This is the third volume in the Catalyst Quartet’s wonderful and insightful survey of neglected works by black composers. The first focused on music by the black English composer Samuel Taylor Coleridge (1875-1912), the second on music of late nineteenth to mid-twentieth century American composer Florence Price (1887-1953). The present disc focuses on the works of three men whose musical careers were entirely in the twentieth century: William Grant Still (1895-1978), George Walker (1922-2018), and Coleridge-Taylor Perkinson (1932-2004).
William Grant Still is roughly contemporary with Aaron Copland (1900-1990). Copland has often been called the “Dean of American Composers” and Still has been called the “Dean of Afro-American Composers”. Such honorifics, while well intended, do nothing to describe the true depth and significance of either of these composers.
Similarly their best known works, Copland’s “Appalachian Spring” (1944), and Still’s “Afro-American Symphony” (1930) are fine pieces of music but cannot represent the whole of their respective authors’ outputs. Both produced quite a bit of music and went through stylistic changes as their artistic sensibilities evolved. Copland’s oeuvre is pretty well documented, allowing listeners to grasp its entirety while Still’s work has not enjoyed the same distinction. That is changing, slowly, and that is reason to celebrate.
Still is represented here by his “Lyric Quartette” (published in 1960 but likely written 1939-1945). These three movements for string quartet are intended to represent a plantation, the mountains of Peru, and a pioneer settlement, respectively. This appears to be the first commercial recording of the work, a set of vignettes (Still never wrote a string quartet as such) seemingly published as an afterthought after looking back over his files. That’s not to denigrate the music. It is finely crafted and reflects a composer closer to the folk eclecticism of his contemporaries William L. Dawson (1899-1980) whose use of folk idioms resembles that of Aaron Copland (1900-1990) and Virgil Thomson (1896-1989), two white contemporaries (rather than his later more post romantic style). These composers’ use of folk idioms and the comforting tonal harmonies, very much in vogue when the music was first written, sound rather old fashioned in their year of the Lyric Quartette’s publication. Nonetheless, it is a vital work in understanding Still and his development as a composer. This would make for a great encore or second selection following a Haydn or Mozart Quartet.
George Walker was a sought after concert pianist and he forever holds the distinction of being the first Black American to be awarded the Pulitzer Prize in music (for his 1996 “Lilacs” for voice and orchestra). I learned from one of my personal favorite Chicago broadcasters that he, Bruce Duffie (WNIB host 1975-2001) played Walker’s “Lyric for Strings” (1946, orch. 1990) as the final sign off music at the closing of the beloved independent station (reportedly very satisfying to that terminal audience). The link provided is to a transcript of his subsequent conversation he had with Walker in 2001, worth your time to read.
So what does all this have to do with this release? Well, that, “Lyric for strings” is actually Walker’s orchestration for string orchestra of the second movement, “molto adagio“ of his three movement String Quartet No.1 (1946) “Lyric”. Samuel Barber garnered a great audience with his “Adagio for Strings” from the molto adagio of his String Quartet (1935-36).
The outer movements (1 and 3) of Walker’s quartet (carefully conceived and thoughtfully developed at length) frame the beautiful adagio with a passionate elaborately developed allegro and a high energy, virtuosic finale (much as in the Barber work). The quartet’s title, derived from the slow movement which was originally titled “lament” is dedicated to Walker’s grandmother, a former slave. A very different perspective of America, for sure, but a truly spectacular example of string quartet writing.
I wrote my review in chronological order to clarify my narrative but the actual track order is:
Allegro vivace Lyric Quartet William Grant Still (1895-1978)
The Sentimental One
The Quiet One
The Jovial One String Quartet No. 1 “Lyric” George Walker (1922-2018)
Allegro con fuoco
So String Quartet No. 1 “Calvary” (1956) by Coleridge-Taylor Perkinson is leaving the most recent for last. This work, shares with the other two it’s having been written fairly early in the composer’s career (he was about 24 when he wrote this piece, Still was in his 40s and Walker about 24 when they wrote their respective quartets). So Catalyst adheres to these important but early utterances from these three important artists. And for clarity the name permutations we encounter here comprise: Samuel Taylor Coleridge (1772-1834) is the English poet, Samuel Coleridge-Taylor (1875-1912) is the black English composer honorifically named after that poet, and Coleridge Taylor Perkinson (1932-2004) the black American composer honorifically named in honor of said English composer.
This is another outstanding but neglected American composer who happens to be black. This fine string quartet is defined by its serious tone and elaborate development in a passionate romantic tonal idiom. Of course the composer shares his prominent jazz (Perkins was nothing if not eclectic) influences in rhythms and harmonic structure. Based loosely on the hymn, “Calvary” from which it takes its name, it was actually premiered in Carnegie Hall as part of a memorial for composer and baritone Harry T. Burleigh (1866-1949). The opening allegro is a searching and unsettling matter followed by a calming slow movement characterized by an incessant pizzicato repeating figure. The finale, a touch more hopeful sounds almost improvisatory at times much in the manner of some jazz forms. Truly another outstanding example of good string quartet writing. This is powerful music!
These recordings are both beautifully done and, arguably, definitive in their interpretation of these delightful and essential additions to the quartet literature. The Catalyst does a fine and honorable job in their ongoing mission to reclaim forgotten gems such as these for present and future listeners. Thank you for that. Please keep working on this body of work lest it be lost to history.
Let me start with a positive image from a brief photography trip which I managed this year. It was one of the highlights of what has been a difficult year for many of us. Weather, politics, COVID, itinerant employment issues, financial, and personal difficulties were an encumbrance but now stand in relief to the many positive aspects of 2022.
First, let me say that nothing musical fell into the category of “worst of” so fear not, what follows is essentially my “best of” from 2022. In my head I blame the aforementioned encumbrances for delays and sheer lack of production on my part. Whether that is the ultimate truth does not matter really so here, for better or worse, is my celebration of the positive experiences enumerated in this music blog in 2022.
My first post for the year struck a sad note. It was my personal tribute to a composer, A Belated Fan Letter: Homage to George Crumb described George Crumb, who had been one of my “gateway drugs”, so to speak, which helped put me on the exciting roads of new music upon with I continue to travel with great joy. Recordings of his complete works are still being released on the visionary Bridge Records.
Carolyn Shaw’s striking and much performed “In Manus Tuas” (on solo viola as well as solo cello) was originally written for Collins. Her selections on this album, including that Shaw work, suggest to this writer/listener that she has both vision and an encyclopedic knowledge of music, especially that written for her instrument. She will be among the major shapers of this repertoire via her vision as well as her interpretive talents. And Sono Luminus’ superb sonics certainly helps make this a great release.
I have followed the work of Sarah Cahill since her first solo CD (music of Ravel). Like Collins, she has been an artist who, by her intelligent selection of repertoire, serves as a guide to listeners (and musicians) as well. She has championed many composers as a pianist and as a broadcaster on her weekly KALW broadcasts. Her curation of concerts throughout the Bay Area, such as her solstice concerts at Oakland’s Chapel of the Chimes, have showcased a large variety of creative performers.
As she focuses her lens on women composers (neglected is implied) she embraces a stunning range of styles from the baroque era to the present and it seems as though she can play anything she chooses well. She is also collaborative with an amazing ability to discern the substance in the works she chooses to play. And she has discovered (or rescued?) much music from obscurity via scholarship and intelligent collaboration. Can’t wait for the next release. She is consistently interesting and relevant.
This album was sent to me by a friend. I knew the Ligeti pieces but heard them with new ears in this release and I was amazed by the Kodaly works too. Marcus Creed may not be as well known in the U.S. as he is across the pond but he should be.
This album was kindly sent to me for review by John Schneider of Microfest records. Read the review. Listen to this album. And watch for more from Chris Votek, another rising star in 2022.
Dan Lippel is one of the founders of the fabulous new music label, New Focus Recordings. Here he is acoustic, electric, conventional, and experimental but always interesting. Keep his name on your radar.
This is a gorgeously designed, very collectible art object. It is a beautiful hard cover, full color book which also contains a CD of a recording (from acetate masters) which had languished in the archives of the Eastman/Rochester Music School where Harry Partch gave this lucid lecture/performance in 1942. Mr. Schneider, who sent me the Votek release as well, fronts an ensemble called PARTCH which, in addition to performing Harry Partch ‘s work, is recording Partch’s complete works for David and Becky Starobin’s Bridge label. This one is both eye and ear candy to my ears.
Rescuing those acetate masters from obscurity is a major find that rises in significance (in the musical sense) almost to the level of the archeological discovery of Tut’s Tomb. Schneider is a musician, a composer, a radio broadcaster, and an archivist and now a sonic archeologist I suppose. He also sports a collection of authentic copies of Partch’s curious instruments which were built to play the microtonal scales required. Partch is a major American composer whose work is now gaining its rightful place among the best of American classical music.
I first discovered Mr. Susman’s work when I was asked to review a performance of another composer’s work. I heard one of his works played by the remarkable San Jose Chamber Orchestra on that same concert. Here we have another multi volume release of these lovely and significant piano works. The remarkable pianist (mentioned often in these pages) has contracted to record all 4 books of this sort of “Well Tempered Clavier” type gesture which effectively provides much insight to this composer. Nicolas Horvath, known for marathon concerts performing (and subsequently recording) all of Philip Glass’ piano music, among others. (We’re talking 15 hours or so. There is also a 35 hour live rendition of Erik Satie’s “Vexations” on you tube.) Who better to record these? The remaining three volumes are due some time this year. Who better to take on this post minimalist set of pieces? Can’t wait for the next volume.
Yolanda Kondonassis is about as household a name that you can find among harpists. These five minute (more or less) pieces are a significant addition to the solo harp repertoire. They are forward looking works for her instrument. Very interesting work, excellently performed.
I remain in awe at the curatorial and historically aware work of this truly fine pianist. Greenberg helped me grasp the historical context of the Second Viennese School in a new way with his earlier release “Book of the Hanging Gardens”. In that release he played all the Debussy Preludes along with Schoenberg’s pre twelve tone song cycle, Webern’s Variations, and the Berg Sonata which helped this listener to better grasp the historical context of this music. This small collection of works written for him reflects a collaborative and visionary ethic akin to that of Sarah Cahill’s. Keep an ear out for this guy.
I have received some good natured teasing about the fact that this, one of my longer reviews, is of a 15 minute piece of music. But this act of musical archeology by the bay area’s Kate Stenberg (who is a regular collaborator with Sarah Cahill BTW) has made the first recording of this little work. It’s Webernian duration belies a style very much in character with this beloved composer’s other work. My review was as much about the music and the recording as it was about the dedication of Stenberg to new music. This release is from Other Minds, another shining example of advocacy of new music and collaboration among composers and performers. Get it. Listen to it. And don’t miss a chance to hear Stenberg live performances or to hear anything Harrison has written.
The Chicago based Cedille label is one of my favorite classical music labels. Producer James Ginsburg has a golden ear and Cedille is the finest Chicago based classical label since the justly fabled Mercury records. All their releases deserve attention but this two disc set of little known works for String Trio written between the world wars is a feast of substantive, if slightly conservative, voices. This one is a great listen and, trust me, none of this music is in your collection.
While circumstances conspired to limit my attendance to only one of the three days of OM 26, I would be loathe to leave this world class music festival off my “best of” list. My first published blog of 2023 was of the 30th anniversary celebration which showcased Marc-Andre Hamelin’s stunning reading of Charles Ives’ massive Concord Sonata. Anything OM does deserves your attention but the roughly annual festival continues to present composers and performers from around the world. Not to be missed.
