Other Minds 23: Whereof One Cannot Speak…


“Fragment #3”
speaking is speakingWe repeat
what we speak
and then we are
speaking again and that
speaking is speaking.

TokyoJune sometime, 1976                                                                         Richard Brautigan (1935-1984)

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(Left to right: Clark Coolidge, Karen Stackpole, Michael McClure, Anne Waldman, Randall Wong, Aram Saroyan, Sarah Cahill, Charles Amirkhanian, Carol Law, Alvin Curran, Beth Anderson, Jaap Blonk, Tone Åse, Amy X Neuberg, Sheila Davies Sumner, Enzo Minarelli, Ottar Ormstad, Susan Stone, Pamela Z, Taras Mashtalir)

The last statement in Ludwig Wittgenstein’s 1921 Tractatus Logico-Philosophicus (Whereof one cannot speak, thereof one must remain silent) is well known among philosophy students and has taken on the quality of an aphorism or truism.  But the six days of this most recent Other Minds Festival was functionally an effective refutation of this concept.  And the controversy over the awarding of the most recent Pulitzer Prize in music to a rap/hip-hop artist (a species of sound poetry?) which was announced on April 16th, 2 days after the end of this festival of sound poetry seems to reflect the prescience and presence of mind of the Other Minds organization.  Apparently words are “in” even if Wittgenstein and the critics of the Pulitzer Foundation say otherwise.

The Wages of Syntax

Other Minds 23 (April 9-14, 2018) in many ways began with the release in 1975, of one of the first (and still arguably the finest and still in print) anthologies of a strange, somewhat nebulous species of what can loosely be termed “sound poetry”.  That anthology was called “10+2: 12 American Text Sound Pieces” curated by the man behind this week’s vast expansion on that anthology, Charles Amirkhanian.

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Amirkhanian and his wife, artist and photographer Carol Law took a long strange trip in the early 1970s.  No, they did not follow the Grateful Dead.  Rather they sought a little known group of artists who walked a line seemingly between poetry and music.  From the Nordic countries to northern Europe, France and Italy they encountered artists who used the voice (though not necessarily language per se) to produce a sonic art form which nearly defies categorization.

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Amirkhanian  in his office

Charles Amirkhanian is himself a composer and percussionist in addition to being a producer and promoter of contemporary music.  As a composer, as it was with his long radio career, his voice has been his main instrument.  His resonant, articulate baritone voice has served him well these years and this festival provided a rare opportunity to see/hear Amirkhanian perform his own work live.

This unprecedented 6 day festival marks the longest in the series of the Other Minds annual music festivals.  As relatively obscure as this art form may seem to the casual observer this series managed to provide historical context, current practices, and a tantalizing look/listen at the future of what is in fact a vast body of work.  The ability of Other Minds to find hidden treasures of sonic art continues to amaze.

Day one,subtitled, “The Wages of Syntax”, was the gala opening featuring some of the leading artists in the field.  After the obligatory intros the Italian master Enzo Minarelli presented the world premiere of his tribute to Stephane Mallarmé, “Ptyx”.

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The piece, comprised of phonemes rather than syntactical sounds, was an apt introduction to the weird and wonderful world of sound poetry.  Minarelli was passionate and expressive, a beautiful performance.  Only later in this series would we come to know the depth of scholarship, preparation, and experience that informed this and all his performances.  More on that a bit later.

Next up was one of the elder statesmen of San Francisco poets, the wonderful Michael McClure.  At 85 he sported a walking stick (no not really a cane) needed due to a recent fall.  He also required assistance of one of the stage managers to help him to the little chair and desk set up for him.  But none of that mattered once he opened his little bookmarked book of poetry and began to read “Marilyn Monroe Thou Hast Passed the Dark Barrier” and some of his Ghost Tantras from 1962.  His voice was strong, his delivery both certain and witty.  His combinations of words and non-syntactical sounds were delivered with the same joy, humor, and pathos which appears to have inspired them in the first place.  The audience responded very warmly to his ecstatic delivery.

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After a bit of stage preparation we were treated to one of the most prominent members of the next generation of American poets that followed Mr. McClure (can I be forgiven for saying beat poets?), Anne Waldman.  She was accompanied (as her texts required) by percussionist Karen Stackpole.  Waldman presented from her “New and Selected Poems”, “Pieces of an Hour (for John Cage)”, excerpts from “Voices Daughter of a Heart Yet to Be Born”, and excerpts from “Trickster Feminism”.  Her characteristically forceful and peripatetic performance carried her between the microphone and Stackpole’s percussion instruments and back again.  It was a charged and sincere performance which clearly charmed (some might say stunned) the audience.

Waldman’s ties to the world of sound poetry go back to her New York roots and her involvement in the St. Mark’s Poetry Project and the Dial-a Poem Poets whose recordings have included her work and that of John Cage, Charles Amirkhanian, Clark Coolidge, and Michael McClure among others.  Small world.

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Next up was the venerable Aram Saroyan.  I suppose Saroyan (yes, the son of Pulitzer Prize winner William Saroyan) can be said to be part of the same post beat generation artists as Waldman.  Perhaps best known for his “minimalist poetry” he is also an accomplished biographer (Genesis Angels deserves to be better known IMHO) and literary innovator.  It was Saroyan’s poem “Crickets” (1965) which ended the first side of that anthology mentioned at the beginning of this article.  It was in an infinite loop in the end groove of side one of the LP playing the one word which comprises the poem, “crickets”.  And it was this little gem that he performed on this night….with a twist.  After a few repetitions he invited the audience (many apparently still trying to figure out what was going on) to join…which we did…,at first hesitantly, in unison…and then, in a touch of group inspiration, just like real crickets, not all in unison.  It was a strange sort of call and response that charmed the audience and brought a smile to the poet as well.  And that only brought us to intermission.

