In addition to his accordion studies Klucevsek studied composition in Pittsburgh but it was the influence of Morton Subotnick with whom he studied in his independent post graduate work at the California Institute of the Arts that exposed this east coast artist to some of the splendors of the west coast encountering artists like Terry Riley and Pauline Oliveros. Indeed Klucevsek can be said to be “bi-coastal” in his compositional endeavors. And though this is a “tongue in cheek” characterization it does speak to the roots of Klucevsek’s diversity in style.
There are 12 tracks on “Citrus, My Love” representing 3 separate works: the three movement, “Passage North” (1990), the single movement, “Patience and Thyme” (1991), and the eponymous, “Citrus, My Love” (1990) in 8 movements. The production of this album is by none other than Bobby Previte, another valued east coast musician and colleague. The notes have been updated under the guidance of Tom Steenland with input from Klucevsek who, understandably, expresses great joy in having this album available again.
The first three tracks are dedicated to a single work, “Passage North” (1990) written for accordion and string trio consisting of Mary Rowell, violin/viola, Erik Friedlander, cello, and Jonathan Storck, double bass. They are dubbed “The Bantam Orchestra”. This Copland-esque work was commissioned by Angela Caponigro Dance Ensemble. The second movement is for string trio alone and is dedicated to the memory of Aaron Copland who died in 1990.
Patience and Thyme (1991) according to the composer “is a love note to my wife, Jan.” He composed the work while in residence at the Yellow Springs Institute in Pennsylvania, which coincided with his 22nd wedding anniversary. It is scored for piano and string trio, no accordion. Compositionally it seems at home between the larger pieces.
Citrus, My Love was commissioned by Stuart Pimsler for the dance of the same name. It is in 8 scenes and is scored for Klucevsek’s accordion accompanied by his personally chosen Bantam Orchestra. Klucevsek describes the music on this album as representing his transition from hard core minimalism to a more melody driven style and this is the missing link, the “hole” to which I referred in the Beatles metaphor in the title of this review.
For those who already appreciate Klucevsek’s work this album is a must have. To those who have not gotten to know this unique talent this is a good place to start.
For those seeking to get more deeply into Klucevsek’s work (a worthwhile endeavor) and to provide a perspective on the range of this artist’s work I’m appending a discography (shamelessly lifted and updated from the Free Reed Journal) :
Scenes from a Mirage (Review) Who Stole the Polka? (out-of-print) Flying Vegetables of the Apocalypse (Experimental Intermedia) Polka Dots & Laser Beams (out-of-print) Manhattan Cascade (CRI) Transylvanian Softwear (Starkland) Citrus, My Love (Starkland) Stolen Memories (Tzadik) Altered Landscapes (out-of-print) Accordance with Alan Bern (Winter & Winter) Free Range Accordion (Starkland) The Heart of the Andes (Winter & Winter) Tales from the Cryptic with Phillip Johnston (Winter & Winter) Notefalls with Alan Bern (Winter & Winter) Song of Remembrance (Tzadik) Dancing On the Volcano (Tzadik) The Multiple Personality Reunion Tour (Innova) Polka From The Fringe (Starkland) Teetering On the Verge of Normalcy (Starkland)
Great Jewish Music: Burt Bacharach, Who Gets the Guy?, This Guy’s in Love With You (Tzadik) Planet Squeezebox, The Grass, It Is Blue, Ellipsis Arts Legends of Accordion, Awakening (Rhino) The Composer-Performer, Samba D Hiccup (CRI) Koroshi No Blues, Sukiyaki Etoufee, Maki Gami Koechi (Toshiba EMI) Norwegian Wood, Monk’s Intermezzo, Aki Takahashi (Toshiba EMI) Music by Lukas Foss, Curriculum Vitae (CRI) Here and Now, Oscillation No. 2, Relache (Callisto) A Haymish Groove, Transylvanian Softwear (Extraplatte) A Confederacy of Dances, Vol. I. Sylvan Steps (Einstein) A Classic Guide to No Man’s Land, Samba D Hiccup (No Man’s Land)
WITH JOHN ZORN
The Big Gundown (Nonesuch Icon) Cobra (Hat Art) Lost in the Stars: The Music of Kurt Weill, Der Kleine Leutnant Des Lieben Gottes (A&M)
On Edge (Mode) Open Boundaries, Parterre (Minnesota Composers Forum McKnight Recording) Pauline Oliveros: The Well and The Gentle (Hat Art)
Laurie Anderson: Bright Red (Warner Bros) Anthony Braxton: Four Ensemble Compositions, 1992(Black Saint) Mary Ellen Childs: Kilter (XI) Anthony Coleman: Disco by Night (Avante) Nicolas Collins: It Was a Dark and Stormy Night (Trace Elements) Fast Forward: Same Same (XI) Bill Frisell: Have A Little Faith (Elektra Musician) David Garland: Control Songs (Review) Robin Holcomb: Rockabye (Elektra Musician) Guy Klucevsek/Pauline Oliveros: Sounding/Way, private cassette release (out-of-print) Orchestra of Our Time: Virgil Thomson, Four Saints in Three Acts (Nonesuch) Bobby Previte: Claude’s Late Morning (Gramavision)
I feel as though this artist is a personal discovery for me. Whilst surfing You Tube I found a series of his videos which greatly appealed to me and I contacted him via email. I learned that he was about to release his debut as a solo artist. The logistics of sending CDs by mail “across the pond” as the saying goes are fraught with financial and logistical hurdles so I was glad to find that he was releasing via Bandcamp, a music vendor and streaming service whose business model appeals more to me every day. This album is also available on Amazon music and probably other streaming sites as well.