Another exciting release of Cahill’s visionary series. Like the previous volume (and the aforementioned Cedille release) the consumer will suffer no unnecessary duplications if the music herein. Fascinating and expertly done. This set (the third volume due this year) is a testament to Cahill’s encyclopedic knowledge of piano music as well as her collaborative nature and, of course, her skills as a pianist.
I’m cheating a bit here since I wasn’t able to complete my review until 2023 but this Starkland disc was released in 2022 and definitely earns its place in my “best of” list. This rising star is another one to watch. Starkland, run by the dynamic Tom Steenland is one of those labels that reliably finds interesting and substantive new music. This one is no exception. It goes a long way to alleviating my skepticism of the electroacoustic genre.
And, in order to be fair I must cheat equitably. Charles Amirkhanian kindly sent me this exciting and excellent DVD of his collaboration with his partner in life and in artistic crimes, Carol Law. My more extensive review will appear shortly but this was a major release in 2022. Amirkhanian spends far less time promoting and performing his own unique compositions so this is an especially welcome release.
Last but not least of my best of 2022 is this wonderful Neuma release which, when I began my research to write a cogent and informed review, left me stunned at how little I actually knew about composer David Tudor and the astounding dimensions of this unusual piece that evolves with every performance. After gathering a whole ton of data I finally decided that I could not write a comprehensive review without more research so I settled on a tasteful (I hope) summary with the expectation that I will write a larger piece on Tudor and his work. The review will be out very shortly. This is an amazing and significant release.
Happy 2023 to all my readers and thanks to those who kept reading my blog during more fallow times. I have many blogs currently in preparation that I look forward to sharing in the months to come. Peace, health, and music to all.
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?
Listeners of a certain age and those versed in recent classical music history will recall another fine pair of Armenian American musicians (also sisters) whose performances and recordings introduced many to the work of Armenian American composer Alan Hovhaness (1911-2001) as well as John Cage, Aram Khachaturian, and others. I am speaking of pianist Maro Ajemian (1921-1978) and her sister, violinist Anahid Ajemian (1924-2016). And these fine musicians (pianist Marta Aznavoorian and cellist Ani Aznavoorian) carry on some generations later along a similar path, honoring their heritage and promoting its art.
The disc under consideration is this beautiful sampling of Armenian composers of the past 100 years (or so) beginning with Komitas Vartabed (1869-1935), a monk, composer, historian, and ethnomusicologist. Armenian music enters modernism and the twentieth century via Komitas. This is followed by music of four Soviet era composers and three contemporary era composers.
The liner notes are by local historian and producer Gary Peter Rejebian and the Aznavoorian sisters. In this ,their debut album, they speak of their connectedness to Armenian culture personally and musically. In fact Ani’s cello was made in Chicago by her father Peter Aznavoorian. This album is an auspicious debut and an homage to this rich culture.
They begin with five pieces by Soghomon Soghomonian (1869-1935), better known as Komitas Vartabed, the name bestowed upon him after his ordination as a priest in 1894. These are lyrical and beautiful folksong arrangements that grasp the listener immediately. These five pieces ranging in duration from about 1 1/2 minutes to about 4 minutes. These five pieces, four for cello and piano are punctuated by a sad lament for solo piano played as the third track. Komitas, after witnessing 1915 the Armenian genocide, composed no more and, in fact, spent his remaining years in a sanitarium until he died in 1935.
The next two pieces are by one of the best known Armenian composers of the twentieth century, Aram Khachaturian. Though long subsumed into the Soviet straightjacket his individual voice produced many substantial works and his work has done much to preserve and rejuvenate his Armenian culture. These two pieces are not among his best known work but demonstrate his ability to write in smaller forms and, at least in these brief pieces, display his personal style and his love for his native culture.
These are followed by three pieces of another Soviet era composer whose voice is less well known in the United States, Arno Babajanian. Elegy (among the composer’s last works, written in homage after the passing of Aram Khachaturian) is one of two tracks for solo piano on the album and it is followed by Babajanian’s “Aria and Dance” for Cello and Piano. Certainly this is a composer whose works deserve a proper hearing and evaluation. These pieces suggest a composer with a strong voice, another to come out from the Stalinist/Soviet oversight to be heard now with new ears.
Avet Terterian is another Soviet era name whose work is virtually unknown in the west, another whose work deserves at least a second listen. His large three movement sonata for cello and piano (1956) is a major work both in duration and in content. The style is a friendly mid-twentieth century post romantic one that very well may become a regular repertoire item after hearing the powerful and convincing performance documented here.
With the next track we hear the first of the “recent” works on this recording, Serj Kradjian’s transcription of a traditional song, “Sari Siroun Yar”.
The all too brief experience of this small work by another major Soviet era composer, Alexander Arutiunian, this charming Impromptu (1948, one of his earliest compositions) is a beautiful piece but it is a mere appetizer to lead a listener to hear more from this composer who has produced work in pretty much all genres big and small. Arutiunian’s work deserves some new attention. Best known for his 1950 Trumpet Concerto, his output was large and he composed in large and small forms that demand the attention of post Soviet ears.
Back to the 21 st century with this next track, Vache Sharafyan’s Petrified Dance (2017). Sharafyan was a student of Terterian and this work was adapted from a film score.
The Aznavoorians end with the world premiere recording of “Mount Ararat”, a paean to the Holy Mountain that dominates the landscape in the Armenian capitol city of Yerevan. It is the mountain upon which Noah’s Ark was said to have come to rest after the flood. Like Mount Fuji to the Japanese, Mount Everest to the Tibetans, and “Tahoma”, (better known now as Mount Rainier) to the Puyallup and other Native American tribes of the Pacific Northwest, Mount Ararat is considered a holy mountain.
Peter Boyer‘s “Mount Ararat” (2021) was written for the Aznavoorian Duo. Boyer is the only non-Armenian represented here but his composition embraces the spirit of Armenian music and this is a dramatic and heartfelt love song both to the holy mountain and these musicians whose performance provides an ecstatic and virtuosic finale to this fine disc.
Though one could cite composers like Mozart and Beethoven having imitated the exotic ethnic music of Turkey and the late nineteenth century fascination with “orientalism”, the actual study of ethnic and non-western musical traditions probably started in earnest with the folk song collecting done by Bela Bartok and Zoltan Kodaly in eastern Europe and similar work by Charles Seeger and the Lomaxes in the United States. The work of Colin McPhee then took the study of ethnic musical traditions into the academic realm. But, for this listener, it was the Yehudi Menuhin collaborations with Ravi Shankar and Alla Rakha that brought non-western musical systems to the public in a big way via the LP record. Hindustani music and dance did not even get any representation in film until Satyajit Ray’s 1958 masterpiece, “The Music Room”.
And since Hindustani music has traditions going back hundreds of years among diverse practitioners in a large geographic area, it is not surprising that there are traditions and styles that reflect such diversity and that western musicians continue to explore and learn the varieties and subtleties of practices. This album is certainly a fine example of Mr. Votek’s mastery of the vocal tradition of Gayaki-Ang which is another of the rich traditions of the vast practice of Hindustani and Carnatic musical practices. What I’m ultimately saying now is that the familiarity with those great Menuhin/Shankar recordings affords the listener but a “tip of the iceberg” perspective of the depth of the traditions and practices of Hindustani/Carnatic music. Chris Votek is a part of a new generation of artists who are breathing fresh life into these practices and incorporating them in their own compositional and performance practices. And therein lies the significance of this release.
So now, on to the music. The album begins with a work for string quintet, in this case a string quartet with a second cello. While this will necessarily invoke comparisons to the classical string quintet repertoire such as Mozart and Schubert this composition both pays homage to the classical tradition and infuses it with the composer’s take on diverse musical worlds which reach far back into musical history. He takes medieval melodies and harmonies incorporating these into a work in three distinct movements titled, “Serpents”, “Fossil Dance”, and “Migration of the Fires”. Each of the movements has its own character as the composer finds ways to work with this material.
Whether you choose to experience this as three separate pieces or, as this writer does, as a single work, this is the composer working with old western music incorporating it into a work for a String Quintet titled, “Memories of a Shadow”. It works as individual movements but, as a unified whole it represents a stage of Votek’s compositional development with this material. And while his encounters with Hindustani music is not explicit here, it is undoubtedly a part of his compositional thought as well.
The result is a gentle three movement String Quintet that could be programmed alongside Schubert’s essay in the medium. It is, of course, stylistically different from Schubert but the instrumentation is the same and it provides a contrast to Schubert’s work from 200 years earlier. Add to that the incorporation of medieval music (in Votek’s work) and you get some delightful contrasts indeed. It is a work that shows its charms more clearly with each hearing and is a substantial addition to the repertory regardless of what else shares the program.
Track 4 is dedicated to the performance of a single piece, a traditional raga played in a Hindustani vocal style called, “Gayaki-Ang”. Accompanied by tabla player Neelamjit Dhillon, Votek performs on his cello the vocal part of this raga. This evokes for this writer memories of the late Arthur Russel whose vocalizations along with his cello playing had roots, at least peripherally, in a similar sound space. This is a traditional raga, a tradition that extends back hundreds of years to a sound world that paralleled but did not interact with western music of the medieval era heard in the earlier work. Happily, the interaction begun between early western collaborators with Hindustani musicians such as Menuhin and Shankar continues here most joyfully to explore the splendorous riches of that tradition.
While this is first disc dedicated exclusively to his own work listeners will want to peruse his collaborations listed on this well organized web site. He is an artist that is poised to create some thoughtful new music. This CD can be obtained via Microfest Records as well as other outlets.
Having chosen a debut album featuring solo cello without electronics or accompaniment the Sono Luminus label virtually guarantees that every one of the subtleties of the performer’s skills will be heard in all their glory. And so we have an auspicious solo debut album by a skilled and talented artist with a unique and intelligent vision in her choice of repertoire for her instrument. Hannah Collins has a beautifully designed web page describing her background so I will focus only on the music on this release.
Even a brief glance makes it obvious that Collins’ radar captures a wide range of music which encompasses five centuries of compositional efforts by both a consciously curated selection of composers that reflect both racial and gender diversity and who themselves represent a substantive variety of styles and visions. She begins with a rather obscure baroque composer (I had never heard of him), Giuseppe Colombi (1635-1694). His Chiacona (1670) is apparently the first identified composition for solo cello (the famous solo cello suites by J.S. Bach wouldn’t come along until 1717-1723).
This arguably foundational work of the solo cello genre is then followed by the very fine Finnish composer Kaija Saariaho (1952- ) whose Dreaming Chaconne (2010) is in fact a variation on the Colombi piece.
The third track, “In manus tuas” (Into your hands) by the equally fine American composer, Carolyn Shaw (1982- ) was written for Ms. Collins, and is an aural peek inside the mind of the composer as she recalls a performance of a motet by 16th century English composer Thomas Tallis (1505-1585). Shaw evokes a sonic memory moment of hearing a performance of “In manus tuas Domine” in Christ Church in New Haven, Connecticut which made a strong impression on her. It is a work that appears to be destined to become a modern classic. It creates spectral harmonics that engulf the listener inside Shaw’s memory of the event. The composition’s title also function metaphorically as she offers her music into the hands of the artist and the minds of the listeners. It is a challenge both technically and interpretively and Collins rises to those challenges with seeming ease.
