Jeremy Gill: Before the Wresting Tides


BMOP 1055

In this writer’s mind there are two types of releases on the BMOP label. Discs with music or at least composers that have some familiarity to these ears and discs of unfamiliar composers.  This disc fits into the latter category.  Jeremy Gill is a new name to these ears but he is hardly new on the scene with at least 3 or 4 CDs already out devoted mostly to his chamber music.

This disc then will give the listener an idea of how well Gil Rose and his Boston Modern Orchestra Project choose and subsequently perform less familiar new music.  There is a lot of music out there and it takes a special ear to choose wisely such that one can expect a given release to keep its place among the other well chosen music that makes up the BMOP label’s catalog.  It would appear that this was and will remain a wise choice.  Three works are presented in chronological order of their composition.

The first is the title work, Before the Wresting Tides (2012), a choral fantasy setting a poem by American poet Hart Crane (1899-1932).  This was written specifically to function as a companion piece for Beethoven’s rarely performed Choral Fantasy Op. 80 (ca. 1808).  This work shares a similar orchestration and formal plan.  There is an obligatto piano solo written for Gill’s friend and colleague Ching-Yun Hu, a large orchestra, chorus, and vocal solos.  All of this fits into a compact 16 minutes or so.  It is decidedly more modern in orchestration and harmony than Beethoven’s work but it shares a virtuosic piano part, lyrical melodies, and marvelously efficient setting of the text handled beautifully by the Marsh Chapel Choir under Scott Allen Jarrett.  There is a lot going on here but I can’t imagine an audience being anything but entertained by this rather bombastic companion which one hopes will continue to be performed alongside the Beethoven model bringing both works to modern ears.

The second work is titled Serenada Concertante (2013) for oboe and orchestra.  It is sort of an enlarged oboe concerto.  The soloist, Erin Hannigan demonstrates the virtuosic and lyric skills that seem to be endemic to this entire orchestra.  Gill’s writing makes large romantic gestures with plenty of painfully virtuosic opportunities (handled beautifully) for the soloist and the various soli and duettini which occur in the course of this full blown concerto.  The composer’s ability to utilize such a large orchestra yet still produce lucid textures is a mark of genius and, no doubt, one of the reasons that Gill’s music was chosen for this series of recordings.

Our finale is another concerto of sorts, the Notturno Concertante (2014) for clarinet and orchestra.  Again we hear an amazing soloist, Chris Grymes, on clarinet.  Again we hear amazing virtuosity and lyricism played against a large and lucid orchestral fabric.  Very satisfying music for both audience and orchestra.  It is clearly a workout for orchestra, soloist, and conductor but the energies expended produce a very satisfying result.

Whether or not Jeremy Gill winds up being a household name, one of the brightest lights of the 21st century remains to be seen but this is an auspicious release.  This largely romantic sounding composer also seems to have a curiously “American” sound which harkens to the likes of William Schuman, David Diamond, and, well choose your own favorite mid-twentieth century American master after you hear this.  Well done.

American Muse, American Master: Steven Stucky on BMOP

BMOP 1050

Steven Stucky (1949-2016) was sadly taken from the world too soon.  But we can rejoice in this wonderful new disc of (mostly) first recordings of some of his wonderful orchestral music and songs.  Boston Modern Orchestra Project adds another entry to their growing discography of must hear American music with this beautiful recording.

Three works are featured, Rhapsodies (2008), American Muse (1999), and Concerto for Orchestra (No. 1, 1987).  Only one, American Muse has been recorded (on Albany Records) before and all are worthy selections from the composer’s ample catalog.

Rhapsodies, the most recent work, is also the shortest at just over 8 minutes.  It was commissioned by the New York Philharmonic and the BBC Symphony and is for large orchestra and sounds as though it could serve as a movement in another Concerto for Orchestra.  Stucky, who was an expert on the music of Witold Lutosławski (1913-1994), was a master orchestrator as was Lutosławski though Stucky’s style is distinctly different reflecting a sort of friendly romantic modernism with serious virtuosity.  This little gem gives the orchestra and, no doubt, the conductor, a run for their money in this virtuosic and highly entertaining little sonic gem.  It was premiered in 2008 under Lorin Maazel.

The Los Angeles Philharmonic commission, American Muse was written with the fine baritone Sanford Sylvan in mind.  It is a four song cycle setting poems by John Berryman, e.e. cummings, A.R. Ammons, and Walt Whitman and was premiered in 1999 under Esa-Pekka Salonen.  Sylvan is a very fine interpreter of American music and first won this reviewer’s heart with his rendition of John Adams’ The Wound Dresser (also a Whitman setting).  One should never miss an opportunity to hear Sylvan’s work.