Let me first issue a disclaimer, to wit: that I am an unreformed and unashamed Glass groupie whose live performances with his ensemble will doubtless comfort me well into my waning years. Those memories echo in my head even now.
“Dennis Weijers is a Dutch musician and composer. He followed a traditional education at the conservatories of Rotterdam and Enschede, and got in touch with experimental electroacoustic music after moving to Berlin. Dennis started to merge his accordion with electronics. Dennis works with a variety of instruments and gear (from accordions and modular synths up to a 1948 wire recorder, tape machines and more curiosities). In 2018 he did a concert series in which he performed the complete version of Philip Glass’ Glassworks. In 2021, his debut album Accordion + Modular Synthesizer was released.”
The present disc is apparently one of those “crowd sourced” deals which allows public funding for a given project not easily funded otherwise. I missed this project but I will be on board for his next release. So I delved into his online presence and found a young highly skilled man whose primary instrument is the accordion and whose interests take his composing and transcribing skills into the electroacoustic and sound installation realms. His choice of accordion as primary instrument puts him in the company of other innovators such as Pauline Oliveros, Guy Klucevsek, William Schimmel, Miloš Katanić, and others to whom I apologize for not naming here. Do click on his You Tube link (provided above) to get an idea of his creative foci. They include a excerpts from a couple of sound installation works as well as a bit of Terry Riley’s “Rainbow in Curved Air”.
But let’s get to the album at hand. This recently release contains a complete performance of Philip Glass’ “Glassworks” arranged for accordion and electronics. This could have been done purely as a recording but it seems clear that Weijers is enamored of live performance so these arrangements can be done live (which is apparently how he developed them).
The “Opening” begins with apparently with a brief section with (apparently to these ears) a lo fi/hi pass filter which sounds like a glitch and shortly morphs into a full spectrum sound for the rest of the performance. In fact compositional notions like glitch, sampling, looping, etc. appear strategically in other movements but I will leave that to the listener to discover. Don’t get me wrong, this is not a recomposition but rather a recasting in which the artist provides a context and uses a few effects judiciously providing a personal touch much as a painter signs a painting.
This faithful, loving rendition segues into the second movement, called “Floe”. For those who have heard Glass’ ensemble do this live (as I did in 1980) you will likely feel nostalgia. The experience is one of a good transcription of a familiar piece and the nostalgia likely comes from the life memories attached to that first hearing.
The third movement, “Islands” is a glorious minimalist slow movement which serves as much to relax the listener as it does to provide a significant contrast in anticipation of the next movement.
Movement 4, “Rubric” is a manic masterpiece which I recall playing so much that I wore out those grooves on my vinyl copy. Weijers really shows his interpretive musical chops here. He makes the piece rock and his rhythmic sensibility suggest a fondness and familiarity with jazz.
Movement 5, “Facades” is one of Glass’ early hits and, as I recall, was liked even by folks who didn’t like his other music. My recollection is that this piece had originally been written for the Godfrey Reggio film, “Koyaanisqatsi” but not used. Like any good composer does it was repurposed into the present multi-movement work. This movement triggers sadness with my nostalgia as I recall reveling in the beautiful playing of the now late Jon Gibson.
“Closing” is basically a reworking, an orchestration of the “Opening” section which kind of opens the door to inviting transcriptions. It is a full orchestration of what had been a solo piano piece at the beginning. Weijers seals the deal on nostalgia when he ends this movement by reintroducing that high pass filter and adding a little vinyl groove scratches at the fade out. That brought a bit of a tear to my eye.
I don’t know Weijers age but I doubt that he was even a twinkle in his parents’ eyes at the time I saw those performances but he has clearly absorbed this music this music completely and shows a deep love and affinity for it. It is a mark, perhaps of genius, that he frames his performance of the complete work with the lo fi/glitch at the opening and vinyl crackles at the end. It was a reminder to this age denying listener that this was indeed long ago. (Over 40 years).
The major work on this album is the following track. It is the performance (excerpted on You Tube) which first gave me that delightful twinge I feel when I believe I have discovered something new and meaningful. It was a performance of a too little known work by Steve Reich (Variations for Winds, Strings, and Keyboards, 1979), another minimalist composer who was a frequent visitor to my turntable. The work, roughly contemporary with Glassworks, was only recorded once by the San Francisco Symphony under Edo De Waart, is an overlooked masterpiece.
