Ramón Sender Barayón, Always Going Toward the Light


Raysender

Ramón Sender Barayón at Arion Press in San Francisco (Photo Creative Commons 2011 by Allan J. Cronin)

 

This crowd sourced video opens with a sort of exposition of the various identities of its subject Ramón Sender Barayón (also known as Ramon Sender, Ramon Sender Morningstar, Ray Sender, and Ramon Sender Barayón).  His father was the renowned Spanish novelist Ramón J. Sender whose work was unappreciated (to say the least) by the Franco regime resulting in his spending the last part of his life as an expatriate in the United States of America.  His mother Amparo Barayón fared far less well.  Her short life and her death at the hands of the Franco regime are memorialized in her son’s book, “A Death in Zamora“, an experience which has understandably informed his life.  As a writer, in order to distinguish himself from his father, he adopted his mother’s maiden name appended to his given name.  Happily this and some of his other works are making it to the kindle format.

img_0745

The film unfortunately does not appear to be available in any commercial outlets at the time of this writing but one hopes that Amazon or some internet distributor will make it more widely available.  One small critique is the use of sometimes English narration and sometimes Spanish narration with attendant translation subtitles in the opposite languages is a bit difficult to get used to but hardly an insurmountable issue.

Sender’s personal website continues to be a source of useful information.  Links can be found here to many of his writings and other work as well as some discussion of his musical compositions.

deathzamora

In addition to being a writer he is an acknowledged pioneer in the area of experimental music.  He, along with Morton Subotnick, Pauline Oliveros, Joseph Byrd, William Maginnis, Tony Martin, Joseph Byrd, and Terry Riley (among others) founded the San Francisco Tape Music Center in 1962.  This later became the Mills College Center for Contemporary Music and remains in operation as of the date of this review.  Barayon’s ” novelized history of this time in his life titled, “Naked Close Up” finally found itself in a Kindle release after having circulated in PDF format for years on the internet.  (This history is also further documented in David Bernstein’s excellent, “The San Francisco Tape Music Center: 1960s Counterculture and the Avant-Garde“)

His curiosity and wide ranging interests saw him participating in alternative commune living situations (beginning in 1966) in northern California exploring spirituality and challenging established social norms through the exploration of viable alternatives.  He writes most eloquently about this in his recently published “Home Free Home“, a large edited tome on the Morningstar Ranch and Wheeler’s Ahimsa Ranch which includes material by several other former residents.  The book is as much compilation as it is historical writing and memoir.  It is a fascinating read and is filled with historically significant recollections and commentary by many of those one time residents of these (now sadly defunct) communities.

homefree

This DVD is one of those increasingly popular crowd sourced productions (here is the Indiegogo link) which has allowed independent publication of countless books and CDs and countless other projects which stimulate little interest among traditional venues despite the significance of their content.  The content here is of a profoundly important nature to fans of new music as well as fans of alternative living experiments and 60s counterculture and philosophy.  It is contemporary history and biography.

Ramón is man possessed of both wisdom and humor as well as deep thought.  This film is the first documentary to cover the diverse interest and involvement of this affable cultural polymath.  It begins with an interview of Mr. Sender in the living room of his home in San Francisco.  From there it traverses more or less chronologically among the dizzyingly diverse events which comprise his life thus far.

From his birth in Spain in 1934 to his present role as a sort of spiritual/intellectual guru running a lecture series called, “Odd Mondays” in San Francisco’s Noe Valley neighborhood which he and Judith Levy have managed for some 17 years with a variety of carefully chosen speakers.  The film covers a variety of topics and while it leaves out details at times it is a cogent and balanced biographical documentary.

His early involvement in the establishment of the influential San Francisco Tape Music Center finds him connected with fellow luminaries such as Pauline Oliveros, Terry Riley, Morton Subotnick, William Maginnis, Steve Reich, Joseph Byrd, Tony Martin, and Donald Buchla.  This institution, now relocated as the Center for Contemporary Music at Mills College, saw the creation of a great deal of musical technology and significant musical compositions (Terry Riley’s groundbreaking “In C” was first performed there in 1964).

Sender was one of the organizers of the Trips Festival in 1966 along with Stewart Brand (later of Whole Earth Catalog fame), Bill Graham, Ken Kesey with his Merry Pranksters. Following this he left San Francisco for Sonoma County in northern California.