The next seven tracks are given to another Saariaho composition, “Sept Papillons” (2000). This earlier work from her extensive catalog is also given to extended instrumental techniques as she evokes the seven butterflies of the title. This set of pieces was written for the fine Finnish cellist, Anssi Karttunen. It was at the 2008 Creative Dialogue Workshop in Santa Fe, New Mexico (run by Karttunen) that Collins encountered this music and the extended techniques required for its performance. Saariaho’s sound world is like that of an incarnation of Debussy and his impressionist aesthetic. There is apparently no visual program here but the music recalls, in this listener’s mind, Saariaho’s earlier “Nymphea” (1987) for string quartet and electronics which was inspired by Monet’s famed “Water Lilies” of 1906.
This fine disc includes the first (of three) suites for solo cello by Benjamin Britten. All three of these (1964, 1967, 1971) had all been composed for the Russian virtuoso Mstislav Rostropovich. Like the the Saariaho and Shaw pieces these suites are inspired by earlier works, in this case the Bach suites of the early 18th century. Collins plays the first (Opus 72) of these and her performance makes this listener hope that she will later record the other two.
While modeled on earlier music, the Britten work utilizes techniques that would likely be unfamiliar to cellists before the 20th century. It is homage both to Bach and to Maestro Rostropovich. And Collins’ playing furthers this homage to both of these past masters.
The final track is a work by one Thomas Kotcheff (1988- ). Like the first track, this young composer is unfamiliar to this writer. His work, “Cadenza (with or without Haydn)” of 2020” carries on the theme of homage. In a nod to the late great Frederic Rzewski (1938-2021) whose “Cadenza with or without Beethoven” (2003) is an extended cadenza which can be played on its own or as part of the Beethoven 4th piano concerto.
Kotcheff’s work is a cadenza for Haydn’s C major cello concerto. Like the Rzewski, it can be performed with the concerto or as a solo work on its own. Also like the Rzewski, the more modern aspects of this “cadenza” might confuse audiences anticipating more conventional music that fits with the context of the concerto for which it was written and the music stands very strongly on its own.
Like a lot of solo artists are doing these days, Collins’ debut solo album is like her personal manifesto of music for her chosen instrument. It is a fine foundation anticipating what will likely be an enlightening as well as entertaining career.
Were it not for the wishes of some of my valued readers I would not produce such a list. It has no more validity other than, “These are my personal choices”. But there is some joy to be had in contemplating these past 12 months as I have lived them on this blog. So here goes.
First I have to tell everyone that March, 2022 will mark the 10th anniversary of this blog, a venture which has been a rich and exciting one. Future blogs will soon include, in addition to album/concert reviews, some articles on subjects which I hope will be of interest to the select group of people who read this material and who share my interest in this music (which I know can be anywhere from difficult to repulsive to many ears). But I have deduced that my readers are my community, a community of kindred spirits freed from the boundaries of geography, a number rather larger than I had imagined was possible and one that I’ve come to cherish. Bravo to all of you out there.
COVID 19 has reduced the number of live performances worldwide and I have not attended a live performance since early 2020. But, happily, musicians have continued to produce some amazing work, some of which gets sent to me, and a portion of that gets to be subjected to the analytic scrutiny of my blog.
My lack of attention to any music should never be construed as deprecatory, rather it is simply a matter of limited time to listen. So if I have provided a modicum of understanding or even just alerted someone to something new I am pleased and if ever I have offended, I apologize. All this is my personal celebration of art which has enhanced my spirit and which I want to share with others. Look what Ive found!!!
So, to the task at hand (the “best of” part):
The formula I’ve developed to generate this “favorites retrospective” has been to utilize WordPress’ useful statistics and look at the top viewed posts. From these most visited (and presumably most read) articles I produce a list of ten or so of my greatest hits from there. Please note that there are posts which have had and continue to have a fairly large readership from previous years and they’re not necessarily the ones I might have expected but the stats demand their inclusion here.
Following that I then toss in a few which are my personal faves (please read them) to produce what I hope is a reasonably cogent and readable list. Following my own description of my guiding principles I endeavor to present the perspective of person whose day job and energies are spent in decidedly non-musical efforts but whose interest and passion for new music drives this blog where I share those interests.
As a largely self taught writer (and sometime composer) I qualify my opinions as being those of an educated listener whose allegiances are to what I perceive as pleasing and artistically ideal based on my personal perception of the composer’s/performer’s intent. I am not a voting member for the Grammys and I receive no compensation for favorable reviews. I have the hope/belief that my blogs will ultimately garner a few more listens or performances of art that I hope brings my readers at least some of the joy I feel.
New Music Buff’s Best of 2021
As of this writing I have published 37 blog posts in 2021. COVID, job and personal stressors have resulted in my failing to post at all in December, 2020, January, June, and July of 2021. And only one post in February, 2021. Surprisingly I have managed to get just over 9300 views so far this year (a little more views than last year actually) and it is my plan to publish 4-5 blogs per month going forward into my tenth year.
Not surprisingly, most of my readers are from the United States but I’m pleased to say that I’ve had hits from 192 countries at last count. Thanks to all my readers, apologies to the many countries who didn’t make the cut this year (you’re all welcome to try again in 2022). So, following the United States here are the subsequent top 25 countries who have viewed the blog:
Canada, United Kingdom, Germany, China, France, Netherlands, Spain, Australia, Ireland, India, Italy, Turkey, Nigeria, Japan, Brazil, South Korea, Denmark, Belgium, Sweden, Finland, Russia, Poland, Philippines, Ghana, Norway.
Top Ten Most Read of 2021
The following are the most seen articles of 2021. Some of these are articles whose popularity surprise me as they were written some time ago and are not necessarily, in my opinion, my best work. But readership is readership and I am grateful for that.
Top article, Linda Twine, a Musician You Should Know. Twine is a musician and composer who has worked for some years in New York theater. I chose to profile her and I guess she is well liked because this article from 2018 is one of my top performers. Kudos, Ms. Twine.
Next up is, The Three Black Countertenors, an article suggested by my friend Bill Doggett whose website is a must visit for anyone interested in black classical musicians. This one, from 2014, continues to find readers. It is about the first time three black countertenors appeared on the same stage. Countertenors are themselves a vocal minority when considered in the company of sopranos, baritones, tenors, contraltos, and basses. Being black adds another level of minority in the world of operatic voices so this was indeed historic.
Art and the Reclamation of History is the first of the articles written this year to make the top ten most read. It is about a fabulous album and I hope more people read about it. This Detroit based reed quintet is doing something truly innovative. You really need to hear this.
Number four is another from this past year, Kinga Augustyn Tackles the Moderns. This album, kindly sent to me by the artist is worth your time if you like modern music. This young Polish/American violinist has both technique and vision. She is definitely an artist to watch.
Number five is a truly fabulous album from Cedille records, David Schrader Plays Sowerby and Ferko. This double CD just fires on all cylinders, a fine artist, excellent recording, interesting and engaging repertoire, amazing photography, excellent liner notes, and love for all things Chicago. This one is a major classic release.
The Jack Quartet Plays Cenk Ergun was a pleasant surprise to this blogger. The Jack Quartet has chosen wisely in deciding to release this recording of new string quartet music by this young Turkish composer of serious substance. I’m glad that many folks read it.
Number seven on this years hit list among my readers is another album sent directly to me by the artist, one whose work I had reviewed before.
Catherine’s Oboe: Catherine Lee’s New Solo Album, “Alone Together” is among the best of the COVID lockdown inspired releases that flooded the market this year. It is also one of the finest examples of the emerging latest generation of “west coast” composers. Dr. Lee is a master of the oboe and related instruments and she has been nurtured on the artistic ideas/styles that seem to be endemic among composers on the west coast of the United States. She deserves to be heard.
Number Eight is an article from 2014, Classical Protest Music: Hans Werner Henze’s “Essay on Pigs” (Versuch uber Schweine). This 1968 noisy modernist setting of leftist political poetry combines incredible extended vocal techniques with the dissonant modernism of Hans Werner Henze’s work of that era. Also of note is that his use of a Hammond Organ and electric bass guitar was allegedly inspired by his having heard the Rolling Stones. It’s a classic but warn anyone within earshot lest they be terrified.
As it happens there is a three way tie for the number ten spot:
Black Composers Since 1964: Primous Fountain is one of a short series of articles I wrote in 2014. I used the date 1964, 50 years prior to the date of the blog post, because it was the year of the passing of the (still controversial) voting rights act. As a result of this and a few related articles I have found myself on occasion categorized as a sort of de facto expert on black music and musicians. I am no expert there but I have personally discovered a lot of really amazing music by black composers which is way too little known and deserves an audience.
I am pleased to tell you that this too little known composer (and fellow Chicagoan) is being recognized by no less than Michael Tilson Thomas who will conduct an entire program of his works in Miami next year. If my blog has helped in any way then I am pleased but the real honors go, of course, to Mr. Fountain and Mr. Thomas (who first conducted this composer’s music many years ago). Stay tuned.
And the third contender for my tenth most read of 2021 is, Kenneth Gaburo, the Avant-Garde in the Summer of Love. This is among the first volley of releases on the revived Neuma label with Philip Blackburn at the helm. Blackburn’s instincts guided Innova records to release many wonderful recordings of music rarely on the radar of larger record companies and this first volley was a harbinger of even more wonderful releases to come. Just do a Neuma search and see what I mean.
The Ones That Didn’t Make the Top Ten
I would be negligent and boringly formulaic to simply report on these top ten. This is not a democratic blog after all, lol. So here are my choices for the ones that many of my dear readers may have missed and should definitely check out. It is anything but objective. They are, in no particular order:
Dennis Weijers: Skill and Nostalgia in an Auspicious Debut Album is a sort of personal discovery for me. This reworking of Philip Glass’ “Glassworks” and Steve Reich’s “Variations for Winds, Strings, and Keyboards” scored for solo accordion and electronics pretty much knocked me over as soon as I heard it. Read the blog to see why but you have to hear this. This is NOT your granddaddy’s accordion.
Vision, Virtuosity, and Interpretive Skill: Igor Levit’s “On DSCH” is an album I just can’t stop listening to. I raved about his earlier set of piano variations by Bach, Beethoven, and the late Frederic Rzewski and I look forward to this man’s musical vision as he expands the concert repertoire with works you probably haven’t heard or at least haven’t heard much. You owe it to yourself to watch this artist.
Black Artists Matter: The Resurrection of the Harlem Arts Festival, 1969 is one of the relatively few times when I write about so called “pop” music. It is wholly unconscionable that these filmed performances from 1969 (many of which predated Woodstock) languished for 50 years in the filmmaker’s basement and were nearly lost. One of the recurring themes in this blog is the lament over unjustly neglected music and this is a glaring example. I was delighted to see that the filmmaker Questlove received an award at the Sundance Festival for his work on this essential documentary of American music.
Less “flashy” but sublimely beautiful is Modern Tuning Scholarship, Authentic Bach Performance: Daniel Lippel’s “Aufs Lautenwerk”. This is a masterpiece of scholarship and a gorgeous recording on a specially made Well-Tempered Guitar played with serious passion and interpretive genius by a man who is essential to the productions of New Focus recordings as well as being a fine musician himself. Read the review or the liner notes for details but just listen. This is another one that I can’t stop listening to.
Unheard Hovhaness, this Sahan Arzruni album really rocked my geeky world. Arzruni, a frequent collaborator with Hovhaness turns in definitive performances of these previously unheard gems from the late American composer. A gorgeous physical production and a lucid recording make this another disc that lives on my “frequently played” shelf.
New Music from Faroese Master Sunleif Rasmussen with soloist Michala Petri is an album of world premieres by this master composer from the Faroe Islands. It is also a tribute to the enduring artistry of Michala Petri. I had the honor and pleasure of meeting both of these artists some years ago in San Francisco and anything they do will demand my attention, they’re that good.