It’s impossible to miss the Dutch connections with Glass (whose 1979 opera “Satyagraha” was commissioned by the city of Rotterdam) and the only recorded performance of Reich’s Variations performed by the prominent Dutch conductor Edo de Waart. Well now comes Mr. Weijers delivers a beautiful transcription and spectacular performance which very well might raise this work out of its languished state. At the very least this is a tribute to Reich.
It is wonderful to hear this Reich piece again. I have never heard it live and, as far as I know, Reich never attempted to recast it in a new orchestration (as he did with the “Octet” orchestrated and played more commonly now as “Eight Lines”). The point is that we have a younger generation encountering, appreciating, and celebrating what is now “old school” minimalism. Whether you are encountering these pieces for the first time or basking in the nostalgia of rediscovery through creative and dedicated new performances this is a truly auspicious debut of a musician who has given new life to music which clearly has endured and will likely continue to endure into further generations. Bravo, Mr. Weijers.
As if this weren’t enough the curious collector gets two extra bonus tracks if you download via Bandcamp. They are two brief pieces that provide a peek at Weijers’ other musical efforts. The first is a beautiful meditative tribute to minimalism, a gentle elegiac piece for accordion and electronics. The second, a collaboration with Koen Dijkman, a musician who appears on other releases along with Weijers. This piece has a more prog rock/improv feel.
If old school minimalism appeals to you or contemporary accordion, you will want to hear this album. But regardless I’m willing to bet that you will be hearing more from this wonderful artist. And I bristle with anticipation.
This is not a Philip Glass album. This is also not a tortured Magritte metaphor. It is a Maya Beiser album. Yes, she is playing her transcriptions of several of Philip Glass’ pieces: (Piano) Etude No. 5, Etude No. 2, Mad Rush, Music in Similar Motion, and four movements from Glass’ score to the third of Godfrey Reggio’s trilogy (Koyaanisqatsi, Powaaqatsi, Naqoyqatsi): Naqoyqatsi, Massman, New World, and Old World.
It was after my second hearing of the disc that it occurred to me that Beiser’s transcriptions for cello with electronic looping and layering are in fact her own recompositions of these works in her own image, so to speak. Think Stravinsky’s Tchaikovsky transcriptions in “The Fairy’s Kiss” or Henze’s reworking of Telemann in his Telemanniana (other examples abound). Of course Beiser is working on a smaller scale but she is recomposing these works from a very personal perspective much as those composers did. I had been expecting to not like this album but once heard…
Beiser, a founding and long time member of the Bang on a Can All Stars, cut an elegant figure even when she was at the back of that venerable performing ensemble (got to be good looking cuz she’s so hard to see?). She has always been a highly skilled and accomplished cellist and a thoughtful, intelligent musician. That is true of all the members of the All Stars who started as highly skilled musicians with an interest in new music. Beiser is certainly also a member of the “glam classical” musicians following in the traditions of performers like Nigel Kennedy, Yuja Wang and, well… back at least to Liberace and perhaps Chopin and Liszt. The appellation, “glam classical” is descriptive rather than pejorative in intent. The reality is that all the aforementioned artists remained fine musicians throughout their careers. An imposing physical presence, after all, does not necessarily detract from the music. Quite the opposite sometimes.
Amazon lists this release as Beiser’s 14th album and she comes out strong on all fronts. Her playing, her interpretive skills, and her arrangements make for a very strong, complex, but listenable album. The first two etudes will be familiar to most listeners and are perhaps the most methodical with clear structures though very different from the piano originals. “Mad Rush” (also originally a piano piece) and “Music in Similar Motion” (originally for the Philip Glass Ensemble) both come off as driving ritual symphonic pieces, thrilling new readings of the original compositions (Music in Similar Motion a personal favorite for this writer and this version really rocks). The last four excerpts from Naqoyqatsi are the most lyrical and easy listening works, but again Beiser creates the music in her own personal context, glamorous but authentic and with a warmth that lasts long after the last tones fade. Fabulous album!
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.
As I write this I am seeing images of the 20th anniversary commemoration of the twin towers attack and can’t help being reminded of another of Robert Moran’s works designed for resonant spaces like cathedrals. His “Trinity Requiem” (2011), written for the 10th anniversary of this tragic event, was written for the space in which it was subsequently performed, Trinity Cathedral in New York. Its setting of Psalm 23 lingers in my head as I write. The present work was written for and performed within the Kollegienkirche in Salzburg, Austria.
These two very different works serve to demonstrate the range of Moran’s creative palette and his ability to use disparate techniques to achieve remarkably personal and effective results. In the Trinity Requiem we hear a composer using fairly conventional tonal harmonies but with the unusual orchestration of children’s chorus, organ, cellos, and harps. His compositional methods, his harmonies are friendly and familiar, sweet and poignant without being saccharine.