He states at one point that he has not wanted to be identified with a single career (as his father was) so, following his experimental music work, he became among the first to experiment with communal living in the Morningstar Ranch and later in the Wheeler Ranch in Sonoma County, California.  These are now well documented in his book, “Home Free Home” mentioned earlier.

Happily the film does a nice job of acknowledging the role that his wife Judith Levy has played in his life since their marriage in 1982.  In particular her support in Sender’s research into his mother’s death at the hands of Franco’s thugs in Spain is both sweet and heartbreaking.  The two appear to be constant companions in a mutually supportive relationship he sought for many years.  They are frequently seen together.

A segment of his work which gets less attention here are his fiction and spiritual writings including Zero Weather, Being of the Sun (co-authored with Alicia Bay Laurel), Zero Summer, and Planetary Sojourn.  He has a collection of unpublished manuscripts and is reportedly now working on his autobiography.  Something which will doubtless be worth the wait.

senderchapelchimes

Sender with unidentified man walking out of the Pauline Oliveros Memorial Concert at Oakland’s Chapel of the Chimes in December, 2016 (Photo Creative Commons 2016 by Allan J. Cronin)

My 2019 in the Arts


Dempster2

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.

OM 240010

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.

OM230102

Amirkhanian performing at OM 23 (2018)

Next I will share with you my most obvious metric, how many views my various blog posts got.  I have decided to share all those which received more than 100 views.

The winner for 2019 is:

Linda-K-Twine-Image-page-001

Linda Twine (unknown copyright)

Linda Twine, a Musician You Should Know

A rather brief post written and published in February, 2018 for Black History Month.  It was entirely based on internet research and it got 59 views that year.  As of this writing in 2019 it has been seen 592 times.  I have no idea why this “went viral” as they say.  I just hope it serves only to her benefit.  Amazing musician.

fa2

Fatu Duo

Charming little album of lesser known romantic violin and piano pieces played by a husband and wife duo.  This self produced album seems to have had little distribution but for some reason people are enjoying reading about it.  I only hope that the exposure will boost their sales.  This is a fun album.

The Three Black Countertenors

I’m guessing this is one of my “viral” posts.  I wrote it in 2014 and it continues to get escalating hits, 180 this year.  The title pretty much says it all.  First time three black countertenors appeared on the same stage.

choi20190008

Jenny Q Chai

This concert was an all too brief presentation of some very interesting work.  Quite a pianist too.  File this artist’s name in your “pay attention” category.

kanchelisun

Heavenly Violin and Piano Music by Giya Kancheli 

Giya Kancheli (1935-2019), one of the artists we lost this year (I refuse to do that list).  If you don’t know his work you should. He wrote I think 7 Symphonies and various concertos, film scores, and other works.  He was sort of elected to the “Holy Minimalists” category but that only describes a portion of the man’s work.  Very pretty album actually.

schanklerpatterns

Because Isaac Schankler

This composer new to me, works with electronics, and maintains an entertaining presence on Twitter.  Frankly, I’m not sure exactly what to make of this music except to say I keep coming back to it.  Very leading edge material.

 

 

LCMS1903

Wolfgang von Schweinitz’s “Klang”

A very different music from that of Schankler listed just above.  But another recording to which I find myself returning.  Thanks to Mr. Eamonn Quinn for turning me on to this one.

breath

A New Voice for the Accordion

I pretty sure that Gene Pritsker can shoulder at least part of the blame for connecting me with this great new musician  The accordion has come a long way and this guy leads it gently forward.

 

 

cd cover

Bernstein’s Age of Anxiety in a new recording

Loved this one.  I had only listened to this work three or four times and probably not with adequate attention.  Hearing this performance was revelatory.  It’s a great work deserving of a place in the standard repertoire/

 

 

 

Black Classical Conductors

Written in 2013, just an occasional piece about black conductors for Black History Month.  It’s now been read over 2000 times.  It is my most read article.  It’s embarrassingly incomplete and in need of a great deal of recent history but that’s a whole ‘nother project.

blueviolet

Blue Violet Records

Blue Violet Duo

So glad this disc got a little exposure.  Its gorgeous.  This disc of jazz influenced classical Americana unearths some real musical gems.