Last but not least, as they say, Robert Moran: Points of Departure is another triumph of Philip Blackburn’s curation on Neuma records. I have personally been a fan of Moran’s music since I first heard his work at the Chicago iteration of New Music America in 1982. Blackburn’s service to this composer’s work can be likened to similar service done by David Starobin at Bridge Records (who have embarked on complete works projects with several contemporary composers) and Tom Steenland’s work with Guy Klucevsek and Tod Dockstader at Starkland records. Blackburn had previously released the out of print Argo recordings of Moran’s work and now, at Neuma has released this and a few other new recordings of this major American composer’s work.
My apologies to the albums I’ve reviewed which didn’t make it to this year’s end blog but I have to draw a line somewhere. Peace, health, and music. And thank you for reading.
I don’t recall when I first heard Guy Klucevsek but I think it was the early 90s. I grew up hearing a great deal of accordions in polka bands at weddings throughout my childhood. This instrument had, pretty much since its beginnings in the early 19th century, been associated primarily with folk bands and not at all with classical music. I don’t think one can find an accordion used in a classical orchestra before Tchaikovsky’s 1822 Second Orchestral Suite and only sparingly after that. So when I discovered this New York musician via his releases on the Starkland label, Transylvanian Software (1999) and Free Range Accordion (2000) and the CRI disc Manhattan Cascade (1992). I was curious to see what this musician would do with this traditionally “low brow” folk instrument.
I had come to trust the Starkland label (which began in 1991) as one whose releases were usually very much to my taste and I was not disappointed to hear Klucevsek’s playing of pieces written by him and other composers for this instrument. Unlike Pauline Oliveros who did much to expand the very nature of the instrument itself, Klucevsek retained, and sometimes parodied, the humble folk/pop origins and reputation of the instrument while still pursuing its possibilities in the New York downtown experimental music scene where he worked with people like Laurie Anderson, Bang On a Can, Brave Combo, Anthony Braxton, Anthony Coleman, Dave Douglas, Bill Frisell, Rahim al Haj, Robin Holcomb, Kepa Junkera, the Kronos Quartet, Natalie Merchant, Present Music, Relâche, Zeitgeist, and John Zorn among many others. Klucevsek expanded the role of the accordion in his own way.
Klucevsek later put together a commissioning project called, “Polka from the Fringe” (1992), a project which echoes the 1981 “Waltz Project” by Robert Moran and presages another accordionist William Schimmel’s “The Tango Project” of 2006. All of these commissioning projects utilized dance forms common in the 20th century as a “stepping off” place for a new musical piece. And it was Starkland which rescued the fascinating two disc release of Polka from the Fringe (2013) from over two decades languishing in “out of print” status. These projects are significant in that they invite composers to get out of their comfort zone and demonstrate their take on the given dance form. Like Klucevsek’s earlier releases this Polka collection is a veritable Who’s Who of working composers of the era much as the Variations (1819) project of Anton Diabelli collected some 51 composers’ works based on Diabelli’s waltz-like theme (Beethoven’s gargantuan set of variations was published as volume 1 and the other 50 variations in volume 2 which included composers like Schubert and Liszt).
So here comes Starkland to the rescue again in this (languished for some 25 years after only having been available for two years) very personal recording which displays Klucevsek’s substantial compositional chops as well as his knowledge and use of extended instrumental techniques for his instrument. It presents pieces written for a dance performances and shows a very different side of Klucevsek, one which shows more of his substance as a composer alongside his virtuosic skills on his instrument. In this digital only release there is an option to include (for a mere $3.00 more on the Bandcamp site) a series of 13 videos featuring Guy Klucevsek talking about the music on this album and his various musical interests. A gorgeous 10 page booklet providing further detail including the original liner notes with updates is included in all purchases. The album will also be available on Spotify, You Tube, and other streaming services but the videos are only available on Bandcamp.
Listeners may find this new release has some in common with Starkland’s previous Klucevsek release from Starkland, “Teetering on the Verge of Normalcy” (2016) which features some similar compositional diversity in a disc entirely of Klucevsek’s works. The line from Citrus, My Love to Teetering on the Edge of Normalcy seems to be a logical succession in Klucevsek’s compositional development. In addition to his accordion studies Klucevsek studied composition in Pittsburgh but it was the influence of Morton Subotnick with whom he studied in his independent post graduate work at the California Institute of the Arts that exposed this east coast artist to some of the splendors of the west coast encountering artists like Terry Riley and Pauline Oliveros. Indeed Klucevsek can be said to be “bi-coastal” in his compositional endeavors. And though this is a “tongue in cheek” characterization it does speak to the roots of Klucevsek’s diversity in style.
There are 12 tracks on “Citrus, My Love” representing 3 separate works: the three movement, “Passage North” (1990), the single movement, “Patience and Thyme” (1991), and the eponymous, “Citrus, My Love” (1990) in 8 movements. The production of this album is by none other than Bobby Previte, another valued east coast musician and colleague. The notes have been updated under the guidance of Tom Steenland with input from Klucevsek who, understandably, expresses great joy in having this album available again.
The first three tracks are dedicated to a single work, “Passage North” (1990) written for accordion and string trio consisting of Mary Rowell, violin/viola, Erik Friedlander, cello, and Jonathan Storck, double bass. They are dubbed “The Bantam Orchestra”. This Copland-esque work was commissioned by Angela Caponigro Dance Ensemble. The second movement is for string trio alone and is dedicated to the memory of Aaron Copland who died in 1990.
Patience and Thyme (1991) according to the composer “is a love note to my wife, Jan.” He composed the work while in residence at the Yellow Springs Institute in Pennsylvania, which coincided with his 22nd wedding anniversary. It is scored for piano and string trio, no accordion. Compositionally it seems at home between the larger pieces.
Citrus, My Love was commissioned by Stuart Pimsler for the dance of the same name. It is in 8 scenes and is scored for Klucevsek’s accordion accompanied by his personally chosen Bantam Orchestra. Klucevsek describes the music on this album as representing his transition from hard core minimalism to a more melody driven style and this is the missing link, the “hole” to which I referred in the Beatles metaphor in the title of this review.
For those who already appreciate Klucevsek’s work this album is a must have. To those who have not gotten to know this unique talent this is a good place to start.
For those seeking to get more deeply into Klucevsek’s work (a worthwhile endeavor) and to provide a perspective on the range of this artist’s work I’m appending a discography (shamelessly lifted and updated from the Free Reed Journal) :
Scenes from a Mirage (Review) Who Stole the Polka? (out-of-print) Flying Vegetables of the Apocalypse (Experimental Intermedia) Polka Dots & Laser Beams (out-of-print) Manhattan Cascade (CRI) Transylvanian Softwear (Starkland) Citrus, My Love (Starkland) Stolen Memories (Tzadik) Altered Landscapes (out-of-print) Accordance with Alan Bern (Winter & Winter) Free Range Accordion (Starkland) The Heart of the Andes (Winter & Winter) Tales from the Cryptic with Phillip Johnston (Winter & Winter) Notefalls with Alan Bern (Winter & Winter) Song of Remembrance (Tzadik) Dancing On the Volcano (Tzadik) The Multiple Personality Reunion Tour (Innova) Polka From The Fringe (Starkland) Teetering On the Verge of Normalcy (Starkland)
Great Jewish Music: Burt Bacharach, Who Gets the Guy?, This Guy’s in Love With You (Tzadik) Planet Squeezebox, The Grass, It Is Blue, Ellipsis Arts Legends of Accordion, Awakening (Rhino) The Composer-Performer, Samba D Hiccup (CRI) Koroshi No Blues, Sukiyaki Etoufee, Maki Gami Koechi (Toshiba EMI) Norwegian Wood, Monk’s Intermezzo, Aki Takahashi (Toshiba EMI) Music by Lukas Foss, Curriculum Vitae (CRI) Here and Now, Oscillation No. 2, Relache (Callisto) A Haymish Groove, Transylvanian Softwear (Extraplatte) A Confederacy of Dances, Vol. I. Sylvan Steps (Einstein) A Classic Guide to No Man’s Land, Samba D Hiccup (No Man’s Land)
WITH JOHN ZORN
The Big Gundown (Nonesuch Icon) Cobra (Hat Art) Lost in the Stars: The Music of Kurt Weill, Der Kleine Leutnant Des Lieben Gottes (A&M)
On Edge (Mode) Open Boundaries, Parterre (Minnesota Composers Forum McKnight Recording) Pauline Oliveros: The Well and The Gentle (Hat Art)
Laurie Anderson: Bright Red (Warner Bros) Anthony Braxton: Four Ensemble Compositions, 1992(Black Saint) Mary Ellen Childs: Kilter (XI) Anthony Coleman: Disco by Night (Avante) Nicolas Collins: It Was a Dark and Stormy Night (Trace Elements) Fast Forward: Same Same (XI) Bill Frisell: Have A Little Faith (Elektra Musician) David Garland: Control Songs (Review) Robin Holcomb: Rockabye (Elektra Musician) Guy Klucevsek/Pauline Oliveros: Sounding/Way, private cassette release (out-of-print) Orchestra of Our Time: Virgil Thomson, Four Saints in Three Acts (Nonesuch) Bobby Previte: Claude’s Late Morning (Gramavision)
I first encountered the work of Michael Harrison (1958- ) while searching for Lou Harrison CDs. I came across the New Albion release, “From Ancient Worlds” (1992). It is a disc of short piano compositions played by the composer on an instrument of his own invention, The Harmonic Piano, which was conceived in 1979 and built by1986. Harrison was a student/apprentice of the Godfather of American Minimalism and Guru of non-western tunings, La Monte Young. He has also enjoyed a close relationship with yet another icon of contemporary music and non-western tunings, Terry Riley. Via these associations, Harrison has also studied with Pandit Pran Nath (famously a teacher of both Young and Riley) and Ustad Mashkoor Ali Khan.
He holds a B.M. in composition from the University of Oregon, and and M.M. in composition from the Manhattan School of Music where he studied with Reiko Füting. His collaborations put him in touch with progressive musicians on both the east and west coasts of the United States and he seems to derive a great deal of joy sharing his enthusiasm with many talented artists imparting his knowledge and learning from them as well.
Mr. Harrison’s major opus, “Revelation” (2002-7) for solo harmonic piano is a sort of manifesto or “urtext” and has been the source and inspiration for much of his subsequent work both directly and indirectly. At his 2009 appearance at the Other Minds Festival 14 he premiered “Tone Clouds” (2008) which incorporated a string quartet (Del Sol Quartet) along with the composer at the piano utilizing material from Revelation. Subsequent recordings with cellists Maya Beiser and Clarice Jensen further expanded his use of string instruments along with the piano.
So here we come to Harrison’s second release on Cantaloupe Records (his first was the Maya Beiser release in 2012) this time incorporating Tim Fain (violin), Caleb Burhans (viola), Ashley Bathgate (cello), Payton MacDonald (vocals), Ina Filip (vocals), Ritvik Yaparpalvi (tabla), and Roomful of Teeth, the Grammy winning vocal ensemble in a work which strikes this listener as a grand nearly symphonic effort reminiscent of Mahler’s Das Lied von der Erde. Also, like Mahler, the composer uses non-western (Sufi) texts and (unlike Mahler) non-western tunings derived in part from Hindustani and Carnatic influences, and from his studies with Pran Nath, Terry Riley, and Mashkoor Ali Khan.
The eight sections vary in style but have echoes of Arvo Part, Hindustani/Carnatic musics, minimalism, etc. all integrated into a large form neatly bookended by a prelude and epilogue. It is, in effect, a song cycle and, guess what? It’s about the earth, well, sort of. It is, according to the liner notes by W.H.S. Gebel, music which corresponds to the seven stages of universal awakening outlined in that author’s book, “Nature’s Hidden Dimension”. Maybe Mahler for the New Age?