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Michael McClure, Anne Waldman, and Aram Saroyan

The second half introduced the first of the international stars, Jaap Blonk, the Dutch sound poet and performance artist.  He began with one of his own works, Obbele Boep ‘m Pam (a bebop sound poem).  It was a sound poetry homage to that 1950s species of jazz which inspired the beats, Bebop.  It was a sequence of sounds and words in a made up (by the performer) language intended to imitate the sound of his native Dutch language.

His second performance was of a sound poem from 1916 by the man who coined the term, “phonetic poem”, Hugo Ball (1886-1927).  This poem, based on phonemes common to the Swiss and German languages, was called, “Seepferdchen und Flugfische” (in English “Seahorses and Flying Fish”).  Blonk’s delivery of this turn of the century classic was the first of what would be several such revivals of revered early material of this nascent artistic genre.

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Jaap Blonk

Blonk was followed by the grand finale which returned us to the local roots with poet Clark Coolidge and the ever innovative Alvin Curran.  We learned that the two went to high school together and this was a strange and wonderful reunion with Coolidge reading his manic stream of consciousness poetry accompanied (sort of) by Curran’s musical ministering at both a grand piano and a sampling keyboard in a world premiere collaboration.

Though Curran now lives in Rome (and has for many years) he will always be welcome in the Bay Area where he lived, taught, and performed for many years.  Curran is no stranger to Other Minds either having performed at Other Minds 7 in 2001 and, more recently, at the Nature of Music series.  He is a musician, not a poet but his eclecticism has allowed him to collaborate successfully with a wide variety of artists in a long and varied career which continues to command attention.

The nature of the interactions which characterized this world premiere performance of “Just Out of Nowhere” were not obvious though it is a fair assumption that a degree of improvisation was used and, no doubt, some of the successful confluences on this night were first encountered in rehearsals.  Coolidge’s stream of consciousness rhythmic ramblings were ever present but never overwhelming.  In response, Curran moved back and forth between the grand piano and the sampling keyboard working with serious concentration to provide his musical support for the words.

It was an intense performance as inscrutably mind expanding as all that went before.  Curran signaled the end (as has become his performance custom) by blowing the sacred shofar over the undampened piano strings which resonated in kind and faded to silence which, in turn, was held for a moment by the audience as they disengaged from their attention to offer warm and appreciative applause.  It was a striking collaboration and a reunion of two beloved artists.

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The audience seemed to feel the pure emotion of this performance and the two performers embraced warmly before acknowledging the accolades of the charmed audience.

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Sadly this writer had to miss the second night of the festival which consisted of a lecture by Enzo Minarelli on the history of sound poetry followed in the evening by a workshop on how to do sound poetry run by Jaap Blonk.  Both were apparently well received and it is my understanding that they will soon be available for streaming on the Other Minds web site.  Definitely gonna check that out.

The second night was given the subtitle, “No Poets Don’t Own Words”.  Even for those who were fortunate enough to have attended this extended Tuesday program it is worth noting that there is a wealth of resources easily available to the interested listener.  The Other Minds website has links to a wealth of archives which include interviews and performances by a variety of artists.  In fact (and this was a creative touch) you get a free CD entitled, “What is sound poetry?”, an archived KPFA radio program when you buy one of the unique t-shirts (designed by none other than Carol Law) from the Other Minds Web Store.  Get this stuff while you can folks.

Also worthy of note (this writer has lost many hours browsing here) is Ubuweb, an online archive of music, texts, films, and sound poetry.  The fact is that these six evenings ultimately could only serve as an introduction to the unusual and entertaining genre.  And those whose appetites have been whetted by this series will want to hear more.

The History Channel

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Day 3, April 11th.  The subtitle for this night’s performance was, appropriately, The History Channel.  It was an opportunity to display some of the origins and early foundational masterworks of sound poetry.  Enzo Minarelli displayed his academic skills and interests as he interpreted several classic “scores” (which were projected on the back wall) as the performer brought them to life in what appears to have been as authentic a performance as could be had with this material from the early twentieth century.

Minarelli did readings of: “Dune (parole in libertå)” (1914) and “Zang Tumb Tuuum: Adrianopoli, 1912” (1914) by Filippo Tommaso Marinetti; Fortunato Depero’s “Subway” (1939), “Verbalizzazione astratta di signora” (1927), and “Graticieli” (Skyscrapers, 1929).  He finished with one more by Marinetti, “Savoia” (1917).  In addition to the passion of Minarelli’s performance the look of the score, essentially artistically printed pages of words and phonemes, and the choices made by the performer to interpret those scores itself provided its own sense of drama.  The lighting and projection were simple and effective, supporting the live performance.

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No major stage changes were needed for the next performer, just a little music stand with a microphone and small lights to illuminate the score.  Randall Wong, currently administrative director at Other Minds is an accomplished singer.  He is in fact a male soprano who specializes in baroque vocal scores including opera.  No stranger to new music, Wong has also demonstrated his formidable vocal skills singing with the Meredith Monk Ensemble among others.  It was those extended vocal skills that were called upon this night.

One could hardly have found a more appropriate casting to perform this next item on the program, “Stripsody” (1966) by the deservedly celebrated new music soprano Cathy Berberian.  Similarly to Wong, Berberian’s career took her from baroque opera to a plethora of modern music (Berberian was married for a time to Italian modernist composer Luciano Berio who wrote many a score for her).  What is lesser known is that Berberian wrote some music designed and inspired by her own vocal skills.

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Stripsody is difficult to describe.