 

 

 

 

 

 

 

 

boots1

Shakuhachi Ecstasy 

OK, I meet this guy at a vegan underground restaurant (whose proprietor is noted Shakuhachi player, Philip Gelb).  A little casual conversation, a few vegan courses (Phil can seriously cook), and whaddya know?  About a month or so later he sends me this gorgeous self produced set of him playing shakuhachi…but the upshot is that this is the distillation of the artist’s sensibilities filtering his very personal take on the world via his instrument.  It has collectible written all over it and that is as much due to the music itself as to the integrated graphics and packaging.  You really have to see and hear this trilogy.  It got over 100 hits.  Thanks to Cornelius Boots and Philip Gelb (musical and culinary concierge).

boots4

That’s it.  Everything else (300 plus articles total with 74 from this year) got less than 100 views.

 

Personal Favorites

It was a great year for recordings and I listened to more than I did last year.  Some may have noticed some experimentation with writing style and length of review here.  The problem is that the very nature of my interest is the new and unknown so I have to do the research and have to share at least some of that to hopefully provide some context to potential consumers that will ignite the idea, “gotta check that out” without then boring them to death.

For this last section I will provide the reader with a list in reverse order of the publication of my reviews of CD and streaming releases that prompt this listener to seek out another listen and hopefully draw birds of a feather to listen as well.

 

Keep yer ears peeled.  This young accordion virtuoso is an artist to watch.  This was also one of my most read review articles.  This guy is making the future of the instrument.  Stay tuned.

 

bartonblues

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

jensen

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

img_2017

This album of string chamber music arrangements of Mahler is utterly charming.  No Time for Chamber Music is a seriously conceived and played homage.

horvatdiedtrying

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

Donut Robot is a playful but seriously executed album.  The kitschy cover art belies a really entertaining set of short pieces commissioned for this duet of saxophone and bassoon.  Really wonderful album.

beauty

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

img_2088

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.

project w 365

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.

adamsdesert

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.

publiquartfreedom

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.

amerecorder

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.

img_0564

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.

img_2011

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.

isbinpacqr

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.

duyundino

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.

eyetoivory

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.

kohlimit

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.

Rachel Barton Pine Restoring Neglected Masterpieces to the Repertoire: Dvorak and Khachaturian


bartonpinedvorak

Avie AV-2411

Rachel Barton-Pine is one of the finest and most interesting performers working today.  Her unique look at the performing repertoire for her instrument continues to be one of the most salient features of her artistry.  Certainly her interpretive abilities are foremost but her choices of neglected repertoire make any release of her recordings a reason to pay close attention.

In the past she has recorded many a neglected piece based on her interest in the music.  She has featured black composers from the baroque to the present and has managed to resurrect unjustly neglected concerti from composers of pretty much every racial and national description.  Here she features two lovely seldom heard concertos.  The Dvorak concerto from 1789 and the Khachaturian concerto from 1941.  Both are major works and a challenge to the soloist and both fit pretty much into the late romantic genre (arguably that would be “post romantic” for the Khachaturian).

The present recording is released on the Avie label which is a progressive independent label which itself boasts an impressive selection of musical works in very fine performances.  This disc is a fine example of the work they do and is a great selection for the listener’s library.  These two concertos were popular in their day but have not seen inclusion in live performances or recordings as much as other romantic concertos.  One could speculate endlessly on why this is so or one could simply celebrate the fact that we are getting to hear them in these fine and definitive recordings.

The Dvorak from 1879 is as tuneful and entertaining as any of its contemporaries (Bruch, Tchaikovsky, Brahms, etc) but for whatever reason has not received as much attention.  Regardless of why this is so I would recommend just listening and drawing your own conclusions.  This three movement work is as challenging technically and as entertaining a concerto as any currently in regular performance.  This work is one of the finest examples of the high romanticism of the late 19th century and one hope this recording will help cement the piece into a more frequent visitor to both concert halls and recordings.

The Khachaturian (from 1940) began its life during the throes of the WWII under the oppressive political scrutiny of Josef Stalin and his regime.  Khachaturian, who is now recognized quite properly as an Armenian composer, was then subsumed into the mix of the vast gaggle of countries and cultures under the rubric of the USSR.  And while this is not particularly or obviously ethnic as other music from this region it is important to know that the composer’s identity was “Russian” by default and not by choice.  Regardless of those considerations one must be grateful for the fact that the oppressive regime was able to recognize a quality work (also one in three movements) and give it the “Stalin prize”.  Doubtless there are influences gleaned from the composer’s efforts to not offend the conservative tastes of the ruling elite but the bottom line here is that we have a true masterpiece of the concerto genre and one which deserves serious attention and continued performances.