Only the second movement, “Hayy: Revealing the Tones” derives directly from the aforementioned Revelation but it is clear that Harrison has integrated his diverse musical studies into a personal style descended from artistic and philosophical ancestors. The work struck this listener as being a successfully unified whole and a landmark in this composers still burgeoning career. This is grand and gorgeous music.
This welcome recording presents music by five contemporary Armenian composers: Artur Avanesov (1980- ), Ashot Zohrabyan (1945- ), Michel Petrossian (1973- ), Artashes Kartalyan (1961- ), and Ashot Kartalyan (1985- ). All of these are new names to this writer and, most likely, to the majority of listeners. That is what makes this disc such an exciting prospect. This post WW2 generation of composers are writing music from the perspective of their generations, one which is qualitatively different than that of previous generations but all owe a debt to the man who is arguably Armenia’s first truly modern composer, Tigran Mansurian (1939- ) whose brave integration of modern trends in western music distinguish him from previous generations of classical composers whose focus was either nationalistic (as Copland was to American music) or traditional religious music for the Armenian Orthodox Christian rites. Mansurian, in addition to embracing European modernism also returned to embrace the traditional religious compositions of Komitas. Spirituality is a frequent and revered aspect of Armenian classical music.
One must, of course, acknowledge the “elephant in the room” issue of the Armenian genocide of 1915 (only now in 2021 finally acknowledged by the United States) as a factor in some degree in the artistic output of this small nation. There are no obvious references as such in the compositions recorded here but the selection of texts which either inspire or are literally set to be sung are notably somber whether hat be the Latin title of the first work on the disc, Artur Avanesov’s “Quasi Harema Maris” taken from the Book of Job or the beautiful but lonely poetry of Vahan Tekayan set in Artashes Katalyan’s “Tekayan Triptych”. Horrors such as this affect generations after all.
It was Maestro Movses Pogossian who kindly sent me a review copy of this album. He played a large role in the conceptualization and production of this album. He also plays violin on the first track. The Armenian born Pogossian, a world renowned violinist, is also the head of the Armenian Music Program at UCLA’s Herb Alpert School of Music. He is also the artistic director of the Dilijan Chamber Music Series and artistic director of the VEM Ensemble, a group of graduate musicians in residence at UCLA. His involvement is yet another reason to get this disc. It is clearly a project close to his heart and one upon which he has invested a great deal of artistic energy.
This album was recorded in May, 2019 and released in 2020 where it ran up against the pandemic shutdowns which affected performing musicians and temporarily stifled this reviewer as well. So here is my very appreciative review perhaps a year later than intended.
There are 18 tracks containing pieces by five Armenian composers, all of whom took part in this production.
The first track contains a piece for piano quintet in one movement (Movses Pogossian and Ji Eun Hwang, violins; Morgan O’Shaughnessey, viola; Niall Ferguson, cello; and the composer Artur Avanesov at the piano). “Quasi Harena Maris” (2016) takes its Latin name from the Biblical Book of Job. The title in English reads, “Like the Sand of the Sea”. It is a metaphor spoken by Job as he compares his grief to the sand of the sea sinking in its heaviness. The piece is described by the composer as a set of variations. Microtonal gestures evoke a choir interacting in a sort of call and response strategy with the piano. This is a powerful piece sometimes meditative, sometimes declamatory, but always evoking pain and sadness such as that described by the Biblical Job. While embracing modernism in his compositional methods Avanesov embraces spirituality as well.
The second track contains another single movement work, Novelette (2010) by Ashot Zohrabyan. It is scored for piano quartet (Varty Manouelian, violin; Scott St. John, viola; Antonio Lysy, cello; and Artur Avanesov once again at the piano. This work seems to have much in common with the first in that it embraces modernist techniques with spiritual references to suggest longing and separation. It is another powerful expression which engages the listener with clever invention while evoking a post apocalyptic sadness.
Now we move from quintet through quartet and on to, of course, trio. This work, also in a single movement, is scored for piano trio (Varty Manouelian, violin; Charles Tyler, cello; and Artur Avanesov on piano. Michel Petrossian’s, “A Fiery Flame, a Flaming Fire” (2017), the title a contrasting of two different translations of the biblical event in which the Angel of God appears to Moses in a burning bush. The composer describes this piece as an investigation of identity (his own being variously of “Armenian by birth, Russian by education, and French by culture”). It is also an homage to Mr. Pogossian. More kinetic and varied than the previous two pieces, this tour de force nonetheless also knows pain.
Tracks 4-6 contain the “Tekeyan Triptych” by Artashes Kartalyan showcases the poetry of Vahan Tekeyan in an English translation by Vatsche Barsoumian. The UCLA VEM Ensemble (Danielle Segen, mezzo-soprano; Ji Eun Hwang and Aiko Richter, violins; Morgan O’Shaughnessey, viola; and Jason Pegis, cello). This is a beautifully lyric setting of some mighty somber poetry which is very much in keeping with the tone of this recording. The VEM Ensemble handles this lyricism with ease and professionalism.
We now move on to music for something other than strings and piano, namely the “Suite for Saxophone and Percussion” (2015) by Ashot Kartalyan. This five movement suite puts this writer in the mind of similar works by American composer Alan Hovhaness, the composer whose immersion in Armenian culture introduced many (this writer included) to the splendors of Armenian art music. This piece uses instrumental choices similar to Hovhaness and utilizes contrapuntal writing as well. but one cannot miss the jazz inflections doubtless gleaned from Kartalyan’s exposure to the work of his jazz musician father. This suite is also a more animated piece providing relief from the intense and somber music on the first half of the disc.
The final seven tracks are given to a selection from a series of works by the hard working pianist/composer who performed in the first three works on the disc. And it is here that we can solve the mystery of the title of the album as well. These brief works seem to be etudes, experimental compositional efforts which doubtless become material in some way for later works. The third piece presented here is titled “Modulation Necklace”. This selection comes from what the composers says are some seventy similar works under the title “Feux Follets” (frenzied flames in English). They are said to have no singe unifying aspect but it appears that these are an insight to some of the composer’s compositional methods. They provide a calm and curiously speculative little journey which leaves the listener wanting more.
This is a delightful disc made with serious scholarship and dedication which introduces audiences to the splendors of contemporary Armenian art music. One hopes that this well lead to more and larger works being recorded.
Like many innovative young artists in New York City in the early 60s Meredith Monk had to train musicians to work with her unusual vocal methods. Her first album, Key (1971), was the first time her vocal art began to be dispersed outside the intimate, neo-bohemian loft space where the album was recorded. After graduating from Sarah Lawrence College in 1964 Monk moved to Manhattan where she and many other young, creative experimental musicians populated what became known as the “downtown scene” or SOHO. Many musicians worked with her over the years including composer/cellist Robert Een, Pianist Anthony De Mare both of whom incorporated their extended vocal techniques learned in the loft of the master herself.
Bang on a Can was formed from a very similar aesthetic (that of providing an alternative to the “uptown scene” which generally refers to the “establishment” or “mainstream” of classical music epitomized by Julliard and Lincoln Center. Founded in 1987, Bang on a Can and their subsequent touring group, Bang on a Can All Stars (begun in 1992) can be said to be another generation’s effort to achieve what Monk and the many musicians who followed such as Philip Glass, Steve Reich, LaMonte Young, among many others whose musical vision stood in contrast to the established uptown, more academic leanings.
It was Bang on a Can’s transcription of Brian Eno’s famous studio produced album (no live musicians), “Music for Airports” that demonstrated their ability to revision some of the work of their forebears and bring it into the concert hall. This is pretty much what we see here in this loving collaboration/tribute to one of New York’s finest composer/performers from the early downtown/SOHO era.
Monk began her artistic life as a dancer and dance/choreography remains an essential part of her artistic vision. 2014-2015 marks the 50th anniversary of Meredith Monk as a performer. “–M—EM–O-R—Y —-G-A—-ME—” (2020) is a wonderful production which sits somewhere between a “greatest hits” record and that of another generation’s reverent celebration of a unique artist. Bang on a Can shares the duties of transcription and performing with Monk and her ensemble. Most of Monk’s work involves (generally) one to five musicians (playing minimalist style music) onstage but here we see an expansion into a larger ensemble not unlike her collaborations which resulted in one of her largest works, the masterful “Atlas” (1993) produced by the Houston Opera. (Would that a new recording of Atlas may eventually come from such a collaboration).
So what we have here is a combination of transcription, performance, but most importantly a respectful sharing out of a mutual educational experience between Monk’s ensemble and that of BOC. There are nine tracks comprising nine distinct compositions from Monk’s oeuvre. BOC composers provided transcriptions of “Spaceship” (Michael Gordon), “Memory Song” (Julia Wolfe), “Downfall” (Ken Thomson), “Totentanz” and “Double Fiesta” (David Lang). The other tracks appear in transcriptions by members of Monk’s ensemble: “Gamemaster’s Song” and “Migration” (Monk), “Waltz in 5s” (Monk and Sniffin), and “Tokyo Cha Cha” (Sniffin).
Monk’s ensemble in this recording consists of Meredith Monk, Theo Bleckmann, Katie Geissinger, Allison Sniffin, and guest artist Michael Cerveris. The Bang on a Can All Stars include Ashley Bathgate, cello and voice; Robert Black, electric and acoustic bass; Vicky Chow, piano, keyboard, and melodica; David Cossin, percussion; Mark Stewart, electric guitar, banjo, and voice; and Ken Thomson, clarinets and saxophones. The expansion of the ensemble adds favorably to the sound (as it did in Atlas) and the transcriptions enhance the music (as was the case in “Music for Airports”).
The 2012 collaboration produced by Monk’s House Foundation deserves mention here because it is a crowd sourced two CD production of covers by a variety of artists paying homage to Monk’s work. It is not clear if this release had any influence over the Memory Game album but it does speak to the influence of the artist.
Fans of Meredith Monk and her various music/dance/theater works will find a comforting familiarity in these performances of music which, at one time were the leading edge of the new and experimental, now become familiar and, more importantly, embraced by another generation who clearly took the time to look, listen, and understand the work of this now acknowledged American Master. Those unfamiliar will find this a great introduction to Monk’s legacy.
Though chosen from a variety of compositions which date from 1983 to 2006, this selection comes together in a satisfying unity. The very tasteful album design is itself an homage to the look of Monk’s ECM recordings (under Manfred Eicher’s direction) who released the majority of her work. Kudos to the production team of David Cossin and Rob Friedman whose work here is among the finest of Bang on a Can Allstars’ recordings and a very satisfying addition to Monk’s discography. The little liner notes booklet includes an essay by the composer as well as a copy of the lyrics to “Migration” and “Memory Song”, just enough to inform and not overwhelm the casual listener. This is one fantastic release.
I think this is the fourth disc of the music of William Susman which has come across my desk. Let me say it is a delight to hear this man’s music and experience the range of his artistry. All releases of his music thus far have been on belarca records, a label founded by Susman to promote The Octet Ensemble and other artists who share an interest in the work of Susman and many of his contemporaries.
The disc which is the subject of this review contains selections from soundtracks to three films: When Medicine Got it Wrong (2008), a film by Katie Cadigan and Laura Murray; Balancing Acts: A Jewish Theater in the Soviet Union (2008), a film by Sam Bell, Kate Stilley, and William Susman; Native New Yorker (2005), a film by Steve Bilich. But this is just one of three discs of film music thus far by Mr. Susman.