By contrast, in Buddha Goes to Bayreuth” (2011/14), the composer uses a chamber orchestra, chamber choir, and the distinctive sound of a countertenor. And the orchestral writing involves the use of chance operations of the Chinese classic text, I Ching. As he tells it in his liner notes, the composer had been introduced to the I Ching by his friend John Cage. What is most interesting is how Moran is able to use a Cagean technique to produce his desired result and come out sounding nothing at all like Cage. It is a mark of Moran’s skills that he is able to draw on a wide variety of compositional techniques and a thorough knowledge of the subtleties of orchestration to create a sound which achieves his compositional goals.
The second part of this work, as you can see from the track listing, is nearly twice the length of the first. The second part was composed in 2011 and the first part to fulfill the request for an evening length performance piece.
Stylistically this work has more in common with Moran’s earlier mystery play, “Game of the Antichrist” than it does with the Requiem, though both are designed to take advantage of the resonant spaces of the cathedrals in which they were performed. This work relies more on the randomized chords in which Moran utilizes aleatoric structures in a way that are uniquely his. He did something similar in one of the pieces on another album reviewed here, “Points of Departure“.
This Dada-like dramatic work is but one side of Moran’s stylistic output. His sonic toolbox ranges from aleatoric and graphic scores to unabashed romanticism, from Cagean chance operations to scary minimalism (as in the yet unreleased “Spin Again” from 1982) and post-romantic singable melodies as in “Towers of the Moon” and his collaboration with Philip Glass in “The Juniper Tree”. In the end he is one of America’s finest composers whose music deserves more hearings and rewards listeners for the effort.
Producer Philip Blackburn clearly has an affinity for Moran’s work and he deserves thanks for making much of the composer’s work available in fine recordings. The entire spectrum as described above is available on recordings right now on both the Innova and Neuma labels. Get them while you can.
One of the undeniable positive effects of the Black Lives Matter movement is exemplified in this amazing release. The Harlem Arts Festival, which ran from June 29 to August 24, 1969 (on Sundays at 3 PM) featured some profoundly important musicians (only one of whom went on to play at the fabled “Woodstock Festival” which ran from August 15-18, 1969 in Bethel, New York). This festival which was held on six Sundays in the summer of 1969 was documented in about 40 hours of footage which then languished in a basement for some 50 years.
Along comes Ahmir Khalib Thompson, known professionally as Questlove, an American musician, songwriter, disc jockey, author, music journalist, and film director. Along with restoring the original footage, Questlove, as director of this auspicious release intercuts contemporary interviews (mostly with people who attended the festival) with carefully chosen performance footage which contextualizes the concert series effectively making this release into a sociological as well as historical document which emphasizes the significance of the festival leaving the viewing audience to contemplate why such important footage had been left to languish in a basement for 50 years.
In fact there had been efforts to capitalize on the popularity of pop concert footage evidenced by Michael Wadleigh’s well documented Woodstock Festival which quickly became a defining document of the era. The fact that production funding was easily obtained for that film (for which the young Martin Scorsese and his frequent collaborator, Thelma Schoonmaker contributed their editing skills)is a matter of record. But the efforts failed and the concert footage of the Harlem Cultural Festival would not be seen until 2021.
A quick look at the lineup for the Harlem Festival (original poster on right) demonstrates the obvious blackness of the performers in direct counterpoint to the equally obvious whiteness of the Woodstock Festival (Quill, Country Joe McDonald, Santana, John Sebastian, Keef Hartley Band, The Incredible String Band, Ravi Shankar, Canned Heat, Mountain, Grateful Dead, Creedence Clearwater Revival, Janis Joplin with The Kozmic Blues Band, Sly and the Family Stone, The Who, Jefferson Airplane, Nicky Hopkins, Joe Cocker and The Grease Band, Country Joe and the Fish, Ten Years After, The Band, Johnny Winter, Edgar Winter, Blood, Sweat & Tears, Crosby, Stills, Nash & Young, Paul Butterfield Blues Band, Sha Na Na, Jimi Hendrix / Gypsy Sun & Rainbows). The only black musicians (ironically in a concert of predominantly blues based rock) at Woodstock were Sly and the Family Stone and Jimi Hendrix. And the audience at each of these festivals pretty much reflected the racial demographic onstage.
Questlove’s effort won “Summer of Soul (…Or, When the Revolution Could Not Be Televised)” both the Grand Jury Prize and an Audience Award at the Sundance Film Festival in 2021. It was released January 28, 2021 (Sundance) and June 25, 2021 (United States) and is currently streaming on Hulu.
Why am I featuring this pop music documentary on this modern classical blog? Well it is a contemporary release of music which has been and continues to be influential in our modern culture. A quick look at some of my previous blogs will reveal reviews of concerts and CDs featuring electric guitars, Hammond Organs, etc. And the repetitive figures and simpler harmonic structures endemic to “rock” have infiltrated the classical realm via minimalism.