The useful liner notes are by the soloist, a fact which spotlights her musicological interests and her ability to communicate with an audience verbally as well as musically.  In fact a quick perusal of Rachel’s web site will lead the interested to some of her more pedagogical efforts featuring scores of some of these lesser known masterpieces.

And, oh yes, there are large orchestral duties here too.  The wonderful Royal Scottish National Orchestra is led by the rising star conductor/composer Teddy Abrams who recently took over leadership of another supporter of new and/or neglected musics, the venerable Louisville Orchestra.  Founded in 1937 they have carried the torch for new music and celebrated the inclusion of all genders and ethnicities in their musical vision, an embodiment of the very intent of the phrase, “E Pluribus Unum” especially in this musical context.

All in all a great disc which is unlikely to duplicate anything in your collection but one to which you will doubtless return for sheer entertainment and joy.

Politics and Its Discontents: Sirius Quartet’s New World


siriusnewworld

ZOHO ZM 201908

This is a marvelous disc which functions well on several levels.  First it is a fine disc of new string quartet music played by wonderful musicians (who wrote most of the music here as well).  Second it is a disc of music which is designed to put forth sociopolitical reactions/opinions.  This Zoho label production succeeds quite well in these areas.

Starting with the lovely cover art by Aodán Collins, this Sirius Quartet album is their first full album since 2016.  It is, above all, a political statement, or rather, a series of political statements in the form of inventive compositions by these wonderfully talented musicians.  Each track is incredibly entertaining and each has a closely associated subtext of sorts reflecting a variety of sociopolitical issues.  The Sirius Quartet consists of Fung Chern Hwei and Gregor Huebner, violins; Ron Lawrence, viola; and Jeremy Harman, cello.

This disc contains ten works on ten tracks, each with an underlying political component.  All appear to have been written from 2016 to the present though the composition dates are not given explicitly.

The first work, Beside the Point, is by first violinist Fung Chern Hwei and it is a friendly scherzo-like piece which sets the tone for what is to come.  The composer describes this piece as his statement against discrimination and it is a plea for equality.  It is a relatively brief but very compelling work.

Next up is a track written by cellist Jeremy Harman called Currents.  It is another scherzo-like affair, slightly longer than the first piece and its political subtext is described by the composer as evoking currents of elements both dark and light whose powers affect us daily.  Another well-written and very exciting piece.

The eponymous New World, November 9, 2016 is essentially an angry lament in response to the election of Donald Trump as president on that date.  The work quotes judiciously and effectively from Dvorak and Shostakovich in the longest work here coming in at 10:16.  It relies on some extended techniques at times but is an essentially tonal work as are its companions on this disc.  This piece is also distinguished as having won the 2017 New York Philharmonic’s “New World Initiative” competition’s grand prize and it is acknowledged as the seed work which eventually spawned this entire album.

#Still by second violinist Gregor Huebner is perhaps the most gut wrenching piece here.  It’s based on the Abel Meeropol song, Strange Fruit (whose title refers to lynched bodies hanging from trees) iconically recorded by Billie Holiday in 1939.  Sadly its themes remain painfully relevant today and this heartfelt plea for peace and equality is a strikingly powerful work with an adagio section which rivals the Barber Adagio in its beauty.

Huebner’s cover of the Beatles song, Eleanor Rigby occupies the next track.  It is very much in keeping with the political theme of the album with the song’s words about a sad individual “buried along with her name”.  As such it is also one of the finest transcriptions/covers for string quartet that this reviewer has heard.  This is some seriously interesting writing which elevates this to a well crafted piece in it’s own right and not merely a “this string quartet plays…” generic piece.  Jazz inflections seem to invoke Stephane Grapelli and Django Reinhardt at times and a few extended techniques remind us that we are listening in the 21st century.

More Than We Are by cellist Jeremy Harman is described as an “aspirational” composition which was written after the birth of the composer’s son, Silas.  It is an emotional piece, perhaps a paean to hope.

To a New Day by Fung Chern Hwei is, of all things, a celebration of hope for healing politics in the composer’s native country of Malaysia (politics outside of the US and Europe are important too after all).  May 9, 2018 was the date of an election whose result will hopefully heal political wounds and put that country on a more humane and progressive agenda.  There may be more specific references embedded in the music here but that must be left for listeners and musicologists to debate in the future.  It is another gorgeous example of good string quartet writing.