I mention these not just to create a list of Susman’s film music but also to point out that all of these scores have engaged the amazing talents of the longtime cellist of the Kronos Quartet, Joan Jeanrenaud, herself a composer and producer. Susman appears to be fond of collaborations with other artists.
The 2004 “Oil on Ice” won the 2004 Pare Lorentz award from the International Documentary Association. It was Pare Lorentz’s collaboration with American composer Virgil Thomson that produced two of his finest film scores, The Plow That Broke the Plains (1936) and The River (1938). Thomson’s subsequent music for Robert J. Flaherty’s feature length drama, Louisiana Story (1948) earned him the only Pulitzer Prize ever awarded for a film score. Suffice it to say that film scores are a rather neglected genre, at least among non-pop composers. That is another reason to pay attention to these releases, as in “get these before they disappear”. But also because film music by concert hall composers shows a side of their work that may not be evident in concert works. It is a marriage of sound and image, a collaborative effort. Thomson’s film music was written entirely for socially conscious films of the WPA era. Susman’s work seems to be following a similar trajectory some generations later.
Now back to the disc under consideration.
Joan Jeanrenaud provides her multitracked performances on two of the three films. As always, her artistry is welcome. Her work is evident in the first two film soundtracks. Mr. Susman, an accomplished pianist, plays piano and other keyboards on all three films. Note must also be made of another collaborator, accordion player and vocalist, Mira Stroika (a former student of Susman’s) who plays and sings on the 2008 Balancing Acts film. Among the three this appears to be the one closest to the composer’s heart, he is also one of the film’s producers. Susman plays piano and other keyboards in the final track, an uninterrupted soundtrack (some 13 minutes) to 2005’s Native New Yorker.
Susman manages to create a nuanced variety of music within his predominantly post-minimalist, sometimes neo-romantic style. It exists as subtext in the film context but stands on its own as a purely sonic experience. Fans of film music, and certainly of Susman’s oeuvre, will want to explore all of these.
Albany Records has demonstrated a commitment to lesser known composers of the mid-twentieth century. Perhaps the term “neglected composers” is more accurate. This disc, headed by an artist new to these ears, Elizabeth Chang is an exciting release for folks who appreciate post-Schoenbergian music. That is a limited audience for sure but the sheer quality of the works of the composers represented should entice hungry minds.
Three composers are represented: Arnold Schoenberg (1874-1951), Leon Kirchner (1919-2009), and Roger Sessions (1896-1985). Schoenberg is the only one adequately represented in recordings (if not in performances). The two American composers, Kirchner and Sessions, are both Pulitzer Prize winners and were respected as teachers as well as composers.
The recording opens with Kirchner’s Duo No.2 (2002) for violin and piano. I am familiar with Kirchner’s four string quartets, the third of which earned him his Pulitzer. His catalog of works is large and, sadly, most recordings are out of print. This late work compares favorably with the quartets. Clocking in at about 15 minutes, this work is decidedly very post-Schoenberg with an almost neo-romantic lyricism. The demands, met ably by the artists (Steven Beck, piano; Elizabeth Chang, violin), perform what is nearly a mini concerto.
The second piece, covering tracks 2-5, is the major standout here. Roger Sessions Sonata for Solo Violin (1953), can stand beside other twentieth century works in this genre such as Bela Bartok’s 1944 masterpiece. It has been recorded by Paul Zukofsky, Hyman Bress, Curtis Macomber, and, most recently, by Miranda Cuckson. While I have not heard any but Zukofsky’s rendition, it would seem that this performance is a welcome addition to the discography of this major masterpiece. I will leave it to the fine liner notes by David E. Schneider for more details on this rather complex work.
Sessions is given more exposure with a late work, the Duo for Violin and Cello (1978). The fact that this was found among the composer’s papers after his death with sketches for at least one more movement suggests that this was intended to be a much larger work. What does exist would make a fine companion to the (also too little performed) 1922 Maurice Ravel masterwork for this unusual combination of instruments.
The recording ends with Arnold Schoenberg’s Phantasy for Violin with Piano Accompaniment Op. 47 (1949). Both this and the previous work represent the last chamber music compositions by Sessions and Schoenberg. I am somewhat chagrined to admit that this is my first hearing of the Schoenberg piece. It is a thorny, almost pointillistic piece which is a very fine piece. and one that deserves more attention from this writer and
Even if this release may speak to a limited audience it is, nonetheless a significant and enjoyable contribution to the recorded legacy of this very significant western art music.
Sunleif Rasmussen is the best known composer from the Faroe Islands which are about mid way between Iceland and Denmark. He turned 60 on March 19th. He is certainly lauded in his homeland but his works have demonstrated him to be an artist whose reputation can hardly be contained by a single country. His works favorably compare with the finest composers from all of the Nordic countries (Iceland, Faroe Islands, Sweden, Norway, Denmark, and Finland). His work is known, as it should be, internationally.
This most recent release on the Danish label OUR Recordings contains music written between 2009 and 2014. All of these works are collaborations with the wonderful recorder player Michala Petri, a Danish artist whose name is as easily recognized as predecessors like David Munrow and Frans Brüggen. She is arguably the first lady of the recorder and the instruments most prominent advocate having first taken up the instrument at the age of three. and gone on to play over 4000 concerts.
The recorder is featured in several different contexts from solo to collaborations with choral, chamber, and orchestral groups. These contexts serve to demonstrate Petri’s facility as a performer as well as Rasmussen’s range of compositional vision.
The album opens with Flow (2012) for recorder and string trio. Here Petri is joined by the Esbjerg Ensemble String Trio with Bogdan Bozovic, violin; Michele Camile, viola; and Pau Codina Masferrer, cello. The piece was conceived as a companion piece to Mozart’s Flute Quartet K.285 (for flute and string trio). This work, in three movements utilizes a variety of extended techniques on the recorder and Petri’s collaboration was essential to provide the composer with information of the possibilities of such techniques with her instrument. The string writing is also laden with harmonics and techniques that were virtually unknown in Mozart’s time. To be clear, this “companion” piece is more homage than imitation but there are phrases which are clearly neoclassical nods to the Austrian master.
“I” (2011) is for the unusual grouping of recorder with chamber choir (with alto and tenor soloists) in a setting of a poem by Danish poet Inger Christensen whose text is a response to Wallace Stevens’ “Thirteen Ways of Looking at a Blackbird”(1917). Christensen’s poem is a personal (and dare I say feminist) response to Stevens’ classic work. Lyrical writing in the composer’s essentially tonal idiom belie the intricate structures of this brief setting. It is clearly a challenge for all but the Danish National Vocal Ensemble under their director Stephen Layton, along with Petri, deliver a truly excellent performance.
Next up is a piece for solo recorder, “Sorrow and Joy Fantasy” (2011), essentially a set of variations on a theme. It is based on a folk melody which was applied to the Thomas Kingo (1634-1703) sacred poem/hymn, Sorrow and Joy. There are twelve variations each with increasing demands on the soloist. It is a stunning vehicle for Petri’s lyricism and virtuosity.
Next is “Winter Echoes” (2014), an homage to the late Danish master Axel Borup-Jørgensen whose work has been championed by OUR records. This piece, scored for recorder and 13 solo strings. Petri is accompanied by the Lapland Chamber Orchestra under Clemens Schuldt. It sounds like a concerto in all but name. The piece requires Petri to play bass, tenor, alto, soprano and sopranino recorders as the piece progresses from low to high, dark to light. Extended instrumental techniques are present for the recorder soloist and the the string players.
The final piece, and the one from which this album derives its title, is “Territorial Songs” (2009). This concerto for recorder and orchestra finds Petri accompanied by the Aaborg Symphony Orchestra under Henrik Vagn Christensen. It is cast in five movements. The composer states that he was inspired by bird song in composing this piece, an inspiration shared by Olivier Messiaen most famously but also by composers who have written for the recorder. Again we have music that is lyrical, basically tonal, and virtuosic for both soloist and orchestra. Rasmussen’s facility with orchestral color make for an exciting listening experience and, as always, Petri meets the considerable demands with grace and seeming ease.
The recording, as seems to be the case with all The OUR Recordings that have met these ears, is bright and clear. The liner notes include a statement from the composer and a very welcome and useful set of liner notes by my friend and colleague Joshua Cheek who alerted me to this release. He provides insight and detail that enhance one’s appreciation of the music. The photography and design are both beautiful and distinctive. Lars Hannibal deserves high marks for his work as producer. It is a fine 60th birthday gift to Maestro Rasmussen and a major release for Ms. Petri. If you don’t know Rasmussen’s work (or Petri’s for that matter) this is a fine introduction that will have the listener craving more.
I first encountered this man’s music in a concert by the San Jose Chamber Orchestra (reviewed here). I subsequently reviewed his album Scatter My Ashes . Now fresh off the presses is the present disc which is a collaboration between Mr. Susman and Piccola Accademia Degli Specchi, a chamber ensemble specializing in new music. It is a delightful and engaging journey to a region stylistically inhabited by the likes of Mikel Rouse whose post-minimalist chamber works on the Made to Measure label were a revelation to this listener in the early 90s. What always perplexed me was why I had been unable to find more writing like this. Well, here it is in all its glory. These are standard concert length works (15-20 min range) which engage and sustain the listener easily leaving anything obviously experimental behind while also touching an artistic depth that satisfies. Is there an untapped genre of well written post-minimalist chamber music? If so, this disc belongs there.
The disc contains four works, two from the 90s and two from 2010. The first, Camille (2010) is the three movement work that opened the lovely Scatter My Ashes album from 2014. Like the second work on this disc (the seven movement Clouds and Flames for violin, cello, and piano also from 2010) it utilizes a very personal take on post-minimalist ideas creating music of a quasi romantic nature with echoes of Brahms as well as Lou Harrison. By which I mean to say simply that they seem to be a mature integration of what the artist has learned in school and since then as well.
So now to immaturity, so to say. In the last two works listeners get a glimpse of music from an earlier stage of the composer’s development. None of that description should be read as leaning to the pejorative in any way. These works are like studies toward the later stylistic realms of the first two works from nearly twenty years later They can, for the sake of genre, also be subsumed generally into the post minimal. Motions of Return (1996) for flute and piano along with The Starry Dynamo (1994) for flute, alto sax, violin, cello, and piano are both single movement works. This listener is left to conclude that this artist’s maturity continues to deserve our attention.
As this is a collaborative effort it is only fair to discuss the collaborators Piccolo Academia degli Specchi :
“Piccola Accademia degli Specchi (Little Academy of Mirrors) is a chamber ensemble, based and founded in Roma (Italy) in late 2000, specializing in the performance of contemporary classical music. Its original and characteristic instrumentation (piano 4 hands, cello, violin, alto/soprano saxophone, flute/piccolo), similar but different to the common Pierrot ensemble set up, and the outstanding musicianship of its members provide its unique sound and groove.
Current members are Fabio Silvestro (piano), Assunta Cavallari (piano), Rina You (cello), Giuliano Cavaliere (violin), Claudia Di Pietro (alto/soprano sax), Alessandra Amorino (flute/piccolo). ” (reproduced from the ensemble’s website accessed on 28 Dec 2019)
This album is the result of a ten year collaboration between the composer and the ensemble. Cited influences include Allen Ginsberg, Colum McCann, and Francis Bacon. I will leave it to literary scholars to opine as to the influences here but I can say this is some great music and great music making. Bravo maestri!!
The amazing Stuart Dempster at a house 2015 house concert at Philip Gelb’s Sound and Savor.