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It is, in fact, a combination of sounds, specialized vocal utterances, and visual theater and is a sort of homage to comic strips (hence the title).  Utilizing onomatopoetic sounds, imitations of real world sounds and the sheer range of Berberian’s vocal instrument the performer becomes a sort of live comic character.  This piece is demanding but highly entertaining and contains humor and a variety of references.  Never did the audience lose track of the virtuosity involved or the intensity of the performer’s stage presence.  Wong’s performance was at once accurate, virtuosic, and a touching evocation of the memory of Ms. Berberian.

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It was an immersive experience for both performer and audience witnessing the sounds, the gestures, the facial expressions, the sheer concentration required to convey both the humor and joy of this work.  Wong demonstrated serious stamina and seemed to have enjoyed himself.

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Now what is history without a bit of archaeology added in?  Charles Amirkhanian introduced writer Lawrence Weschler who is (bear with me now) the grandson of the composer Ernst Toch.  Toch is responsible for writing what is perhaps the best known example of the genre represented by OM 23 this year.

In 1930 he wrote a three part composition entitled, “Gesprochene Musik” (Spoken Music).  Two of the three parts of this composition had long been thought lost.  However choreographer Christopher Caines apparently did a reconstruction for his dance piece, Spoken Music (2006).  Tonight’s performance was the American premiere of substantially what Toch had originally intended way back in 1930.

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The last of the three pieces, “Geographical Fugue” is by far the best known of Toch’s spoken music (indeed the probably the best known of all his music despite a truly substantial catalog and a Pulitzer Prize, no less).  In addition to the Gesprochene Musik there was a performance of a much later work by Toch which parodies chatter at cocktail parties, “Valse”(1962).

All of these were performed by The Other Minds Ensemble which consists of Kevin Baum, tenor; Randall Wong, tenor (yes, he can handle both soprano and tenor); Joel Chapman, baritone; Sidney Chen, bass, Amy X Neuberg, and Pamela Z.

Fast forward now to 2014  when grandson, executor, and writer Lawrence Weschler came up, on a whim, with a medical text to fit to the original Geographical Fugue.  Tonight we were treated to the world premiere performance of Medical Fugue with the same ensemble.  Weschler’s facility with language allowed him to choose the phonetics which worked as effectively as Toch did in his original. No doubt grandaddy would have been proud.

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Following intermission Jaap Blonk again took the stage, this time doing a historical performance for which he has become quite well known.  Tonight he performed (from memory, no less) “Ursonate” (1932) by Kurt Schwitters.  This large and complex work in several sections (or movements) utilizes vocal sounds fit together in the manner of classical sonata form in music.  Blonk has been performing this work for many years now and he obviously both knows and loves this piece.  His sincere, kinetic performance brought the audience back to the time frame of those years between the wars most effectively.

Two pieces on tape were next: “La Poinçonneuse, Passe Partot No. 2” (1970) by Bernard Heidsieck (1928-2014) and “If I told him (a completed portrait of Pablo Picasso) (1934) by Gertrude Stein (1874-1946).  Both were presented with the theater darkened and a simple card projected on the back wall of the name of the work and the composer.

The Heidsieck piece is a poignant and bittersweet scenario alleged to be at least partly autobiographical.  The Stein was a poetic portrait of her friend, Pablo Picasso.  It was in Stein’s own unique take on language and left one wondering why Stein’s work is not even better known than it is.

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And for the finale the Other Minds Ensemble was joined by a frequent guest artist, the justly renowned pianist Sarah Cahill in a seldom performed work by American Composer (and Gertrude Stein collaborator) Virgil Thomson (1896-1989).  “Capital Capitals” (1917-1927) utilizes a Stein text.  Thomson and Stein enjoyed several successful collaborations (including two operas) with Thomson setting Stein’s words to music.

The text, designed with musical analogies in mind, was presented uncensored with a disclaimer in the program.  The text, a bit dated, would not be considered politically correct by today’s standards.  It is a celebration of the ancient capitals of Provence (Aix, Arles, Avignon, and Les Baux).  The music was written ten years after the text and shows the same collaborative affinity demonstrated in the operas.

The ensemble appeared to have a great deal of fun with the punning language and the music such a good fit. The audience clearly agreed.

Scandalnavians

Day 4:  One of the things that has characterized Other Minds concerts over the years is the attempt to include the world outside of the United States.  This year the international artists mostly come from that same territory which Mr. Amirkhanian and Ms. Law traversed on their journey in the early 1970s.  Jaap Blonk, who had already performed in from the Netherlands, Enzo Minarelli, from Italy.  We would on this night also be introduced to Sten Hanson (1936-2013), Ottar Ormstad , Taras Mashtalir , Lily Greenham, Åke Hodell, Sten Sandell, and Tone Åse.

The evening opened with tape presentations of two pieces by Sten Hanson (1936-2013).  Che (1968) and How Are You (1989).  The first was a deconstruction of words of Che Guevara and the second a phonemic deconstruction and electronic manipulation of the three words of the title.

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Then, in a significantly darkened hall, we were introduced to the work of Ottaras, a duo consisting of Russian composer Taras Mashtalir and Norwegian poet/artist Ottar Ormstad.  Standing stage left of the projection screen which covered almost the entire back wall Mashtalir worked on his laptop (producing some heavy rumbling that shook the walls and was felt in the listener’s body).  This writer’s first impression was that of some sort of IDM (Intelligent Dance Music) or ambient rave soundtrack.  It accompanied some striking (mostly) black and white images which took center stage on the screen at the back wall.  Slowly, at first imperceptibly, Ormstad wove some vocal sounds into the fabric.  It was the U.S. premiere of a 2018 work entitled, “Concrete”.  It was in four sections (or movements if you will) each separately titled, “Long Rong Song”, “Navn Nome Name”, “Kakaoase”, and “Sol”.

