Douglas Boyce New and Exciting Chamber Music


boyce

The rather plain cover belies the contents of this album of exciting and powerful chamber music.  This is billed as a “sampler” album and it contains three works by Douglas Boyce (1970- ).  He is a founding member, curator, and composer-in-residence of counter)induction, a composer/performer collective active in the New York region.  He also has experience playing in various punk bands.

Boyce holds a B.A. in Physics and Music from Williams College, an M.M. from the University of Oregon and a Ph.D. from the University of Pennsylvania (1999).  He has studied with George Crumb, James Primosch, Kathryn Alexander, Robert Kyr, Judith Weir, Ladislav Kubik and Robert Suderburg.  He currently serves as Associate Professor of Music at the George Washington University in Washington, DC.

All this gives only the faintest hint of what his music sounds like.  In the three works represented here the listener will notice some influence of Bartok and mid-century modernism.  The first work “102nd and Amsterdam” (2005)  reflects a composer well schooled in writing for string instruments.  This piece is a string trio played by members of the Aeolus Quartet (Rachel Shapiro, violin; Greg Luce, viola; Alan Richardson, cello) and they are given a great deal to do.  This is an energetic piece which engages the listener immediately and doesn’t really let go until the end some 14 plus minutes later.

The writing is virtuosic and the variety of techniques employed in his string writing are engaging and never seem gratuitous (i.e. extended techniques because I can).  Despite multiple glissandi and other string effects the work, like the others on the album, are basically using the tonal language common to most western music.  This is seriously engaging and masterfully developed music.  It hooked this listener immediately.

The second work is Piano Quartet No. 1 (2009).  This is an even more visceral work true to Bartokian esthetics.  In its relatively brief 8 plus minutes the listener is taken on a virtuosic journey by the musicians of counter)induction (Jessica Meyer, viola; Sumire Kudo, cello; Steve Beck, piano)  They are joined by the wonderful Miranda Cuckson who steps out of her soloist role and moves deftly into this chamber group as the finest musicians can do.  Boyce cites influences as diverse as Robert Fripp and King Crimson but the details of that are not necessarily clear to this writer nor is it necessary to the appreciation of the work.  It is a powerful and exciting piece of chamber music.  This work left this listener a bit tired by the end (it is quite a workout) but the same ability to sustain interest and attention which applied to the first work is also present here.

Finally the Trio Cavatina (Harumi Rhodes, violin; Priscilla Lee, cello; leva Jokubaviciute, piano) presents a reading of the four movement “Fortuitous Variations” (2014).  This most recent composition is the big work on this disc.  The underpinnings, if you will, involve philosophical ideas and are elaborated well by the composer on his web site but, like the influences of the previous work, the music stands very well on it’s own.

There are four movements which seem to correspond (at least roughly) to the sonata form commonly used in such works.  Each maintains it’s character as said variations are rolled out and, as in the previous works, sustains interest easily.  This is perhaps a more ponderous work which is less direct than the previous two pieces but this most recent composition no doubt reflects the composer’s development and time will tell what direction his work will take.  There is, however, a sense that the composer has developed a personal style and is cultivating it.  Give a listen.

Most will want to hear these works multiple times.  This reviewer managed to find three separate drives which allowed uninterrupted listening to the entire disc and I know those three won’t be the last.

Edgy Saxophone, Ryan Muncy’s “ism”


Tundra

This one wins the prize for the most charming and unusual presentation of a review copy that this writer has ever seen.  I received this rather plain looking slip case and contained therein was a little data card glued to a saxophone reed.  Fortunately I have just enough tech skills to find the little data card slot on my laptop and was able to then burn a CDr.

It was well worth the effort.  Ryan Muncy is a saxophone player with the increasingly venerable ICE.  (That is the International Contemporary Ensemble and not the less venerable immigration and customs enforcement by the way.)  He here takes the opportunity to demonstrate his considerable fluency on his instrument.  The deceptively simple cover belies some serious complexity in this release.

Beginning with James Tenney’s too seldom heard Saxony (1978) Muncy decisively lets the listener know that this is a hard core saxophone album with music that demands a level of skills and interpretive ability within the reach of only the finest musicians. Tenney’s piece is a multitracked composition concerned with acoustic phenomena produced by different tunings as do many of his works.  This piece is a species of minimalism, drone, even meditative music.  It’s slow unfolding demands and then rewards patience as it envelops the listener in lovely, trippy sound masses.  At over 20 minutes it is the biggest piece here and alone justifies purchasing this album.

What follows are 5 more tracks of similarly extreme experimental music with various extended techniques albeit on a much smaller scale.  Each is like a little study focusing on one or more extended techniques.  All but one are recent compositions by composers yet unknown to this reviewer.  The last piece is by the late great Lee Hyla (1952-2014) and is from 1979, making it contemporary with the opening Tenney piece.  Muncy demonstrates his facility with tuning, multiphonics and other creative techniques demanded by these composers.