In many ways this has been a year of reckoning. I kept my promise to myself to double down on writing this blog and have already reached more viewers than any previous year. I am now averaging a little more than 1000 hits a month from (at last count) 192 countries and have written 74 pieces (compared to 48 last year). I need to keep this up just to be able to stay in touch with similarly minded folks (thanks to all my readers). Add to that the fact that a piece of music I wrote 15 years ago was tracked down by the enterprising Thorson and Thurber Duo. They will provide me with my very first public performance this coming July in Denmark. Please stop by if you can. After having lost all my scores (since 1975) in a fire and subsequently the rest of my work on a stolen digital hard drive I had pretty much let go of that aspect of my life but now…well, maybe not.
Well one of my tasks (little nudges via email have been steadily coming in) is to create a year end “best of” list. Keep in mind that my personal list is tempered by the fact that I have a day job which at times impinges on my ability to do much else such as my ability to attend concerts. However I am pleased to say that I did get to 2 of the three Other Minds concerts this past year. The first one featured all the music for string quartet and string trio by Ivan Wyschnegradsky (1893-1979). The second one featured music by the same composer written for four pianos (with two tuned a quarter tone down). Both of these concerts exceeded my expectations and brought to light an amazing cache of music which really deserves a wider audience. These are major musical highlights for this listener this year.
The Arditti Quartet acknowledging the applause at the Wyschnegradsky Concert.
Read the blog reviews for details but I must say that Other Minds continues to be a artistic and musical treasure. Under the leadership of composer/producer/broadcaster Charles Amirkhanian (who turns 75 in January) the organization is about to produce their 25th anniversary concert with a 4 day series beginning in April, 2020. For my money its one of the reasons to be in the Bay Area if you love new music. He is scheduled for a live interview on the actual day of his birthday, January 19th as a guest on his own series, The Nature of Music. This series of live interviews (sometimes with performance material) with composers and sound artists he has hosted since 2016.
Amirkhanian performing at OM 23 (2018)
Next I will share with you my most obvious metric, how many views my various blog posts got. I have decided to share all those which received more than 100 views.
A rather brief post written and published in February, 2018 for Black History Month. It was entirely based on internet research and it got 59 views that year. As of this writing in 2019 it has been seen 592 times. I have no idea why this “went viral” as they say. I just hope it serves only to her benefit. Amazing musician.
Charming little album of lesser known romantic violin and piano pieces played by a husband and wife duo. This self produced album seems to have had little distribution but for some reason people are enjoying reading about it. I only hope that the exposure will boost their sales. This is a fun album.
I’m guessing this is one of my “viral” posts. I wrote it in 2014 and it continues to get escalating hits, 180 this year. The title pretty much says it all. First time three black countertenors appeared on the same stage.
Giya Kancheli (1935-2019), one of the artists we lost this year (I refuse to do that list). If you don’t know his work you should. He wrote I think 7 Symphonies and various concertos, film scores, and other works. He was sort of elected to the “Holy Minimalists” category but that only describes a portion of the man’s work. Very pretty album actually.
This composer new to me, works with electronics, and maintains an entertaining presence on Twitter. Frankly, I’m not sure exactly what to make of this music except to say I keep coming back to it. Very leading edge material.
Loved this one. I had only listened to this work three or four times and probably not with adequate attention. Hearing this performance was revelatory. It’s a great work deserving of a place in the standard repertoire/
Charles Dean Dixon (1915-1976)
Carl Van Vechten’s 1961 portrait of Marilyn Horne with her husband Henry Lewis.
Written in 2013, just an occasional piece about black conductors for Black History Month. It’s now been read over 2000 times. It is my most read article. It’s embarrassingly incomplete and in need of a great deal of recent history but that’s a whole ‘nother project.
OK, I meet this guy at a vegan underground restaurant (whose proprietor is noted Shakuhachi player, Philip Gelb). A little casual conversation, a few vegan courses (Phil can seriously cook), and whaddya know? About a month or so later he sends me this gorgeous self produced set of him playing shakuhachi…but the upshot is that this is the distillation of the artist’s sensibilities filtering his very personal take on the world via his instrument. It has collectible written all over it and that is as much due to the music itself as to the integrated graphics and packaging. You really have to see and hear this trilogy. It got over 100 hits. Thanks to Cornelius Boots and Philip Gelb (musical and culinary concierge).
That’s it. Everything else (300 plus articles total with 74 from this year) got less than 100 views.
It was a great year for recordings and I listened to more than I did last year. Some may have noticed some experimentation with writing style and length of review here. The problem is that the very nature of my interest is the new and unknown so I have to do the research and have to share at least some of that to hopefully provide some context to potential consumers that will ignite the idea, “gotta check that out” without then boring them to death.
For this last section I will provide the reader with a list in reverse order of the publication of my reviews of CD and streaming releases that prompt this listener to seek out another listen and hopefully draw birds of a feather to listen as well.
Keep yer ears peeled. This young accordion virtuoso is an artist to watch. This was also one of my most read review articles. This guy is making the future of the instrument. Stay tuned.
This artist continues to draw my attention in wonderful ways. Her scope of repertoire ranges hundreds of years and she brings heretofore unknown or lesser known gems to a grateful listening audience. Blues Dialogues is a fine example. It is also reflective of the larger vision of the Chicago based Cedille label.
I found myself really taken by this solo debut album by American Contemporary Ensemble (ACME) director Clarice Jensen. In particular her collaboration with La Monte Young student Michael Harrison puts this solo cello (with electronics) debut in a class all its own, This independent release is worth your time.
This album of string chamber music arrangements of Mahler is utterly charming. No Time for Chamber Music is a seriously conceived and played homage.
Canadian composer Frank Horvat’s major string quartet opus is a modern classic of political classical music. It is a tribute to 35 Thai activists who lost their lives in the execution of their work. His method of translating their names into a purely musical language has created a haunting and beautiful musical work which is a monument to human rights.
Donut Robot is a playful but seriously executed album. The kitschy cover art belies a really entertaining set of short pieces commissioned for this duet of saxophone and bassoon. Really wonderful album.
It has been my contention that anything released on the Starkland label requires the intelligent listener’s attention. This release is a fine example which supports that contention. Unlike most such releases this one was performed and recorded in Lithuania by the composer. Leave it to the new music bloodhound, producer Tom Steenland to find it. In Search of Lost Beauty is a major new work by a composer who deserves our attention.
My favorite big label release. This new Cello Concerto from conductor/composer Esa-Peka Salonen restores my faith that all the great music has been written and that all new music is only getting attention from independent labels. Granted, Sony is mostly mainstream and “safe” but banking on the superstar talent of soloist Yo-Yo Ma they have done great service to new music with this release. Not easy listening but deeply substantive.
This release typifies the best of Chicago based Cedille records’ vision. Under the guidance of producer James Ginsburg, this local label blazes important paths in the documentation of great music. “W” is a disc of classical orchestra pieces written by women and conducted by the newly appointed woman conductor, Mei-Ann Chen. She succeeds the late great Paul Freeman who founded Chicago’s great “second orchestra”, the Chicago Sinfonietta. Ginsburg taps into Chicago’s progressive political spirit (I guess its still there) to promote quality music, far beyond the old philosophy of “dead white men” as the only acceptable arbiters of culture. Bravo to Mr Ginsburg who launched Cedille Records 30 years ago while he was a student at the University of Chicago.
Become Desert will forever be in my memory as the disc that finally got me hooked on John Luther Adams. Yes, I had been aware of his work and even purchased and listened to albums like Dream in White on White and Songbirdsongs. I heard the broadcast of the premiere of the Pulitzer Prize winning Become Ocean. I liked his music, but this recording was a quantum change experience that leads me to seek out (eventually) pretty much anything he has done. Gorgeous music beautifully performed and recorded.
OK, I’m a sucker for political classical. But Freedom and Faith just does such a great job of advancing progressive political ideas in both social and musical ways. This is a clever reimagining of the performance possibilities of the string quartet and a showcase for music in support of progressive political ideas.
Michala Petri is the reigning virtuoso on the recorder. Combine that with the always substantial production chops of Lars Hannibal and American Recorder Concertos becomes a landmark recording. Very listenable and substantive music.
I have admired and sought the music of Harry Partch since I first heard that excerpt from Castor and Pollux on the little 7 inch promotional LP that came packaged with my copy of Switched on Bach. Now this third volume in the encyclopedic survey of the composer’s work on Bridge Records not only documents but updates, clarifies and, in this case, unearths a previously unknown work by the master. Sonata Dementia is a profoundly important entry into the late composer’s discography. I owe PARTCH director, the composer/guitarist John Schneider a sort of apology. I had the pleasure of interviewing him about this album and the planned future recordings of Partch’s music but that has not yet been completed. You will see it in 2020 well before the elections.
The aforementioned Shakuhachi Trilogy is a revelatory collection which continues to occupy my thoughts and my CD player.
Gil Rose, David Krakauer, klezmer and the inventive compositional talent of Mathew Rosenblum have made this album a personal favorite. Lament/Witches Sabbath is a must hear album.
Another Cedille disc makes the cut here, Souvenirs of Spain and Italy. The only actual Chicago connection is that the fine Pacifica Quartet had been in residence at the University of Chicago. But what a fine disc this is! The musicianship and scholarship are astounding. Guitar soloist Sharon Isbin celebrates the 30th anniversary of her founding the department of guitar studies at Julliard, a feat that stands in parallel with the 30th anniversary of the founding of Cedille records. This great disc resurrects a major chamber work by Mario Castelnuovo-Tedesco and presents a definitive program of chamber music for guitar and string quartet. This one has Grammy written all over it.
This New Focus recording was my personal introduction to the music of Du Yun and I’m still reeling. What substance! What force! Dinosaur Scar is quite an experience.
Another Starkland release, this album of music by the great new music pianist is a personal vision of the pianist and the creators of this forward looking repertoire. Eye to Ivory is a release containing music by several composers and championed most ably by Kathleen Supové.
Chicago born Jennifer Koh is one of the finest and most forward looking performers working today. Limitless is a collaboration between a curious but fascinating bunch of composers who have written music that demands and receives serious collaboration from this open minded ambassador for good music no matter how new it is. And Cedille scores another must hear.
Many recordings remain to be reviewed and some will bleed over into the new year so don’t imagine for a second that this list is comprehensive. It is just a personal list I wished to share. Happy listening and reading to all.
Hannah Lash‘s name began appearing on my radar about two years ago but this is my first actual encounter with her music. This recent (2011) Harvard graduate’s star seems to be rising quickly and this is a fine place as any to start to get to know her work. New Focus Recordings is a label with good instincts regarding new and important music and this one is typical of their collective acumen.
This release features 4 works. One is for harp (Lash’s instrument) with string quartet and the rest are for string quartet alone. I find it difficult to describe Lash’s work concisely. Like many in her generation she seems to have been exposed most comprehensively to a huge range of styles and techniques and she appears to be selecting judiciously among those to apply those techniques by which she can achieve her compositional goals.
The works include the single movement, Frayed followed by Suite: Remembered and Imagined (in 6 short movements), the single movement Pulse-Space, and the three movement Filigree in Textile which features Lash on harp along with the Jack Quartet. The rather sparse liner notes are by the composer. They may lack detail as to composition date, commissioner, etc. but they do reflect what the composer’s thought processes were with each piece. She is clearly more concerned with conveying her metaphorical ideas than the technical aspects of her work. That is perhaps best left to future musicologists.
Her work is direct, one might even say concise. Using a basically tonal palette, the composer explores a variety of musical and metamusical ideas. These are intimate and interesting works that seem very much to the point. Keep in mind too that this is simply a disc of recent chamber music which gives no idea as to how she handles larger forms. But from the perspective of this album alone her brevity has an almost Webernian quality (not the thorny harmonies or difficult rhythms, just the brief and direct statements she makes with the music here).