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The strange swirling images, sometimes with words or parts of words moved across the back screen while the two performers, barely visible, worked with their instruments (computer and voice) to create a soundtrack for the images.  Much like the non-syntactic use of sounds and language, the musical accompaniment was comprised of rather minimalistic utterances orchestrated in a wide range of frequencies with frequent heavy bass sound which provided a tactile component. All in all a rather mystical experience, exactly the cutting edge one looks for when attending an Other Minds production.

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The performers seemed touched, perhaps even a bit surprised by the very warm response from the audience who seemed to connect rather easily to this unusual and very sensual experience.

The first half of this night’s concert concluded with the presentation of two more tape pieces, Lily Greenham’s “Outsider” (1973) and Åke Hodell’s “Mr. Smith Goes to Rhodesia” (1970).  As in previous tape presentations a static photograph with titles was projected on the back wall in the darkened theater.

The Greenham piece is a solo monodrama in which the speaker (Greenham) is accompanied by an electronic chorus of her own voice.  Hodell’s piece is clearly a protest piece about racial oppression by Ian Smith (Rhodesian Prime Minister 1964-1979) in Rhodesia (now Zimbabwe and Zambia).  It is like the Greenham piece in that it utilizes a chorus but here the chorus is actual children gathered by the artist to speak/echo the lines of the narrative which contrasts the colonial narrative with both Hodell and the children periodically intoning, “Mr. Smith is a murderer.”  The contrast was chilling and the pause for intermission a welcome respite.

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The second half of the program began with a solo performance by Tone Åse, another world premiere.  She performed her work, Ka? (2018) for voice and electronics.  In this piece she works with the sounds of questions, hesitations, and the sound of dubiousness deconstructing words, phrases, sounds and manipulating them vocally and electronically in a piece whose low volume and sparse sounds certainly evoked the intended emotions.

After a brief acknowledgement of the appreciative applause the next performer, Sten Sandell sat down at the keyboard stage left and began the performance of Voices Inside the Language (2018), another world premiere.  Again this experience had a similar sparse, almost minimalist approach.  It was a collaboration that echoed the first night’s Coolidge and Curran performance and presented an entirely different sound world.

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Almost before the audience realized the collaboration was over Åse discreetly left the stage leaving Sandell to perform his work, “vertikalakustik: med horisontell prosodi” (2017).  Here was a near complete deconstruction of language using simply phonemes, individual sounds.  With voice, piano, and projections on the back screen, Sandell delivered his necessarily minimalistic piece.

Both Sandell and Åse briefly acknowledged the applause bringing to an end this most satisfying international segment of the festival.

Good Luck with/for/on/in/at Friday the 13th

Described as an antidote for triskaidekaphobia (fear of the number 13), this evening’s program featured primarily California based artists including Amy X Neuberg, Mark Applebaum, Charles Amirkhanian, Carol Law, and (the one non-Californian) Enzo Minarelli.

The most famous victim of triskaidekaphobia was the Austrian/American composer Arnold Schoenberg (1874-1951).  Curiously for the sake of the present subject matter, Schoenberg invented sprechstimme (speech song), a sort of half sung/half spoken style of performance for many of his vocal scores.  His unfinished opera, Moses und Aron (1932) uses it and ends the second (and last completed) act with Moses singing/speaking the following words: “O Wort, du Wort, das mir fehlt!” (in English: “O word, thou word, that I lack!”)  Indeed the theme in the composer’s libretto is centered in part around Moses’ inability to articulate his ideas.  (Aaron was the man of words, Moses the charismatic leader)  Here, tonight, we were presented with artists who have grappled similarly (as all artists do) with the issue of expression and their unique solutions to the problem.  (By the way the spelling, “Aron” is not a German spelling, it is Schoenberg’s truncation of the name so that the title would not have 13 letters.)  The poor man probably wouldn’t have survived this night.

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Projection of Applebaum performing with view of the composer/performer stage right as well.

The night opened to a darkened stage with the projection of one of those info/program note cards on the back wall.  The presentation was of a tape piece by Stanford professor (and Other Minds alumnus) Mark Applebaum.  Since the darkened stage and the all too brief bow taken by the composer exceeded the limits of this writer’s photographic skills I offer the above photo of Mr. Applebaum from previous Other Minds program.

The piece at hand on this Friday the 13th was, “Three Unlikely Corporate Sponsorships” (2016) which had it’s premiere at Stanford.  The three sections were entitled, “Nestlé”, “General Motors”, and “Haliburton”.  The mocking and humorous content was such that there was no doubt that the three named corporations were not involved in the creation and funding of this work.  Like some of his predecessors this week Applebaum is prone to political commentary in his music whose sound appeared to take place in a stereo sound field with some antiphonal effects.  Words were used, deconstructed, used again and never once were they used in a complementary fashion.  This is, in its way, a protest piece.

As I said, Applebaum came out only briefly (with a smile on his face) to acknowledge the very amused and appreciative audience.  One senses that protest against corporate greed is hardly an unpopular theme with this self selected audience which greeted this work with obvious satisfaction.

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Amy X Neuberg is a well known performer in the Bay Area and is also an alumnus of Other Minds.  Neuberg studied both linguistics and voice (at Oberlin College), and electronic music (at Mills College).  She has a strong well-honed soprano voice and has developed her own unique mix of language and music in compositions that defy easy categorization.

Neuberg graced us with “My Go”, “Christmas Truce: a journal of landlord/tenant situations”, yet another world premiere for this series, “Say it like you mean”, “That’s a great question (A Jerry Hunt Song Drape)”, and, one of her classics, “Life Stepped In”.