We live in an age where the last two Pulitzer Prizes in music went to (very deserving) black composers, Anthony Davis (2020) and Tania Léon (2021). Maestro Davis once shared with me that he seeks inspiration studying the music of James Brown and doubtless there are many more such instances of “pop music” influencing “classical music” which I shall leave for musicologists to explore. But the bottom line is that this film brings to light the fact that there are some 40 hours of amazing concert footage that remains largely unseen and which contains marvelous and significant historical events (the final cut of the film reportedly only uses about 35% of the original film). The moment in which Mahalia Jackson hands the microphone back to Mavis Staples alone is a metaphorical “passing of the torch” from one generation to the next, a truly beautiful moment regardless of one’s race.
It is probably worth noting that the attempt to recreate the success of Woodstock with the December 6, 1969 “Altamont Speedway Free Festival” which was sullied by the tragic death of a concertgoer at the hands of the Hell’s Angels who had been hired to provide security for the event. By contrast, when the New York City Police Department refused to provide security for the Sly and the Family Stone segment of the Harlem Cultural Festival, the Black Panthers were engaged (rather more successfully) to provide security for that event. Read what you will into those facts.
One hopes that the release of Summer of Soul will result in the subsequent release of more of that concert footage from a more innocent (or naive?) time so we may see these fine young musicians near the beginnings of their wonderful careers (well, one could argue that Stevie Wonder was more mid-career at this point). Questlove’s directorial efforts backed by producers David Dinerstein, Robert Fyvolen, and Joseph Patel have brought to light this important cultural event placing it in its proper historical perspective in the development and performance of new music. Festival producer and filmmaker Hal Tulchin documented the six-week festival in 1969 and called the project “Black Woodstock” in hopes of helping the film sell to studios. After everyone turned him down, 40 hours of unseen footage sat in his basement for half a century. Sadly, Tulchin died in 2017.
I haven’t looked to see how many different cuts exist of the Woodstock Film but the 1994 director’s cut clocks in at 224 minutes and the latest CD release contains no fewer than 4 discs. Would that something similar will happen with the yet unseen film of these fine performers. The sort of “cancel culture” that helped keep this film in a basement for 50 years may be seeing its influence wane. Meanwhile there remains joy in both this film and in the anticipation of seeing more of this historic event, a vital part of music history and American history. Bravo Questlove!
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.
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.
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.
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.
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.
Like many innovative young artists in New York City in the early 60s Meredith Monk had to train musicians to work with her unusual vocal methods. Her first album, Key (1971), was the first time her vocal art began to be dispersed outside the intimate, neo-bohemian loft space where the album was recorded. After graduating from Sarah Lawrence College in 1964 Monk moved to Manhattan where she and many other young, creative experimental musicians populated what became known as the “downtown scene” or SOHO. Many musicians worked with her over the years including composer/cellist Robert Een, Pianist Anthony De Mare both of whom incorporated their extended vocal techniques learned in the loft of the master herself.
Bang on a Can was formed from a very similar aesthetic (that of providing an alternative to the “uptown scene” which generally refers to the “establishment” or “mainstream” of classical music epitomized by Julliard and Lincoln Center. Founded in 1987, Bang on a Can and their subsequent touring group, Bang on a Can All Stars (begun in 1992) can be said to be another generation’s effort to achieve what Monk and the many musicians who followed such as Philip Glass, Steve Reich, LaMonte Young, among many others whose musical vision stood in contrast to the established uptown, more academic leanings.
It was Bang on a Can’s transcription of Brian Eno’s famous studio produced album (no live musicians), “Music for Airports” that demonstrated their ability to revision some of the work of their forebears and bring it into the concert hall. This is pretty much what we see here in this loving collaboration/tribute to one of New York’s finest composer/performers from the early downtown/SOHO era.
Monk began her artistic life as a dancer and dance/choreography remains an essential part of her artistic vision. 2014-2015 marks the 50th anniversary of Meredith Monk as a performer. “–M—EM–O-R—Y —-G-A—-ME—” (2020) is a wonderful production which sits somewhere between a “greatest hits” record and that of another generation’s reverent celebration of a unique artist. Bang on a Can shares the duties of transcription and performing with Monk and her ensemble. Most of Monk’s work involves (generally) one to five musicians (playing minimalist style music) onstage but here we see an expansion into a larger ensemble not unlike her collaborations which resulted in one of her largest works, the masterful “Atlas” (1993) produced by the Houston Opera. (Would that a new recording of Atlas may eventually come from such a collaboration).
So what we have here is a combination of transcription, performance, but most importantly a respectful sharing out of a mutual educational experience between Monk’s ensemble and that of BOC. There are nine tracks comprising nine distinct compositions from Monk’s oeuvre. BOC composers provided transcriptions of “Spaceship” (Michael Gordon), “Memory Song” (Julia Wolfe), “Downfall” (Ken Thomson), “Totentanz” and “Double Fiesta” (David Lang). The other tracks appear in transcriptions by members of Monk’s ensemble: “Gamemaster’s Song” and “Migration” (Monk), “Waltz in 5s” (Monk and Sniffin), and “Tokyo Cha Cha” (Sniffin).