Again we are treated to Stucky’s acute and subtle sense of orchestration which works with the poetry unobtrusively paralleling the words with the musical accompaniment and seemingly creating its own poetry in sound. Sylvan is in fine voice and seems to be enjoying his performance, a very satisfying experience.

The inclusion of Stucky’s first Concerto for Orchestra which was commissioned by the Philadelphia Orchestra and premiered in 1988 (under Ricardo Muti) will satisfy fans of this composer’s work as it provides an opportunity to hear “the one that got away” so to speak.  It was the runner up for the Pulitzer Prize which he would later win for his Second Concerto for Orchestra (2003) in 2005.

In it’s three movements Stucky is clearly the master of his realm and creates a wonderful listening experience.  His sense of drama and emotion are stunning and serve to underscore the dimension of what the world has lost in his passing.  But it is time to leave sorrow aside and let the music speak and thus provide the composer with a dimension of immortality.

As usual the performance and recording are impeccable and Gil Rose continues to record wonderful music that deserves more frequent hearings and does honor to the memory of a cherished artist.  Now can a recording of Stucky’s 2012 Symphony be far behind?  Let’s hope so.

David Rakowski: Stolen Moments, Fabulous New Orchestral Music


BMOP 1048

The spirit of jazz and, in particular, that of Duke Ellington and perhaps George Gershwin seem ever present in this recent release from the Boston Modern Orchestra Project.  David Rakowski (1958- ) is a new voice to these ears but clearly a highly developed one well schooled in writing for large orchestra and for piano solo within that context as well.

Two works are presented here, the four movement Stolen Moments (2008/2010) and Piano Concerto No.2 (2011).  Both are large, colorful works in a basically tonal/romantic context but with clear modernist influence.  Nothing experimental here, just sumptuous orchestral writing and a challenging and interesting work for piano and orchestra.  It was only from reading the useful liner notes that I learned Rakowski had been a student of Milton Babbitt (1916-2011), a composer famous for his hard nosed complexity.  In fact Rakowski actually quotes from Babbitt and this music is a tribute to the education received from this man (keep in mind that Babbitt also taught harmony to Stephen Sondheim).

It is as difficult to grasp that Rakowski was taught by Babbitt as it is to believe that, by his own assertion, he knows very little about jazz.  The first work seems to channel the spirits of Duke Ellington and George Gershwin more than Babbitt for sure.  This four movement orchestral suite, in it’s many moods, is melodic, jazzy and engaging in a way that can’t fail to entertain.


Amy Briggs (image from the artist’s web site)

Amy Briggs has long been a collaborator with Rakowski and is an artist who has successfully made her career exclusively playing contemporary music.  This second of Rakowski’s concertos for this instrument was written for her and she plays it magnificently.  She clearly has a feel for the jazz rhythms and handles the virtuosic writing as though it were second nature.

The concerto ventures into a variety of moods and provides ample opportunities for many BMOP soloists to have their moments.  It is basically a classical three movement structure with multiple subdivisions within each movement.  These large movements come in at nearly 15 minutes each and are practically works unto themselves though they clearly adhere to the same basic vision.  The second movement is dedicated in memory of Rakowski’s teacher Milton Babbitt.  I’m sure he would have approved.

This is in fact the second time that Gil Rose and his massively talented musicians have chosen to survey some of Rakowski’s music.  That alone should be enough to clue listeners in to a potentially good listen.  Rose has been amassing a catalog of music by modern composers whose work deserves attention and, while this is an example of some pretty recent music, Rose and BMOP have done a fine job of giving attention to composers who have been unjustly neglected as well.   They seem to have a fine ear for quality music and this reviewer will listen to anything they choose to record.

As usual with BMOP, the recording is bright and lucid allowing the listener to hear the fantastic details in these big and intricate but entertaining works.  The production is by Gil Rose himself with recording and post-production by Joel Gordon.  Another great volume in the growing BMOP canon.

BMOP Opening Concert Commemorates Armenian Genocide


ADDENDUM:  Unfortunately the pianist Nareh Arghamanyan will not be able to perform.  BMOP informs me that they are substituting a piece by the wonder.ful Israeli composer Betty Olivero called Neharot Neharot (2006-7) for two string orchestras, accordion, percussion, tape and viola.  It will feature none other than violist extraordinaire Kim Kashkashian.  