Neuberg’s work is a striking and unique combination of linguistic wizardry, cabaret style song writing, probably some rock and pop sensibilities, and the indefinably unique way in which she integrates voice and electronics with a touch of drama at times.  Her work is permeated with humor but also with social critique.  As is always the case (at least in this writer’s experience) her performance was greeted with warmth and appreciation.

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Following intermission we were again treated to the substantial performing skills of Enzo Minarelli who graced us with a generous selection of his own works including, “La grandeur di Ghengis Khan” (The grandeur of Ghengis Khan) comprised of eight vocal tracks and three noise tracks, “Il supere scopo di vita” (Knowledge as the purpose of life) “I nomi delle città come inno nazionale per Sinclair Lewis” (The names of the cities as national anthem to Sinclair Lewis) another multi-track work, and Excerpts from Fama: “Ciò chevoglio dire” (Fame: What I Want to Say): “Affermasi senza chiedere” (To succeed without asking), “Che teme il dolore (use la medicine della religion)” (Those who fear pain fuse the medicine of religion), “Alla ricerca del suono farmacopeo” (Seeking the pharmaceutical sound) and “Poema”.

In addition to their described meanings and verbal content these works were about the beauty of the Italian language and the beauty of the sound of the performer’s voice as well as the accompanying performance.  Minarelli is apparently a performer of high energy.  He performed on five of the six days and attended the last night as well seemingly all in a weeks work.

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Once again the fairly minimalist lighting strategies were remarkably effective.  Projections on the back wall along with Minarelli’s strong stage presence made for a striking performance of these works.

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Minarelli was like a poet from a cabaret in some lost Fellini film fraught with intelligence, drama, passion, and humor.

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Any of the above led the audience in some degree to the notion that what had just transpired would be a tough act to follow.  Certainly this was true for Mr. Minarelli but, rather than a denouement or even a cooling down there was a shift of gears, a transition if you will, to yet another universe of creativity.

We were next presented with a fairly rare experience.  We got to hear Other Minds’ executive and artistic director perform some of his own dalliances with languages and vocal utterances.  Charles Amirkhanian, no longer wearing his jacket but rather a long white shirt, came on stage with this wife and partner, in both life and artistic crimes, Carol Law.  Together they shared some of the inspirations of their (obviously still in progress) long strange trip.

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In addition to being a photographer, Carol Law is a collage artist and has also been involved in the design of a few of pieces of Other Minds collectibles such as the t-shirts created for this year and several from previous years.  What is a bit lesser known are her collaborative efforts with Charles Amirkhanian.  The above image, for example, demonstrates the striking, slightly disturbing images that characterize the first work on tonight’s program, “History of Collage” (1981).  Carol’s images were accompanied by a live recitation by Charles of a text which is actually about collage but is manipulated by a cut up technique.  Here we saw images and heard the spoken text.  For the next two collaborations Amirkhanian took his microphone and did his recitation in front of the projection screen creating effects not unlike the light shows and projections one might have seen in one of Bill Graham’s productions at the Fillmore Theater some 50 years ago.  That is not to say that the intent or effect was nostalgic or historical, just that it seems to exist in a parallel universe.  The long white shirt thus became a part of the projection screen with Amirkhanian moving dynamically along with the speaking of the disjointed texts.

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The visual imagery was both striking and unique and held this writer, if not the entire audience, in thrall to a powerful sensual onslaught.

Hypothetical Moments (in the intellectual life of Southern California) (1981) is another of these cut up texts, this time an intercutting of Edith Wharton’s, “Glimpses of the Moon” and what Amirkhanian describes as “the gruff drugged-out reportage of a Yankee baseball game”, Ted Berrigan and Harris Schiff’s, “Yo-Yo’s with Money” (Amirkhanian is an avowed baseball fan).  These were spoken over an improvisation done on an out of tune harpsichord modified by an Eventide Harmonizer.

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The pair stepped on stage together to acknowledge the very appreciative applause.  Indeed this was a rare and precious experience seeing them perform together and, though they did not eclipse the previous artists, they clearly established their parallel universe in the shared multiverse of sound poetry.  These are wonderful performance pieces.

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So…how do you follow that?  Well, apparently with some solo Amirkhanian.  As noted previously, Charles has been writing and performing his brand of vocal gymnastics since at least 1969.  Two of his works, “Just” (1972), and “Heavy Aspirations” (1973) were included on that anthology mentioned at the beginning of this review.

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Amirkhanian has taken the stage at least twice before at Other Minds performing his own text sound works.  Tonight he presented, “Maroa” (1981), a sort of homage to a street in his home town of Fresno, “Ka Himeni Hehena” (The Raving Mad Hymn, 1997), a  celebration/deconstruction of the Hawaiian language, “Marathon” (1997), a two voice poem which is like a nostalgic parody of the fundraising which Charles did so many times for KPFA, and, one of this best known works, the gently humorous “Dutiful Ducks” (1977) which involves rhythmic speaking and deconstruction of words on tape to which he reads live and (mostly) in sync.  As with most of what we all heard on these days, live performance IS the point.

INK Conclusion

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Day 6 featured beloved Bay Area diva (and Other Minds alumnus) Pamela Z.  While one might note that, like Amy X Neuberg, she has a powerful, trained soprano voice and relies on electronics, her results are an entirely different animal.  Some of Z’s specialized proximity controlled electronics are artistic creations themselves and play a part in the theatrical component of her performances.

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Pamela Z’s performances were enhanced tonight with video and slides such as this projection which supported her performance of Typewriter/Declaratives.