Here is the track list:

James Tenney-Saxony (1978)

Erin Gee-Mouthpiece XXIV (2015)

David Reminick- Gray Faces (2011)

Morgan Krauss- masked by likeness (2014)

Evan Johnson- Largo caligrafico (2012)

Lee Hyla- Pre-Amnesia (1979)

Each of these pieces is seemingly a self contained universe and repeated listenings reveal more than simple experimentalism.

This is a disc for serious saxophone aficianados with an appreciation for free jazz and cutting edge instrumental techniques.  Truly a wonderful release.

Copyright, Copyleft, Creative Commons, the Presidency and Artists’ Rights


Curiously enough the upcoming presidential elections have brought to some prominence the name of Lawrence Lessig, a Harvard Law Professor and intellectual property expert who now, as ‘Larry Lessig’ has thrown his hat into the ring as a presidential candidate.  And it is this man’s work on copyright and commons issues that speaks to my concerns in this blog to the impact of these practices on music.  Lessig makes his case in ‘The Future of Ideas’ and in the later freely available, Creative Commons licensed, ‘Remix’ in which he advocates for reform of copyright laws to foster creativity.

Lawrence Lessig

Lawrence Lessig

Few would argue that copyright law is overdue for a major overhaul and fewer still would deny that non-top forty composers gain little from the present form of these laws aside from the ability to deny performance, recording and distribution rights (assuming, of course, that they can afford an attorney and litigation costs).  Yet current copyright law appears to be the dominant practice.

Much of my thinking here has also been influenced by the work of Lewis Hyde whose ‘The Gift’ and ‘Common as Air’ are essential reading as well.  A subject for a future blog most likely.

Professor Lewis Hyde

Professor Lewis Hyde

There are notable exceptions such as Frederic Rzewski‘s embrace of “Copyleft” and others embrace (including yours truly)  of the Creative Commons licensing.  My very basic understanding of these non-traditional licenses is that they allow for use and distribution of the artists’ works without charge unless a profit is made.  This worked well for me when a photo which I uploaded to Wikipedia (they recommend Creative Commons licensing for media uploads), a picture I had taken of the working model of Babbage’s Difference Engine at the Computer History Museum in Menlo Park, California, was found by someone at Harper Collins who contacted me and negotiated a fair price to include this photo in Walter Isaacson’s ‘The Innovators’.

Babbage Difference Engine at the Computer History Museum

Babbage Difference Engine at the Computer History Museum

Now I believe I tread more contentious ground with my concerns about the consumers, the listeners, the audience.  As an avid listener to new music I have encountered barriers that block my ability to listen to new music.  High ticket or CD prices and geographical distance are well-known barriers. However some  artists like La Monte Young hold their work so tightly under copyright so as to effectively limit the availability of both live and recorded performances, restricting access to perhaps thousands of listeners (Would you believe maybe hundreds?)

La Monte Young

La Monte Young

Others such as my friends David Toub, Kyle Gann and many others put much of their work, scores and recordings, online for all to access.

David Toub

David Toub

 

Kyle Gann

Kyle Gann

As an avid listener and collector of new music I have amassed an archive of air checks, live recordings, bootlegs, free copies, etc. of a great deal of new music.  Indeed there are vaults of broadcast and other live recordings that languish awaiting the ravages of time to destroy them.  If I didn’t catch the original broadcast there seems to be no way to access these recordings, even just to listen.

I am a listener and like to promote what I think sounds interesting.  I do not and will not sell these recordings but I have given them away to interested folks.  I see this as sort of dissemination of what might not be heard at all.

I am aware that the nature of the music I tend to address in this blog appeals to a rather small audience.  I once had the experience while driving and playing a favorite CD having a friend comment, “You know I think that if someone broke into your car they probably wouldn’t steal your CDs.”  Some months later I did find my car stereo gone and, as predicted, the CDs were left on the seat untouched.  My point is that promoting this music by making it available to interested listeners may help promote the music and is not likely to take money out of the artist’s pocket.  Just my opinion of course.

Another current issue, that of the freely distributed YouTube  short film series, ‘Adult Wednesday Addams’ may serve as a useful parable here.  These 3-5  minute films by star Melissa Hunter and her crew were pulled from Melissa’s YouTube channel after an injunction was obtained by the estate of Charles Addams whose drawings served as the basis for The Addams Family television series and subsequent films.

However one can still easily find these episodes which appear, at least for a time, on others’ YouTube channels.  No money was apparently made here and Hunter’s site appears to be respecting the terms of the injunction.  The videos which are at once creative, entertaining, darkly funny and nostalgic certainly serve to illuminate the talents of Hunter and her associates and do not appear to present a credible threat to the Charles Addams Estate.  And it appears now that they can’t really make this Lessigian Remix (apologies for the clunky neologism) go away, ever.  So this raises the question of what such an injunction actually accomplishes.

Melissa Hunter in character as Adult Wednesday Addams

Melissa Hunter in character as Adult Wednesday Addams

I am in the process of cataloging and digitizing my archives and look forward to both listening and sharing them with folks who actually might have considered stealing those quirky CDs from my car.

I appreciate comments of course.