Monk’s ensemble in this recording consists of Meredith Monk, Theo Bleckmann, Katie Geissinger, Allison Sniffin, and guest artist Michael Cerveris. The Bang on a Can All Stars include Ashley Bathgate, cello and voice; Robert Black, electric and acoustic bass; Vicky Chow, piano, keyboard, and melodica; David Cossin, percussion; Mark Stewart, electric guitar, banjo, and voice; and Ken Thomson, clarinets and saxophones. The expansion of the ensemble adds favorably to the sound (as it did in Atlas) and the transcriptions enhance the music (as was the case in “Music for Airports”).
The 2012 collaboration produced by Monk’s House Foundation deserves mention here because it is a crowd sourced two CD production of covers by a variety of artists paying homage to Monk’s work. It is not clear if this release had any influence over the Memory Game album but it does speak to the influence of the artist.
Fans of Meredith Monk and her various music/dance/theater works will find a comforting familiarity in these performances of music which, at one time were the leading edge of the new and experimental, now become familiar and, more importantly, embraced by another generation who clearly took the time to look, listen, and understand the work of this now acknowledged American Master. Those unfamiliar will find this a great introduction to Monk’s legacy.
Though chosen from a variety of compositions which date from 1983 to 2006, this selection comes together in a satisfying unity. The very tasteful album design is itself an homage to the look of Monk’s ECM recordings (under Manfred Eicher’s direction) who released the majority of her work. Kudos to the production team of David Cossin and Rob Friedman whose work here is among the finest of Bang on a Can Allstars’ recordings and a very satisfying addition to Monk’s discography. The little liner notes booklet includes an essay by the composer as well as a copy of the lyrics to “Migration” and “Memory Song”, just enough to inform and not overwhelm the casual listener. This is one fantastic release.
This 2020 release of chamber and solo pieces by William Susman (1960- ) is the third reviewed by this writer. The music here is from the last six years but these pieces rather unmistakably have Susman’s compositional fingerprints on them. There are six works in total and the solo piano pieces from Susman’s Quiet Rhythms series provide a sort of punctuation on tracks 2, 4, and 6. The Quiet Rhythms (2010, 2012, 2013) series appear to function sort of like working papers, little essays many of which are later used in other compositional projects. Three of those pieces similarly punctuate an album by pianist Erika Tazawa (Belarca 005) of piano pieces by Francesco Di Fiore, Douwe Eisenga, Marc Mellits, Matteo Sommacal and William Susman.
Francesco Di Fiore handles the piano on tracks 2, 4, and 6 playing Quiet Rhythms Nos. 1, 5, and 7 (all from 2010). These are just three tantalizing works from nearly 100 pieces in 4 books. Though these works seem to be a working out of ideas they interesting and engaging rather than simply didactic.
Susman, himself an accomplished pianist, plays the piano with Karen Bentley Pollick on violin in Aria (2013). This is the longest work on the disc and it is tantamount to a concerto or grand sonata which keep both performers very busy. It is above all a joyously lyrical piece likely to please listeners. The liner notes state that this piece uses material from an opera in progress. And a grand teaser it is.
Seven Scenes for Four Flutes (2011) is one of those delightful works which will doubtlessly be performed by a soloist against prerecorded tracks. Patricia Zuber, no stranger to Susman’s work, handles all four flute parts with seeming ease. The piece’s seven movements traverse a variety of moods in the poetically titled movements. This is a pretty densely written piece whose charms belie its complexity. Music using multiples of the same instrument (whether live or multi-tracked) inevitably invoke Steve Reich’s counterpoint pieces but there is in fact a large and growing list of such pieces which produce their own unique results consistent with their respective composers and this one is a most welcome addition to this genre.
The penultimate work is one for accordion, an instrument which has risen from folk music roots to a sometime part of an orchestra and, increasingly, as a solo instrument for classical repertoire both new and old. The soloist here, Stas Venglevski, rises to the challenge of Zydeco Madness (2006), a piece which takes the listener though various sections which challenge the artist and entertain the audience.
Despite the title this album is neither quiet nor mad (well maybe a little obsessive). But it is a welcome selection of music by a consistently interesting composer that leaves this listener wanting more.
This is another in this first volley of new releases from Neuma. Philip Blackburn did fine service by reissuing the out of print the wonderful Argo recordings of Moran’s works and released two new collections from this all too little heard American composers as well as the gorgeous Trintity Requiem (2011) on Innova Records. He now continues his advocacy of this composer in the release on Neuma of two new Moran recordings, The second, Buddha goes to Bayreuth (2015) will get its own review shortly.