Like Neuberg, Pamela Z does a sort of cabaret style performance.  On this night she graced us with, “Quatre Couches/Flare Stains” (2015), “Typewriter/Declaratives” (2015), “33 Arches” (from a larger work called, Span, 2015), “Pop Titles: You” (1986) and the SF premiere of “Other Rooms” (2018).

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Z’s skills at writing for chamber ensemble were displayed in 33 Arches, a section of a larger work called Span.

Most commonly seen as a soloist with electronics, it was a wonderful opportunity to hear a portion of one of her recent works which involved writing for more conventional instruments in addition to her voice and electronics.  This was done also in conjunction with video.

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Pamela concluded with a performance of one of her classic works, “Pop Titles ‘You'” (1986) enhanced by the back wall projection of the text source for the work, a page of the now defunct Phonolog report which was commonly found in record stores “back in the day” as they say.  Z worked for a time at Tower Records.

Like Amy X Neuberg, Pamela Z was treated to a warm round of appreciation from this adoring home town Bay Area audience.

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Next came another of the artists who appeared on the 10+2 anthology, Beth Anderson-Harold.  She was accompanied by Other Minds intern and percussionist, Michael Jones.  Beth Anderson, originally from Kentucky, exudes a sort of midwest wholesomeness that belies a complex and assertive artist.  She is now based in New York but has strong roots in the Bay Area having worked with Charles Shere, John Cage, Terry Riley, Robert Ashley, and Larry Austin.

Her performances of “If I Were a Poet” (1975), I Can’t Stand It” (1976), “Crackers and Checkers” (1977), “Country Time” (1981), “Killdeer and Chicory” (2005), “Ocean, Motion, Mildew, Mind” (1979), and “Yes Sir Ree” (1978) were delivered with a powerful energy and enthusiasm.  She seemed almost surprised at the warm reception her performance received.  It was yet another example of the incredible variety that his genre of music embodies.

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Anderson’s delivery was powerful, ecstatic, and assertive.

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This sixth day of the varieties of sound poetry was brought to a conclusion first with three tape works by fellow KPFA (1990-2005) radio producer Susan Stone.  The works presented were, “Couch” (from House with a View, 1989), “Ruby” (from House with a View, 1993), and “Loose Tongues” (1990).  All are basically Stone’s personal take on radio theater which she describes as, “Cinema in the Head”.  Stone took an all too brief bow to acknowledge the applause.

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Though the audience’s attention seemed not yet to have flagged we were given an infusion of energy from the seemingly always energetic Jaap Blonk.  He presented six of his works to conclude the evening, “Dr. Voxoid’s Next Move”, “Onderland” (Underland, excerpts), “Rhotic (Phonetic Study #1, about the R), “Muzikaret (Music Made of Rubber)”, “Cheek-a-Synth (Solo for Cheek Synthesizer)”, and “Hommage à A.A. (for Antonin Artaud).

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Blonk’s seemingly boundless energy took him around the stage at times.

Blonk did a lovely thing to cap off this mind bending week (almost) of performances.  He engaged the audience in a call and response improvisation.  As these things generally go he began with fairly simple sounds and progressed to longer and more complex sound groupings which challenged the audiences attention and repetition skills, a task they/we performed with great joy and amusement.

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Blonk leading the call and response performance with the audience which concluded the series.

Twenty performers, four of whom had appeared on that wonderful anthology, kept the ODC Theater packed to near capacity on all six nights.  That alone is a feat.  What cannot be satisfactorily communicated in a mere article is the energy and focus of both the performers and the enraptured audience whose attention never seemed to flag as they/we were lead down unfamiliar paths to little heard universes of ideas and sounds.

This expanded festival also included one of the most spectacular program books this writer has ever seen from Other Minds.  Mark Abramson did the eye popping graphic design which featured no fewer than four different covers and very useful texts and photographs documenting the works performed and their history.  The t-shirts were another of Carol Law’s successful designs.  These may be highly collectible and, as of this writing, are still available through the Other Minds website.

In an promotional article entitled, “Other Minds 23: In the Beginning was the Word” I obviously used a biblical quotation (John 1: 1 for those interested).  In fact the only religious thing going on here was the spiritual magic of astoundingly talented performers, and a mighty unusual gathering of Other Minds in terms of the enthusiastic audience.  But I would be remiss if I did not take note of the fact that this fabulous marathon was done in six days.  I’m guessing we all rested on the seventh.

More Than the Ears Can Hear: Bill Fontana in Conversation


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Despite being possessed of a rabid and eclectic interest in all music I had not been aware of Bill Fontana until I found this presentation sponsored by Other Minds and curated by Charles Amirkhanian (whose radar seems to capture just about everything).  This entry into the Nature of Music series last night featured this artist who extends the very meaning of composition and the very reach of our ability to hear.

This series is hosted by the David Brower Center in Berkeley, CA.  The center is a state of the art environmentally friendly building which serves, appropriately, as a center for ecological awareness and hosts various organizations within its walls (including the Berkeley office of Other Minds) whose missions serve various environmental concerns.  The Nature of Music series attempts to address ecological concerns and indeed the featured artists have all demonstrated connections to the environment in various creative ways.

Bill Fontana (1947- ) is a San Francisco resident but his art takes him all over the world.  He presented audio and video excerpts from his installation works in Kyoto, Lisbon, San Francisco, London, and Iceland.  The basic concepts behind his work seem to be the extension of hearing and, to some degree, of seeing.  He uses multiple microphones and transducers to extract sound from objects such as bridges, bells (when not ringing), musical instruments (not playing), etc.  His multi-layered video experiments are at least partly analogous to this.