The always wonderful Jack Quartet plays in two different configurations here. Tracks 1-8 feature Christopher Otto and Ari Streisfeld, violins; John Pickford Richards, viola; and Kevin McFarland, cello. Tracks 9-11 feature: Austin Wullman and Christopher Otto, violins; John Pickford Richards, viola; Jay Campbell, cello; and Hannah Lash, harp.
As usual with well written new music multiple listens reveal more detail. The music is both interesting at first listen as well as compelling enough to provoke yet another listen. Lash is a rising star who deserves the attention of a new music audience who will learn the subtleties of her musical language. There is great beauty here.
This EP released by UK label Fatcat Records managed to traverse the World Wide Web to my sympathetic ears last week. This is my first experience reviewing a release solely on the SoundCloud platform. No EPK, sparse liner notes, never heard of the artist or label. I have no idea why I decided to check this one out but I’m glad I did.
These five tracks which can be described as new music, ambient, drone, perhaps even the edges of spectral. The tracks reminded this listener of the late, great, and still under appreciated New York based artist Elodie Lauten. Shahabi, described as a Swedish-Iranian pianist and composer joins with her friend, cellist Linnea Olsson to create some very compelling post minimalist/ambient/drone new music that compels attention in a manner similar to Lauten’s early independent releases on her Cat Collectors label (what is it with this cat theme?
Here are the liner notes:
A wonderfully immersive suite of five stunning new tracks, ‘Shifts’ expands upon Swedish-Iranian pianist / composer Shida Shahabi’s debut album and confirms her as a genuine new force in contemporary piano music.
Without radically departing from the ‘Homes’ blueprint, this time around her pallette is expanded, with the opening three tracks seeing the prominent addition of cello, intertwining with piano to provide a powerfully emotive sweep and drone. These parts were provided by Linnea Olsson, who Shida calls “an old musician friend of mine and without a doubt the best cellist I know in Sweden.”
Recorded by Shida and Elias Krantz, the record was mixed by Hampus Norén and mastered at Calyx by Francesco Donadello (Jóhann Jóhannsson, Modeselektor & Thom Yorke, A winged Victory for the Sullen, Dustin O’Halloran, Lubomyr Melnyk, Hauchka, etc).
In an attempt to get ahead of the inundation of my review requests I’m presenting this curiosity briefly and will leave curious listeners to do their own research into the origins, training, etc of this composer/performer. I will, however, keep an ear/eye out for this composer, these artists, and this delightfully odd little label. You should too. Brava, Ms. Shahabi. Keep up the good work. Continue reading →
OK, I’ve listened to this lovely CD numerous times and greatly enjoyed it each time. So why has it languished as a draft and why have I failed to publish this?
Procrastination aside there are several things I can identify as things that make this reviewer pause. First (and perhaps least significant) is unfamiliarity. The disc features three composers completely unknown to me: Daniel Rhode, Adam Cuthbert, and Matt Finch all of whom are listed as doing the additional duty of acting as mixing engineers (they are all students of the ensemble director as well).
GVSU hails from the state of Michigan and it’s new music ensemble (consisting of Hannah Donnelly on piccolo, flute, alto flute, bass flute; Ryan Schmidt, clarinet, bass clarinet, contrabass clarinet; Darwin McMurray, soprano, alto, tenor, and baritone saxophones; Makenzie Mattes, percussion; Reese Rehkopf, piano; Jenna Michael, violin; Kirk McBrayer, cello; Niko Schroeder, sound engineer; and Bill Ryan, director and producer) is also new on this writer’s radar. Add the participation of the extraordinary violinist Todd Reynolds (on one track) and one’s attention is further piqued. Reynolds is an artist who chooses his repertoire and collaborations judiciously so his presence certainly functions as an endorsement. But “unknown” is the heart of my interests both as listener and reviewer so that can’t be the reason though the lack of liner notes is a bugaboo (though hardly a fatal one).
On the positive side this is an Innova release and that fact alone lends credibility. Anything that Minnesota based label (the official label of the American Composers Forum) is worth your attention. Label director Philip Blackburn has a finely tuned radar which has led to many revelatory releases over the years. Truly anything released on this label is worthy of your attention if you are a new music fan.
So we have hear a 15 track CD of 15 new works whose sounds seems to travel between ambient and postminimal. The pieces merge nicely with each other in a production which assures a fine listening experience. One can put this on either as background or for more intensive listening. It works either way. The playing is dedicated and insightful and the recording is top notch.
The pieces range in length from 1:32 to 7:32 and all seem to be just the right length communicating substance but never dallying too long. They’re bite sized, so to speak but they each have their charms as well as their complexities. All are premiere recordings and all are commissioned by the ensemble.
Check it out. Click on the links provided in this review. And simply enjoy.
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.
It was in 1936 that the famed Catalan cellist and composer Pablo Casals performed and recorded the now familiar Bach Cello Suites. Long thought to be intellectual and technical exercises not intended for public performance these works languished for nearly 200 years on manuscript alone. Casals pretty much single handedly has made these masterworks a staple of the cellists repertory. Since Casals there have been numerous readings of these works and no sign of any flagging interest.
It is difficult to imagine any really new perspectives on these works and, aside from Kim Kashkashian’s wonderful transcriptions for viola, one gets basically the musician’s take on the music. So here comes the Israeli cellist Amit Peled who, since 2004 has had the honor (and attendant responsibilities) of playing Casals’ own cello, a 1730 Gofriller personally loaned to him by Casals’ widow. So in this first volume (second one not out yet as far as I can tell) is the first time Bach’s masterful Cello Suites have been sung by this instrument since it was in Casals’ hands.
What we have here is a sensitive and committed performance that many will want to hear perhaps as “channeling Casals” but ultimately we have a gorgeous performance by a fine musician channeling his own talents and sensitivities to produce a quite viable performance (are those gut strings I hear?). Perhaps there are nostalgic aspects here as well but whatever your preference, be it channeling, nostalgia, or simply a great performance of these masterpieces you will find all these here. Can’t wait for volume II.
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.
The selection of repertoire suggests that this release is targeted Stan audience which enjoys contemporary solo cello music. No pairing with earlier established warhorses such as Brahms Cello Sonatas, and no electronics either. Just a highly skilled musician and her incredible technique navigating these relatively recent examples of this genre from two acknowledged living masters, Esa-Pekka Salonen and Kaija Saariaho. It is a daring and unusual program for cellist Wilhelmina Smith but it works as a dazzling display of her skills.
Salonen is, of course, one of the best known composer conductors working today. This reviewer’s only other exposure to Salonen’s work thus far has been the gorgeous Cello Concerto reviewed here. No question that this is a name worthy of your attention.
And if you enjoy new music you will be familiar with Kaija Saariaho (1952- ). Since she first burst on the scene in the early 1980s she has produced one success after another in pretty much all genres. Like Salonen she is Finnish by birth but has taken her rightful place as an internationally renowned composer.
The performances are virtuosic and deeply felt. The complex range of sounds evoked are rich and stunning. Highly recommended.
There is no small irony for this reviewer in the title of this offering. As soon as it was removed from its packaging I, much as Alice was implored by the comestibles in Wonderland, felt compelled by joyous expectation to consume it with eyes and ears. And I was not disappointed.
Three composers are represented with one work each (two by Mr. Jalbert) in an album of recent compositions in modern but essentially tonal chamber music for highly skilled musicians. All But one (Secret Alchemy) are world premiere recordings commissioned by the Arizona Friends of Chamber Music and all contribute most handsomely to the piano and strings literature.
The highly skilled musicians are the extraordinary Australian Bernadette Harvey on piano with the Jupiter Quartet (Nelson Lee and Meg Freivogel, violins; Liz Freivogel, viola; and Daniel McDonough, cello). They play extremely well together despite having to navigate all new and challenging material. Harvey, in addition to traditional repertoire is a major advocate for living Australian composers.
The album opens with Piano Quintet (2017) by Pierre Jalbert (1967- ) which draws as much on the romantic tradition (can one hear the ensemble name “piano quintet” without thinking of Schubert, Brahms, and Schumann?) of that ensemble’s configuration as on his more modernist sense of rhythm and harmony. It is cast in four movements titled, Mannheim Rocket, Kyrie, Scherzo, and Pulse. This is a major work by a composer new to these ears and apparently very substantial. This is highly engaging music with romantic leanings perhaps but there is nothing derivative here. This composer is a voice that deserves an ear or two.
Next up is music by the late lamented Steven Stucky (1949-2016). While I regret not having gotten to know a lot of his music during his lifetime I find myself enthralled at the power and lyricism of each work I hear (the man was prolific too so I have much listening to catch up on). This one is no exception, Piano Quartet (2004-5) is in a single movement with multiple sections of varied character. Anyone who has heard any of Stucky’s music will find this piece both exciting and accessible.
Carl Vine (1954- ) is a prolific Australian composer (the only non-American composer represented) whose work certainly deserves to be better known outside of his native country. He does appear to get recognition and respect there and with Fantasia for Piano Quintet (2013) we can see why. This one movement work is (like the Stucky piece) divided into sections played without pause. This is another work of both power and virtuosity which holds the listener’s interest and, ultimately, provides a satisfying concert experience.
The program ends with another substantial work from Mr. Jalbert, a piano quintet in all but name. Secret Alchemy (2012) allows us to hear some earlier chamber music writing by this composer. Again each movement is given a title but this time they are more like expression markings and less poetic. They are: Mystical, Agitated, Timeless, and With Great Energy. Why that’s practically a program note! And like the piece that opened this disc it indeed has great energy and will engage the listener.
This album exceeded my enthusiastic expectations and I will listen again, probably many times. Well done.
Danny Elfman (1953-) has had a varied and successful musical career working in diverse areas. From his days as lead singer and songwriter for Oingo Boingo, he has cultivated his love of film music into a successful career having scored numerous films and television shows.
Now a great divide seems to exist between composers who score films and composers who compose for the concert hall. Few have demonstrated the ability to be successful in both arenas. Erich Wolfgang Korngold is a notable exception as is Aaron Copland. Both men have succeeded rather famously in both film and classical concert hall music. In fact John Williams, though known primarily as a film and television composer has written quite a bit for the concert hall as well.
Now here comes Danny Elfman, known best perhaps as the composer of the Simpsons them for the long running animated series. He has gotten the bug to write for the concert hall and this recording presents two major works. The first is his violin concerto “11/11)(2017) with soloist Sandy Cameron. You can read the liner notes about the composer’s obsession with the number 11 or you can relax and enjoy a genuine violin concerto, not a reworking of themes as one might expect from a lesser composer. The second is a nice addition to the chamber music repertoire, a piano quartet (2017).
The concerto is played by the wonderful Royal Scottish National Orchestra under the direction of the esteemed John Mauceri. Sandy Cameron is the soloist who handles the concertos four movements flawlessly and does justice to Elfman’s work. It’s really a beautiful piece. Only time will tell the work’s eventual place in history but we can certainly enjoy it for what it is, a good and entertaining violin concerto.
The Piano Quartet is played by the Philharmonic Piano Quartet Berlin which consists of Andreas Buschatz, violin ; Matthew Hunter, viola; Knut Weber, cello; and Marcus Groh, piano. This five movement work would happily grace any chamber music recital. It is in turn pithy, melodic, humorous, and serious.
This is stronger music than this reviewer had imagined would come from this composer’s pen. I can’t say, “If you like his film scores you’ll like his music” but there are, perhaps inevitably, snippets of his film music style which work actually quite well.