Sarah Cahill’s “The Future is Female” Volume 2: The Dance


First Hand Records FHR 132

The fanciful subtitle of this release, “The Dance” is a follow up to the first volume titled, “In Nature” (a third volume titled, “At Play” is due out in March, 2023). These vague titles are fanciful and more connotative than specific. They seem to reflect the nature of the project and the nature of Sarah Cahill‘s style of conceptualizing what must be an overwhelming undertaking, Beginning with the simple concept of female composers (the term “neglected” would be redundant here) Cahill has produced a sweeping survey ranging from the baroque era (the earliest piece so far in this anthology is from 1687) to the present and her survey seems to know few geographical boundaries in this representative survey of keyboard music. Of course we are talking about basically the paradigm of western classical music but non-western influences are of course included via the composers’ individual talents. Many of these works were presented in Cahill’s fine YouTube series which can give listeners further clues to the pianist’s varied interests.

The cover art (which I had described as “drab” in the first review) now seems to aptly reflect the struggle for equality and now nicely represents this project in an iconic way with the same monochrome cover photo on each of the three volumes and a primary color panel with the disc title. Green for Volume I, Yellow for Volume II (I’m guessing “red” for Vol III?). This survey is shaping up to be an influential as well as hugely entertaining anthology.

What struck this listener is Cahill’s facility with both technique and interpretation of a mighty diverse set of pieces. Known primarily for her work with music written after 1950, she demonstrates in these recordings an impressive command of baroque, classical, romantic, and modern idioms. I have never heard her play Bach but I wouldn’t miss an opportunity to hear her do the Goldberg Variations.

This was particularly striking in her reading of the keyboard suite that opens this release. This is apparently not the first recording of Elisabeth JACQUET DE LA GUERRE‘s (1665-1729) Suite no. 1 in d minor (the complete suites for harpsichord were recorded by harpsichordist Carol Cerasi in 1998) but Cahill seems to channel the spirits of the pioneering efforts of Wanda Landowska and Rosalyn Tureck whose abilities to play harpsichord music effectively on the modern piano helped set the standard for this practice in the twentieth century and beyond. This late French baroque suite is a thoroughly engaging way to draw the listener in. With echoes of Bach and Couperin this virtually unknown composer is seriously engaging and substantive. This recording includes five (of nine) movements of the suite. One hopes to hear more of this woman’s music and Cahill is very much up to the task of providing a definitive performance.

With the next track we hear the music of Clara SCHUMANN (1819-1896), better known as the wife of Robert Schumann (1810-1856). Clara was in fact a highly accomplished virtuoso and composer whose works are only now getting the recognition they deserve. The piece chosen here is her Variations on a Theme of Robert Schumann Op. 20. These seven variations were a gift for her husband on his 43rd birthday in 1853. Sadly it was to be the last birthday he would celebrate with his family. Robert Schumann was infamously institutionalized in 1854 and died in 1856. The work has all the splendor of high romanticism with the virtuosity associated with the great composer/pianists (Brahms, Schumann, Liszt, Rubinstein, et al). And, as with the previous piece, Cahill seems very at home in her reading of this wonderful set of variations.

Germaine TAILLEFERE (1892-1983) is next up with her three movement partita of 1957. The title “Partita” suggests a connection with the baroque suite which opens this collection. The connection is one of form, not harmony or melody. The three movements here are “Perpetuum Mobile”, “Notturno”, and “Allegramente”. Taillefere, who is perhaps best known for her lively Harp Concertino of 1927, was the only female member of France’s celebrated “Les Six” (the other members were, Louis Durey, Georges Auric, Arthur Honneger, Darius Milhaud, and Francis Poulenc). This largely neoclassical group of composers developed their styles in the shadow of Debussy and Ravel. Cahill’s first album was a fine reading of Ravel’s piano music and she is very much in her element with this delightful three movement work which echoes Ravel to some degree,

Zenobia POWELL PERRY (1908-2004) is the first composer in this collection to be born in the twentieth century. She was a black composer/conductor/pianist and teacher. Her work appeared before in this blog in coverage of her opera “Tarawa House” which was given a revival in Modesto, CA in 2014. Her “Rhapsody” (1960) is in a sort of Neo-romantic style with some challenging virtuosity required. This is a fine introduction to her work which deserves serious reassessment and more performances. Musicologist Jeannie Gayle Pool continues to publish, preserve, and advocate for this neglected American artist. Pool maintains the website for this composer and is a useful, informative site,

Madeleine DRING (1923-1977), a British composer/pianist, a new name to this writer, is characterized by her use of popular and jazz idioms. Cahill here plays two (of five) movements of her “Color Suite” (1963). This whets the listener’s appetite for more of this interesting composer whose work was well known during her career but whose star has dimmed since her passing. Dring is one of many women composers of that era whose work, though influential, has not been incorporated into the repertory of contemporary classical musicians.