The first presentation was perhaps the most striking.  Fontana showed a video of an old Zen Temple bell which was just hanging there in a still video recording.  He had attached a sonic transducer to pick up the subtle vibrations of the bell as it reacted to the ambient sounds around it, something it had been doing for its entire existence (though no one knew until this).  He quipped that the monk whose job it was to care for said bell was somewhat anxious about what Fontana was doing.  When the monk heard the sound that this “silent” bell made he was astonished.  What one learns is that there are sounds made which our ears do not hear.

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Another “not ringing” bell in a New York tower revealed its reactions to its environment sonically and in a still video overlooking Manhattan from the high atop the lonely tower.

One installation involved 8 microphones arranged around San Francisco Bay which transmitted the sounds they captured to an installation of 8 loudspeakers located at Fort Mason.  The effect was of having ears that could hear all of these sounds which were so geographically distant that one pair of ears could not hear them in this way.  This 1982 installation is scheduled to have the recordings of those captured sounds from the original presentation played continuously in a permanent installation at Fort Mason.

Other installations included a bridge and a river in Lisbon and some hydrothermal installations in a couple of places.  What these all had in common was this extension of hearing (and vision) and how this increases one’s awareness of the environment both sonically and visually.  The artist acknowledged a passion for environmentalism and took the time to answer the questions of a medium sized but very engaged audience.

There are things in his work that echo the work of John Cage, Annea Lockwood (who appeared on a previous Nature of Music program), Pauline Oliveros, and any number of drone/noise composers.  But his vision is clearly a unique one and it was revelatory to have been able to hear/see this little exposition.  Fontana is truly a phenomenon whose roots fit comfortably on the west coast but whose vision is global.

It is well worth your time to peruse Fontana’s web site which is full of videos and sound files depicting his unique visions from various locations all over the world.  Fontana seemed a warm and unpretentious figure led all these years and still going with a child-like sense of wonder and a spectacular imagination.  All in all a mind-blowing and entertaining evening.

Other Minds 22, Resounding Sacred Tributes from Music to Wheaties


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Nicole Paiement led a touching performance of Lou Harrison’s La Koro Sutro

Nominally this was a celebration of the life and music of Lou Silver Harrison (1917-2003) but this last concert of Other Minds 22nd year celebrated so much more.

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Curator and Other Minds Executive and artistic director introduces the night’s festivities with these artistic icons titled St. Lou and St. Bill (Lou Harrison and his partner, instrument builder Bill Colvig). The portraits were sold by silent auction.

One can’t celebrate the life and music of Lou Harrison without acknowledging his life partner of 30 years, Bill Colvig (1917-2000).  Colvig was the man who designed and built the American Gamelan percussion instruments used in tonight’s performance.  These repurposed industrial materials were inspired by the Indonesian Gamelan which Lou Harrison encountered at the 1939 world’s fair which took place on Treasure Island just a few miles away.  Amirkhanian added another fascinating historical footnote when he informed the audience that Harrison had come to this very church to learn to sing Gregorian Chant some time in the 1930s.

A further and very intimate context was revealed when Amirkhanian took an informal poll of the audience asking who had met and/or worked with Lou Harrison.  By his count he estimated that about 40% of the audience had encountered “St. Lou” (this writer met the magnanimous gentleman in Chicago in the early 1990s).  Indeed many of the musicians had encountered and/or studied with Harrison and the passion reflected in their performances and the audiences response clearly shows why he (and Bill) were elevated tonight to secular sainthood.

The wonderful acoustics of the Basilica easily accommodated Harrison’s dislike of electrical amplification.  Even the solo and small ensemble music was heard as it was intended.

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The organ console at the Basilica.

The well attended concert began with an early rather uncharacteristic piece called Praises for Michael the Archangel (1946-7).  It reflected the influence of Arnold Schoenberg, one of Harrison’s teachers (Henry Cowell and K.T.H. Notoprojo were also among his teachers).  Harrison also famously worked with Charles Ives whose Third Symphony he premiered.  He also worked with John Cage and collaborated on at least one composition with him (Double Music).  The angular and dissonant sounds were lovingly interpreted by Jerome Lenk, organist and chorus master at the Basilica.

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Organist Jerome Lenk acknowledges the audience applause and allows himself just a touch of a satisfied smile for a well wrought performance.

Next was a solo harp piece Threnody for Oliver Daniel (1990).  (Oliver Daniel (1911-1990) was a composer, musicologist, and founder of Composer’s Recording Incorporated.  He was a friend of Harrison’s and a great promoter of new music).

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The Threnody was performed on this smaller troubador harp in Ptolemy’s soft diatonic tuning.

Meredith Clark played with focused concentration and gave a very moving performance of this brief and beautiful composition.  Harrison was fond of paying homage to his friends through music.

Clark was then joined by cellist Emil Miland for a performance of Suite for Cello and Harp (1948).  Composed just a year after the angular organ piece which opened the program this gentle suite is entirely tonal and very lyrical in its five movements using music repurposed from earlier works.  Clark here used a full sized concert harp.

The artistic connection between these performers clearly added to the intensity of the performance.  Despite the varied sources of the music the suite has a certain unity that, like Bach and indeed many composers, justifies the re-use of material in the creation of a new piece.

This was followed by another organ piece from Mr. Lenk.  This Pedal Sonata (1989) is played solely by the musician’s very busy feet on the pedals alone (no hands on the keyboard).  Listening to the piece it was easy to believe that more than just two agile feet were involved in this challenging and virtuosic composition.  It appeared to be quite a workout but one accomplished with great ease by the performer.

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Emil Miland and Meredith Clark smiling in response the the applause following their performance.

Following an extended intermission (owing to a dearth of restroom facilities) there was an awards ceremony.  Charles Amirkhanian was awarded the 2017 Champion of New Music Award (tonight’s conductor Nicole Paiement was also a previous awardee).  Presentation of the award was done by American Composer’s Forum President and CEO John Neuchterlein and Forum member, composer Vivian Fung.