The Boston Modern Orchestra Project begins it 20th season on Sunday October 18th with a concert in honor of the 1915 Armenian genocide with a celebration of that country’s artistic heritage.  Titled Resilient Voices 1915-2015, the concert will feature works by Komitas (1869-1935), Alan Hovhaness (1911-2000), Dmitri Shostakovich (1906-1975) and Tigran Mansurian (1939- ).


Komitas, born Soghomon Soghomonian, is generally regarded as the foundational composer for Armenian classical music in the 20th and 21st centuries.  Like Bartok and Kodaly, he collected and transcribed folk music from his country.  He is considered an early founder of the practice of ethnomusicology collecting Armenian and Kurdish folk music.  He was ordained a priest in the Armenian rite church and took the name Komitas.  The impact of the genocide affected him deeply and he spent the last 20 years of his life in a psychiatric facility where he died in 1935.

Alan Hovhaness

Alan Hovhaness

American composer Alan Hovhaness also embraced a musicological approach to his composition by including Armenian folk songs and that of other musical cultures he had explored including Korean and South Asian. He also acknowledges a debt to Komitas (Hovhaness released a recording on his own Poseidon label of him performing Komitas’ complete piano music).

Hovhaness remains less well-represented than he deserves in the concert hall so this performance of Khrimian Hairig (1944, rev 1948) is a welcome one.  The piece is in three continuous movements titled, “Chalice of Holiness”, “Wings of Compassion” and “Triumph of Faith”.  It is scored for string orchestra with solo trumpet.  The solo here will be played by prominent new music trumpeter Terry Everson (whose talents are to be required in the next piece on the program).  Hairig was a prominent Armenian cleric and mystic of the 19th century.

This work is early in Hovhaness’ prolific output and is characteristic of his Armenian period utilizing Armenian folk melodies and writing on Armenian themes.  He would later gain wider fame when Leopold Stokowski premiered his 2nd Symphony “Mysterious Mountain” in 1955 on NBC television.  Hovhaness died in 2001 leaving over 400 compositions of which 67 are symphonies.


Nareh Arghamanyan

The Armenian connection to the next piece is apparently the BMOP début of the young Armenian pianist, Nareh Arghamanyan (1989- ) in the First Piano Concerto Op. 35 (1933) of Dmitri Shostakovich.  This unusual piece is scored for piano, string orchestra and trumpet (I told you Everson would be back).  It is one of those neo-baroque experiments and quotes from well-known classical pieces.  It is quite challenge for a pianist and the début of this rising artist will doubtless be one of the highlights of the concert.

The title of the concert is Resilient Voices 1915-2015 and is given in commemoration of the Armenian Genocide (1915-1923) but more so in celebration of the voices and the talents that have endured.  Controversy remains evidenced by the fact that Azerbaijan and Turkey continue to deny the genocide but the estimated death toll was 1.5 million and this is the event for which the term “genocide” was first used.

Artistic Director and Conductor Gil Rose

Artistic Director and Conductor Gil Rose

It is the genius of Gil Rose, conductor and artistic director whose creative vision in a couple of releases  I recently reviewed ( Anthony Davis and Irving Fine) that first alerted me to the work of this fine ensemble (a little late, I know).  But I discovered a great orchestra with some of the most innovative programming with attention to new and recent music.  I was graciously offered a seat at this concert but it will have to be one of my regrets.  This sounds like a fantastic program.

Tigran Mansurian

Tigran Mansurian

How very appropriate then to have the BMOP premiere of the Requiem (2009) by Tigran Mansurian (1930- ) by far Armenia’s best known living composer.  The Requiem was written in memory of the holocaust and is scored for large orchestra, chorus and soprano and baritone soloists (not announced when last I checked yesterday).  Gil Rose conducts the Harvard-Radcliffe Collegium Musicum with the Boston University Marsh Chapel Choir.  This is indeed a species of political music and BMOP is to be applauded for this as a contribution to the recognition of human rights. through music.

Tigran Mansurian at the piano at Other Minds in San Francisco.

Tigran Mansurian at the piano at Other Minds in San Francisco.

Mansurian previously appeared at the Other Minds 20th Anniversary concert (also dedicated to the holocaust) in March of 2015 in San Francisco.  At that concert I captured a moment from the pre-concert discussion in which Mansurian agreed to sing a traditional Armenian song accompanying himself at the piano, a very personal moment from a composer whose art is deeply felt.

Please, BMOP, record this.  Thanks in advance!!!