Betsy JOLAS (1926- ), a French born American composer whose career has included work as a composer, pianist, and teacher. No stranger to the Bay Area, Jolas taught at UC Berkeley and Mills College as well as Harvard and Yale. The listener accessible nature of her music belies the innovation and complexities it contains. Though she has been recognized throughout her career her work is due for a new reckoning. Her brief “Tango Si” (1984) is entertaining and sufficiently compelling to spark interest in her work going forward.

Elena KATS-CHERNIN (1957- ) hails from Uzbekistan and migrated to Australia where she studied at the New South Wales Conservatorium and subsequently with Helmut Lachenmann in Germany. Kats-Chernin has been a prolific composer and is now perhaps mid-career and, happily, pretty well known. “Peggy’s Rag” (1996) is one of a set of several rags written between 1995 and 1999. This work is dedicated to Australian composer Peggy Glanville-Hicks (1912-1990), another artist, another female composer deserving of a revival.

Meredith MONK (1942- ) has long been one of this reviewer’s favorite “downtown” composers whose initial musical ventures were first heard in her New York SOHO loft. She, along with other rising stars, including Philip Glass, Steve Reich, Phill Klein, Rhys Chatham, etc., are now the historically recognized mavericks who’s creative ideas formed in contrast to the power elite of the “uptown” composers heard commonly at Lincoln Center.

Monk was initially trained as a dancer and that has been evident in most of her output. But she is perhaps best known for her exploration of extended vocal techniques (which she also teaches). It is fitting that her “St. Petersburg Waltz” (1997) is included in this dance themed installment of music by women composers. Despite being an “east coast” composer initially, Monk has achieved international recognition and has a particularly large following in the Bay Area. No surprise then that our pianist guide in this journey has a long standing familiarity with Monk’s work. Cahill demonstrates her grasp of Monk’s minimalist inflected style most admirably and, as in the preceding tracks, leaves the listener wanting more.

Gabriela ORTIZ (1964) is a Mexican composer. Born in Mexico, trained in England, and now teaching in Mexico. Her light shines brightly even in the glare of the heavily politicized immigration issues that dominate the media and is another in a long line of world class composers from that underrated country. Ortiz, in addition to her academic appointments, has produced a large number of works in multiple formats from piano and chamber music, to orchestral, dance, and opera. Her work draws in part on the folk music traditions she absorbed in her childhood and she has amassed a significant number of international commissions and recordings.

Ortiz is also an accomplished pianist and the work chosen here is “Preludio y Estudio No. 3″(2011), one of four two part compositions. Cahill’s brief but useful notes provide the listener with her personal insights to the underlying complexities that drive this music. The incorporation of folk and non-classical elements has been embraced by composers for hundreds of years and Ortiz succeeds in incorporating such elements into her personal style,. As with all of these works, Cahill produces interpretations that, if not absolutely definitive (there are always detractors) stand as a challenge to subsequent interpreters, a necessary element in such a grand project.

This volume ends with the most recently composed work by the youngest composer of the lot, Theresa WONG (1976- ). Wong, a graduate of Mills College, is cherished performer in the Bay Area and beyond, As both composer and performer she has maintained an active schedule and has produced a great deal of music documented in a large and growing discography. Her collaborations have included many of the established Bay Area artistic royalty (including Ms. Cahill, of course).

“She Dances Naked Under the Palm Trees” (2019) is a composition for which the backstory (provided in Cahill’s notes) is particularly useful for the listener. It is the incorporation of extramusical ideas and musical. quotation that drive the drama here to some extent.. The music certainly stands on its own but the addition of the technical insights will send the listener back for repeated hearings and the music will guide the listener to seek more of the work of this wonderful artist whose star continues to rise.

The last disc in this landmark anthology (due next year) will ultimately contain only a portion of the approximately 70 pieces which Cahill has chosen. Like her previous anthology (of politically influenced music) “A Sweeter Music” released in 2013, the limitations of time and money prevent a more complete vision of said anthologist but there is more than enough to provoke further interest by listeners and artists and isn’t that the point?

Kinga Augustyn Tackles the Moderns


Centaur CRC 3836

Kinga Augustyn is a new musician to these ears. She kindly sent me this wonderful very recent release for review. And she certainly found a reviewer sympathetic to new music here. A quick review of her releases reveals that she has been releasing recordings since at least 2010 and, in addition to many of the “usual suspects” or “warhorses” of the repertoire, she has demonstrated a keen interest in lesser known works as well as recently minted works hoping for a place in the repertoire.