Hwei describes this next piece, “30th Night, Worshiping Heaven and Earth” as a “repurposed prayer”.  It is, he says, an “unapologetically Chinese/Malaysian piece” which uses a combination of Chinese folk melody and specific attention to language to suggest a subversive theme which seeks to encourage a humane approach from a traditionally oppressive government.  It is the only track with vocals.

The penultimate track is another brilliant arrangement (by Huebner) of a rock/pop song, Radio Head’s “Knives Out”.  The political content is expressed by reference to the song’s lyrics and also by musical references which are inserted throughout.  Again an experience of the cover genre that rises above the ordinary.

The album ends with an arrangement by Fung Chern Hwei of the late Stanley Myers’ lovely Cavatina from his score to “The Deer Hunter”.  Like the previous covers this one stands head and shoulders above the usual level of musical discourse for this genre.

All in all an immensely satisfying album.  Kudos to Grammy winning producer and writer (he wrote the wonderful liner notes here) Kabir Seghal and, of course, to the musicianship of this fine ensemble of composer/musicians.  Art continues to struggle in these uncertain times but its struggle can bring forth some amazing creativity and this one sounds like a winner.

 

 

Mathew Rosenblum: Klezmer, Witches, and the Avant-Garde


Conjuring the spirits of the 1950s/ 60s avant-garde and a few musical references composer Mathew Rosenblum (1954- ) enlists the klezmer spirit of none other than David Krakauer and master conductor Gil Rose with his wonderful Boston Modern Orchestra Project to bring life to this klezmer clarinet concerto.

The concerto, titled, “Lament/Witches Sabbath” (2017) is a tour de force for the soloist and certainly a challenge for the large orchestra.  Using elements of klezmer style along with musical references such as Berlioz in suggesting the evil sabbath revels the composer creates an unusual but fascinating canvas.  Nothing evil here, just some truly exciting musicianship. In addition we hear various noisy avant-garde effects and even voice overs reminiscent of Robert Ashley.  Ultimately it is also a species of classical which has a sociopolitical view and this is both memory and homage to the composer’s past, lamenting the suffering and pondering the evil that fueled it.

Krakauer’s facility with his instrument is simply astonishing.  He has the klezmer thing down but he also brings with him a great virtuosity as a classical clarinetist and a working knowledge of free jazz.  It’s not clear how much creativity this soloist was allowed within the constraints of the piece but the bottom line is that it works very well.  Gil Rose’ expertise in handling all this potential chaos is impressive as always and he delivers ultimately a very enjoyable performance despite those noisy avant-garde moments.  Indeed it is Rose’ ability to select repertoire with which he can grasp and from which he can conjure a compelling performance.  It is Rosenblum’s family biography taking him from the pogroms of the Ukraine to the United States.

The second track (of 4) is a solo for percussion.  Again the avant-garde remains interesting and both performance and recording communicate well with the listener.  Northern Flicker (2013) is no filler, it is an interesting, if rather brief, work.  Lisa Pegher is the busy soloist.

Falling (2013) is a complex work involving pre-recorded audio as well as a chamber group in a song cycle based on the James Dickey poem of the same name.  It is a retelling of an incident in which an airline stewardess who died when she was sucked out of a defective emergency exit in the plane and fell to her death.  The cycle recounts an imagined look into her psyche as she fell to her death.  It is an affecting, if unusual, presentation but Rosenblum’s judicious use of modern elements  while still using recognizable melodies and more traditional techniques make for a listenable, if harrowing, experience.

Here the Pittsburgh New Music Ensemble consisting of Lindsey Goodman, flute; Eric Jacobs, clarinet; Nathalie Shaw, violin; Norbert Lewandowski, cello; Ian Rosenbaum, percussion; and Oscar Micaelsson, piano/keyboard join with soprano Lindsey Kesselman with conductor Kevin Noe to produce this rewarding work.

Finally we get another large work, this time for multi-tracked string quartet with percussion titled Last Round (2015) which is also biographical in that the composer is attempting to evoke a time in the 1980s when he frequented an establishment with fellow composers.  The composer, in his entertaining and informative liner notes recounts his time with fellow composer Lee Hyla and friends and seeks to evoke elements of the downtown scene of that era.  This is a rather large work with its own complexities but one which speaks easily to an audience, even one not experienced in the time and place the composer attempts to evoke.