The present disc consists of five works, only one of which (Points of Departure) has been recorded before. Composition dates range from 1973 to 2017. Moran’s work is widely eclectic reflecting his early study with Second Viennese composer Eric Apostel, his M.A. studies at (the now lamentably defunct) Mills College where he studied with Luciano Berio and Darius Milhaud. HIs work ranges from graphic scores to post minimalist and post modern/neo-romantic styles doubtless influence at least in part by the various places he has lived (Vienna, Milan, Berlin, Portland, San Francisco, and Philadelphia where he now makes his home).
All of the works on this album are of the very listenable and sometimes unabashedly beautiful category. But these compositions belie the processes that underlie their structures and methods. What is most fascinating is Moran’s ability to use quasi aleatoric procedures (as in Star Charts and Travel Plans I) and produce results so gentle on the ear. This is a beautiful disc.
The all new recordings presented here begin with the titular Points of Departure (1993). It is a work for large orchestra which, according to Philip Gentry’s fine liner notes, is excerpted from a larger dance work. It is a rhythmic and exciting piece which demonstrates the composer’s mastery of the orchestra. One can easily imagine this accompanying choreography but it stands alone successfully as a concert piece.
The second track is Angels of Silence (1973) is seemingly anachronistic given it’s composition date when Moran’s output was arguably at it’s most experimental. Written during Moran’s time in San Francisco, it is one of a trilogy of works (between Messages from 1970 and Emblems of Passage from 1974). This trilogy followed on the heels of such grand experimental pieces as Thirty Nine Minutes for Thirty Nine Autos (1969) and Hallelujah (1971) for the city of Bethlehem, PA.
Here, despite the modernist use of chord charts for soloist and orchestra, we hear a very consonant piece which has an ethereal, gentle quality. To my ears it has much in common with the sound world of Stimmen Des Letzten Siegels(Voices of the Last Seal) (2001). The viola soloist, the Romanian-American Maria Rusu, handles her role beautifully with the university of Delaware Symphony Orchestra under the guidance of conductor James Allen Anderson. This writer’s fingers are crossed in the hopes of hearing the remaining two pieces of this trilogy in the near future.
Next up is the five movement Frammenti di un’ opera barocca perduta (2017). The title translates to something like “fragments of a lost baroque opera” and reflects Moran’s deep interest in early opera. The composer mentioned in an email exchange with this writer some years ago that he greatly enjoys listening to early baroque operas and this influence is in evidence here (in fact the texts he sets are texts from operas of this era). Scored for large orchestra with countertenor, a vocal artistry nearly extinct in the 20th and 21st centuries save for Philip Glass’ (with whom Moran collaborated in the fine fairy tale opera, The Juniper Tree) casting of the lead in his opera Akhnaten.
This gloriously lyrical suite can be sung by a soprano (and on first listen done before consulting program notes my guess was soprano) but it is sung as written by a truly fine vocal artist, Daniel Bubeck. The orchestral intro is followed by three arias (fast slow fast) followed by a brief orchestral epilogue. The piece is in some ways Moran’s Pulcinella, an homage to the past in the garb of the 21st century.
Star Charts and Travel Plans I (2016-17) is yet another example of the composer’s remarkable ability to use non-traditional notation to achieve his compositional goals. This rather meditative piece is very much in keeping with the overall sound of this fine release.
The disc ends with another vocal piece, Yahrzeit (2002-18), described by the composer as a “memory piece”. It has much in common emotionally with his wonderful Trinity Requiem (2011). Yahrzeit is a Jewish custom practiced on the annual celebration of the memory of the honored deceased. It is in memory of AIDS victim Michael Neal Sitzer whose life partner, poet James Skofield, wrote the beautiful text. Commissioned by friends of the couple, it was originally scored for male chorus and orchestra. It is presented here in a version for basso profundo, sung most movingly by Zachary James .
This is another major addition to the still too small discography of this great American composer. It is beautifully performed and recorded, a joy for fans of Moran’s work and a gift to listeners.
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.
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.
This recent release by Cedille Records (which turned 30 this year) is a fitting example of their vision as well as daring. It is in some ways characteristic of Third Coast Percussion whose albums range widely in their creative explorations ranging from definitive performances of accepted masterpieces as well as of works written for them and/or co-created by them with their own compositional and improvisational skills. Their Steve Reich disc, Perpetulum, and Book of Keyboards CDs have been reviewed here and can be seen to represent the range about which I speak.
The present disc is by an English musician, composer, and producer Devonte Hynes. He is better known by his pseudonym Blood Orange under which he has released several albums whose style might be described as electronic dance music. One might think it unusual that someone who works in a sort of “Pop” genre would have his work appear on a basically “classical” label. And one would be wrong. One need only think of David Byrne’s on The Knee Plays and his work written for string quartet or the incursions into modern classical by Brian Eno on albums like Music for Airports.
So here we have three works by Mr. Hynes played by one of Chicago’s finest musical exports, Third Coast Percussion. The music was entirely written by Hynes on a digital work station, not on score paper (goodbye 20th Century) and transcribed (on to score paper) for the percussion quartet by the musicians. One of the difficulties in writing for an instrument you don’t play is learning exactly how to write for a given instrument. That is where the members of the percussion quartet add their expertise to this collaborative effort. The results will likely surprise many listeners. There are echoes (or homages) to Philip Glass and likely other such echoes as well. The bottom line is that this music will not fail to engage.