Her album count by my reckoning is up to 13 now and her musical interests appear to range from the baroque with Telemann’s 12 violin fantasies (no, not a transcription of the better known solo flute works) to the very recent works presented on the present disc. Her choices of repertoire for recording are delightfully unusual as she ventures into the work of neglected composers such as Astor Piazolla (1921-1992) and Romuald Twardowski (1930- ). And she has chosen to release an album of Paganini’s 24 Caprices rather than the Bach solo violin works (though these may come later). The point is that she seems interested in bringing out performances of music which gets less attention than the standard repertoire. Indeed she appears to be attempting to influence and add to the canon of solo violin performance repertoire.

How often can one expect to find a solo violin disc where the only familiar piece is one of Luciano Berio’s Sequenzas? Well this is that disc. The earliest work here is Grazyna Bacewicz’s (1909-1969) Sonata No. 2 (1958). Berio’s Sequenza VIII (1976). Along with Isang Yun’s (1917-1995) Koenigliches Thema (1976) are also 20th century pieces. And though the four movements of Elliot Carter’s (1908-2012) Four Lauds begin in the late 20th century (Riconoscenza per Goffredo Petrassi, 1984 and Remembering Aaron, 1999) they end in the 21st century with Remembering Roger, 2000 and Rhapsodic Musings, 2001.

The brief, almost “Webernian” miniatures that comprise Carter’s “Four Lauds” each have an individual character, the first an homage to Aaron Copland (1900-1990) which doubtless represents the composer via a quotation or perhaps some more personal inside reference. The Riconoscenza per Goffredo Petrassi is the longest and seemingly most complex of the group (I don’t know Petrassi’s music as well as I would like so I’m not sure about the references here). The Rhapsodic Musings are not apparently directed to any musician or composer in particular and The Fantasy-Remembering Roger does seem to embody the sound of Roger Sessions’ style.

The Berio is one of a set of 14 pieces for solo instruments (depending on how you count them) and they are a sort of compositional manifesto utilizing extended techniques. Augustyn delivers a very convincing reading of this intentionally challenging work. It is the longest single work on this recording.

This Polish born, New York based violinist has done homage to the music of her homeland before with her Naxos album of miniatures that I doubt you will find elsewhere. On this album she does homage to Polish musical culture by her inclusion of the inexplicably too little known Grazyna Bacewicz and a world premiere of a solo violin work by the well documented Krzysztof Penderecki in his 2008 Capriccio. As one who fell in love with the avant-garde Penderecki of say 1958-1972 I have not paid as much attention to Penderecki’s later works. In a pleasant surprise these ears heard this very late Penderecki piece as almost a summation including tasty bits of avant-gardist techniques along with nicely lyrical passages. I am now convinced I need to do a reappraisal of my knowledge of this composer’s later work.

She follows this with a very significant work by a criminally neglected composer, Grazyna Bacewicz (1909-1969). Her Second Sonata for Solo Violin (1958) is an adventuresome work which challenges the violinist while holding the listener’s attention. It is definitely time for a major reassessment of this woman’s work and one hopes that Augustyn’s reading will help encourage more interest in Bacewicz’s work.

Augustyn next chooses another unjustly neglected composer, Isang Yun (1917-1995) whose biography including kidnapping by the South Korean intelligence officers and subsequent sequestration in a South Korean jail stirred artistic outrage which eventually resulted in his release. The piece played here, “Koniglisches Thema”(1976) brings us back to the beginning of solo violin composition by its quotation of a Bach theme. Not a theme from any of the solo violin music but rather the theme given to Bach by Frederick II of Prussia. The origin of the theme is not by Bach and its compositional origins are much debated but what is not debated is that fanciers of Bach know this theme instantly. Isang Yun writes, apparently, a set of variations on the theme, an offering of his own to the master.

This is a dream of an album for people who appreciate modernism, new music, and undiscovered gems but Augustyn’s readings of the unfamiliar Carter “Four Lauds” and, the most recent work on the disc, Debra Kaye‘s (1956- ) “Turning in Time” (2018) are, for this listener, worth the price of the disc by themselves. Carter is no easy task for listeners and certainly for performers but she manages to find the late post-romantic/post-modern lyricism in these pithy little works. And the Debra Kaye work is “hot off the presses” so to speak, having been written just before the second of the two recording sessions that produced this album. The Kaye work is the second longest on this recording and fits well as a concluding work on this ambitious and engaging program.