This is a marvelous recording of a music by a composer unfamiliar to this writer (until now) whose work deserves your attention.

Michala Petri in the 21st Century


amerecorder

OUR Recordings 8.226912

Since her debut in the mid 1970s Michala Petri has proven herself as one of the great masters of the recorder.  The recorder is an instrument which, until the 20th century was pretty much only heard in music written before 1750 or so.  Many previous masters such as David Munrow and Franz Brüggen restricted their playing to early music.  Petri has certainly broken that mold.  She has mastered baroque, renaissance and contemporary music for her instrument as her recent releases demonstrate.  And her skills as a musician have only grown stronger and more convincing.

This disc is her celebration of American music for the recorder.  We hear four 21st century concerti for the recorder.  Composers include Roberto Sierra (1953- ), Steven Stucky (1949-2016), Anthony Newman (1941- ), and (a new name to this reviewer) Sean Hickey (1970- ).  These are fine compositions but they are basically mainstream sort of neo-romantic/neo-classical/neo-baroque works.  These are all finely crafted compositions but nothing here is experimental.  Despite the names all are basically concerti which highlight the interplay between soloist and ensemble.  Therein lies the joy.

The disc begins with Roberto Sierra (1953- ) wrote his “Prelude, Habanera, and Perpetual Motion (2016) as an expansion of an earlier recorder and guitar piece but, obviously, with a great deal of expansion and orchestration.  Despite its colorful title the work is basically a concerto and a fine one at that.  Petri here performs with the Tivoli Copenhagen Philharmonic under Alexander Shelley.  From Sierra’s web page there is a link to a video of the premiere here.  Sierra, born in Puerto Rico, affirms his skills as a composer in this exciting work.

Next up is music of the late Steven Stucky (1949-2016) sadly known almost as much for his recent demise as for his compositions.  However Petri’s performance of his “Etudes” (2000) for recorder and orchestra goes a long way to affirming some of the gravity of the talent we lost and the wonderful legacy he left.  The Danish National Symphony under Lan Shui do a fine job of handling the complex orchestral accompaniment and Petri shines as always.  This concerto is in three movements titled: Scales, Glides, and Arpeggios respectively.

Anthony Newman (1941- ) is a name that must be familiar to classical recording buyers in the late 1970s into the 1980s when Newman’s exciting recordings of Bach dominated record sales.  It is no wonder that he composed an essentially neo-baroque concerto pitting the recorder against an ensemble consisting of a harpsichord (deliciously played by Newman) and a string quartet (in this case the Nordic String Quartet).  Clearly a more suitable sized ensemble that might have been used in the 18th century.  This is the only piece on this album that is actually called a concerto by its composer.  Concerto for recorder, harpsichord, and strings (2016) in four movements (Toccata, Devil’s Dance, Lament, and Furie) shows this performer, musicologist, and composer at the height of his powers in this lovingly crafted work.

Last (and certainly not least as the cliché goes) least is by a composer unfamiliar to this reviewer, Sean Hickey (1970- ) is also the youngest composer here.  His A Pacifying Weapon (2015) is subtitled, “Concerto for Recorder, Winds, Brass, Percussion and Harp” which tells you about the rather gargantuan dimensions of his work.  While not representing a specific “program” the work is the only one on this CD that espouses some political content.  The title reflects the composer’s desire to use this concerto to represent some of his response to “current events”.  The three movements are simply numbered 1, 2, and 3.  I can only begin to imagine the problems of balancing the little recorder against such a huge and loud ensemble but the Royal Danish Academy of Music under conductor Jean Thorel are clearly up to the task.

Hickey originally hails from Detroit and is now based in New York.  A quick perusal of his web page suggests that listeners like your humble reviewer have much to hear from this up and coming young composer.

All these are world premiere recordings which show Michala Petri at the height of her powers.  Indeed she is an international treasure whose instrumental skills and her range of repertory continue to amaze and entertain her audience.  The recording under Lars Hannibal’s direction is, as usual, lucid and very listenable.  Joshua Cheeks liner notes save this writer a great deal of research time and pretty much answered all this listener’s questions.

Happy listening all.  This recording has it going on at many levels.

 

 

 

 

 

PUBLIQuartet: Freedom & Faith


publiquartfreedom

Bright Shiny Things BSTC 0126

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

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

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

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

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

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

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

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

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

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