Hynes’ style might be described as post minimal (as might a lot of dance music) with an eclectic spectrum. The first work, For All Its Fury is a sequence of 11 distinct sections ranging from just over a minute to just over six minutes for a total of just over 35 minutes of music. One hear the variety of musical ideas that comprise the composer’s style (s). Rather than try to describe or identify these styles I will only say that the music is a journey which is designed to be experienced as a whole. As such it is a very listenable and engaging piece. It is followed by two single movement works titled respectively Perfectly Voiceless and There Was Nothing, each coming in at around 12 minutes.
While there are some clues to the meaning or intent of the music and titles the listener is basically left with the sound object to contemplate. But wait, and this is perhaps one of my tired “memes” but the design and artwork of the album and accompanying booklet are themselves a joy to behold as visual objects (oh, for the 12 inch by 12 inch format). Perhaps there are clues one might glean from this packaging as meanings underlying the sounds therein but I would be seriously remiss to fail to credit Sonnenzimmer, the collective output of artists Nick Butcher and Nadine Nakanishi. And the photographers Stephanie Bassos and Timothy Burkhart of People vs. Places, another collaborative. These images are strikingly beautiful and they serve to augment this release in a way that can’t be done on radio or any of the streaming services. What we have here is closer to an art object with sound. Congrats to Cedille, Third Coast Percussion and Devonte Hynes (aka Blood Orange) and Happy New Year to all!
I first encountered this man’s music in a concert by the San Jose Chamber Orchestra (reviewed here). I subsequently reviewed his album Scatter My Ashes . Now fresh off the presses is the present disc which is a collaboration between Mr. Susman and Piccola Accademia Degli Specchi, a chamber ensemble specializing in new music. It is a delightful and engaging journey to a region stylistically inhabited by the likes of Mikel Rouse whose post-minimalist chamber works on the Made to Measure label were a revelation to this listener in the early 90s. What always perplexed me was why I had been unable to find more writing like this. Well, here it is in all its glory. These are standard concert length works (15-20 min range) which engage and sustain the listener easily leaving anything obviously experimental behind while also touching an artistic depth that satisfies. Is there an untapped genre of well written post-minimalist chamber music? If so, this disc belongs there.
The disc contains four works, two from the 90s and two from 2010. The first, Camille (2010) is the three movement work that opened the lovely Scatter My Ashes album from 2014. Like the second work on this disc (the seven movement Clouds and Flames for violin, cello, and piano also from 2010) it utilizes a very personal take on post-minimalist ideas creating music of a quasi romantic nature with echoes of Brahms as well as Lou Harrison. By which I mean to say simply that they seem to be a mature integration of what the artist has learned in school and since then as well.
So now to immaturity, so to say. In the last two works listeners get a glimpse of music from an earlier stage of the composer’s development. None of that description should be read as leaning to the pejorative in any way. These works are like studies toward the later stylistic realms of the first two works from nearly twenty years later They can, for the sake of genre, also be subsumed generally into the post minimal. Motions of Return (1996) for flute and piano along with The Starry Dynamo (1994) for flute, alto sax, violin, cello, and piano are both single movement works. This listener is left to conclude that this artist’s maturity continues to deserve our attention.
As this is a collaborative effort it is only fair to discuss the collaborators Piccolo Academia degli Specchi :
“Piccola Accademia degli Specchi (Little Academy of Mirrors) is a chamber ensemble, based and founded in Roma (Italy) in late 2000, specializing in the performance of contemporary classical music. Its original and characteristic instrumentation (piano 4 hands, cello, violin, alto/soprano saxophone, flute/piccolo), similar but different to the common Pierrot ensemble set up, and the outstanding musicianship of its members provide its unique sound and groove.
Current members are Fabio Silvestro (piano), Assunta Cavallari (piano), Rina You (cello), Giuliano Cavaliere (violin), Claudia Di Pietro (alto/soprano sax), Alessandra Amorino (flute/piccolo). ” (reproduced from the ensemble’s website accessed on 28 Dec 2019)
This album is the result of a ten year collaboration between the composer and the ensemble. Cited influences include Allen Ginsberg, Colum McCann, and Francis Bacon. I will leave it to literary scholars to opine as to the influences here but I can say this is some great music and great music making. Bravo maestri!!
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.
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.
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.
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.
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.
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.
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.
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.
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/
Charles Dean Dixon (1915-1976)
Carl Van Vechten’s 1961 portrait of Marilyn Horne with her husband Henry Lewis.
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.
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).
That’s it. Everything else (300 plus articles total with 74 from this year) got less than 100 views.
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.
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.
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.
This album of string chamber music arrangements of Mahler is utterly charming. No Time for Chamber Music is a seriously conceived and played homage.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.