New music is in need of talented musicians willing to search for and learn their work and Augustyn happily seems to be willing to fill that bill. Her acumen in being able to know music of substance when she sees it and the ability to bring those scores to life bodes well for listeners interested in this repertoire. After all it’s hard not to notice that the Bacewicz Sonata is her second and completists will want to hear that first one. But, more seriously, I look forward to the upcoming releases by this artist who, when sighted on my radar again, will not be let go without a serious listen.

Elegant Affable Virtuosity, Hanzhi Wang at the Music Academy of the West


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Hanzhi Wang with her Pigini concert accordion (publicity photo from the internet)

On the first day of February, on a sunny day in Santa Barbara, rising star Hanzhi Wang presented a solo recital in Hahn Hall at the matinee hour of 4PM.  Despite the beautiful weather a substantial crowd gathered for this event which was part of the always notable UCSB Arts and Lectures series.

This young performer only recently came to this writer’s musical radar a few months ago.  Subsequent research revealed her to be a marvelously accomplished musician.  She earned her Bachelor’s degree at the China Central Conservatory of Music in Beijing, and her Master’s degree at the Royal Danish Academy of Music in Copenhagen as a student of Geir Draugsvoll.  First Prize Winner of the 2017 Young Concert Artists International Auditions, Ms. Wang’s debut opened the Young Concert Artists Series in New York in The Peter Marino Concert at Zankel Hall at Carnegie Hall, and her Washington, DC debut opened the 40th Anniversary Young Concert Artists Series at the Kennedy Center.

Her interesting and rather eclectic program was artfully designed to showcase her strengths.  One of those strengths is certainly her ability to communicate with her audience both is her brief but lovely introductions to her performances using a microphone kept near her seat as well as in her radiant persona which communicates a humility and pleasant affability.  Of course the most important communication to be heard on this afternoon would be the musical.

She began with a couple of Bach pieces which, like most of his keyboard music, can be done equally well on harpsichord, piano, and now, accordion.  It is here that she showed her virtuosity and interpretive skills which reflected an obvious affection for the material.  Though scheduled to perform the famous Chaconne she chose instead to present these shorter, entertaining pieces.

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Her Pigini concert accordion echoed the pleats in the skirt of her tasteful outfit well suited to a recitalist performing these essential works of the western musical canon.  She followed these with three keyboard sonatas by Domenico Scarlatti (1685-1757)(K. 9, 159, and 146).  This writer first encountered these little gems (the composer wrote over 500 of them) in the landmark recording Switched on Bach by Wendy Carlos in the 1970s and they are a delight on any concert program (though not programmed often enough).  She handled these challengingly virtuosic works with seeming ease expertly adding dynamics to define these works to create a wonderfully entertaining concert experience.

Wang followed these with three pieces by another late baroque master, French composer Jean-Philippe Rameau (1683-1764).  “L’ Egiptienne”, “La Livri”, and “Le Rappel des oiseau”.  Her obvious affection for these works have subsequently sent this listener to seek out more of Rameau’s works.  These works on the first half of the program were all characterized by her lovely playing, making a strong case for the role of this nineteenth century folk instrument’s role in the playing of classical music.

After a brief intermission Ms. Wang offered a twentieth century work by the late, great Russian composer, Alfred Schnittke (1934-1998).  Though not originally for the accordion the composer did utilize this instrument in some of his works.  Russian composers at least since Tchaikovsky have utilized the accordion to stunning effect.  And this performance was another demonstration of this young musician’s easy virtuosity and insight offering up these brief pieces inspired by Nikolai Gogol’s novel, “Dead Souls”.  The music is filled with both humor and passion with echoes of the dead souls (in Schnittke’s trademark “polytsylism”) of prior Russian composers.

The soloist’s clear understanding of the modern idiom was made very clear and one need only look to Wang’s website to see that her repertory ranges across 400 years of the western musical canon.  One wonders if there is anything she can’t play well.

Her last scheduled pieces came from the late nineteenth century by a composer which Wang humorously noted eschewed the accordion, Edvard Grieg (1843-1907).  The Norwegian nationalist’s famed Holberg Suite (originally for string orchestra) sounded pleasantly familiar on Wang’s instrument.

After an enthusiastic standing ovation Ms. Wang presented three more pieces, two by the late Argentinian Astor Piazzolla (1921-1992) and a piece by German composer and piano virtuoso, Moritz Moszkovsky (1854-1925).  These were like gifts to the audience which further demonstrated her facility with the tango inflected Piazzola and the playful, though difficult, pianism of Moszkowski.

This young woman is indeed a rising star who belongs on your radar.

 

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.