Amirkhanian took the time to pay tribute to his mother (who also would have been 100 this year) his father (who passed away in December at the age of 101) and his charming wife of 49 years, Carol Law, who continues her work as a photographer and her participation in Other Minds and related projects.  He also gave thanks to the staff of Other Minds and his former associates at KPFA where Charles served as music director for over 20 years.

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American Composer’s Forum President John Neuchterlein looks on as composer Vivian Fung presents the prestigious 2017 Champion of New Music Award to a very pleased Charles Amirkhanian.

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In a touching and humorous move Mr. Neuchterlein advised the audience that Mr. Amirkhanian would be given yet another award tied to Minnesota which is the home of General Mills (yes, the cereal people).  Amirkhanian (who himself has quite a gentle sense of humor) was surprised and charmed to receive a box of Wheaties emblazoned with his image from whence he can now reign in the rarefied group of breakfast champions in addition to his other roles.

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The breakfast of new music champions.

The second half of the concert began with the co-composed Suite for Violin and American Gamelan (1974).  Co-composer Richard Dee was in the audience for the performance of this work written two years after La Koro Sutro (1972) and incorporating the same gamelan instrument created for that piece.  The substantial violin solo was handled with assurance and expressivity by Shalini Vijayan, herself a major new music advocate.

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Composer Richard Dee waving thanks for the performance of Suite for Violin and American Gamelan.

At about 30 minutes in performance the multiple movements all but comprised a concerto with challenging roles for both the percussion orchestra led by the amazing William Winant and his percussion ensemble and the soloist.  All were masterfully coordinated by conductor Nicole Paiement.

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Shalini Vijayan smiles from behind her bouquet acknowledging the thunderous applause following her performance.

In a previous promo blog I had noted that the location of this concert is a designated pilgrimage site, one where the faithful journey as part of a spiritual quest.  Well, having been sidelined by a foot injury for the last 3 1/2 months this amounted to a musico-spiritual pilgrimage for this writer who has not been able to be out to hear music for some time.  The last piece on the concert in particular was a powerful motivation for this personal pilgrimage and I was not disappointed.

The American Gamelan was played by the William Winant percussion group consisting of master percussionist Winant along with Ed Garcia, Jon Meyers, Sean Josey, Henry Wilson, and Sarong Kim.

They were joined by the Resound Choir (Luçik Aprahämian, Music Director), Sacred and Profane (Rebecca Seeman, Music Director), and the Mission Dolores Choir (Jerome Lenk, Music Director).

Meredith Clark joined on concert harp and Mr. Lenk on the small ensemble organ.  All were conducted with both discipline and panache by Nicole Paiement.

This multiple movement work is a setting of the Buddhist Heart Sutra and is done in an Esperanto translation by fellow Esperantist Bruce Kennedy and, though written for the world Esperanto Convention in Portland, Oregon, it was premiered at the University of San Francisco in 1972.  This was the fourth performance in the Bay Area, a fact that reveals the love that this area has had and still has for its beloved citizen Lou Harrison.

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Warm smiles proliferated as the bouquets were distributed amid a standing ovation from a very appreciative audience.

In fact this concert can be seen as a affirmation of so many things.  Harrison was a composer, teacher, dancer, calligrapher, Esperantist, conductor, musician, musicologist and early gay rights advocate.  It is a testament to Lou that he has been given a most spectacular birthday celebration which gave credence and appreciation to all aspects of this west coast genius and all his extended family.  It happened 50 years after the fabled Summer of Love and apparently the love continues in its way.

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A clearly very happy conductor Nicole Paiement’s smile echoes both her feeling and that of the attendees, a wonderful night.

Captain Kirk and the Buddha Speak Esperanto: Other Minds 22 Commemmorates Lou Silver Harrison at 100


Esperanto is a constructed language brought into being in an 1887 book by a Polish-Jewish doctor by the name of L. L. Zamenhof (1861-1917).  This constructed language was intended in part as an intellectual exercise which might contribute to greater international discourse and perhaps understanding.  He outlined his intentions as follows:

  1. “To render the study of the language so easy as to make its acquisition mere play to the learner.”
  2. “To enable the learner to make direct use of his knowledge with persons of any nationality, whether the language be universally accepted or not; in other words, the language is to be directly a means of international communication.”
  3. “To find some means of overcoming the natural indifference of mankind, and disposing them, in the quickest manner possible, and en masse, to learn and use the proposed language as a living one, and not only in last extremities, and with the key at hand.

Esperanto did gain a great deal of popularity and there are still adherents today (an estimated 2 million people worldwide).  Lou Harrison was one of the users of this language (users are known as “Esperantists”).

L. L. Zamenhof (1859-1917)

In 1966 a horror film, “Incubus”, written and directed by Leslie Stevens (of Outer Limits fame) was released starring the just pre-Star Trek William Shatner.  Once thought lost, this film was restored from a copy found in a French film library.  It was only the second (and apparently last) feature film done entirely in Esperanto (the first being the 1964 French production, “Angoroj” or Agonies).  It was thought that the use of Esperanto would add a mysterious dimension to the production though detractors challenged the actors’ ability to properly pronounce the dialogue.  A link to a Shatner scene is here.  https://www.youtube.com/watch?v=accFmyaOj7o

And if you want to sit through the entire film (definitely a cult film experience) you can find it here: https://www.youtube.com/watch?v=LHUfHj2lTaM

Curiously 1917, the year of Dr. Zamenhof’s death, is also the birth year of Lou Harrison, the principal subject of this essay.  This patriarch of 20th century modernism was a composer, conductor, musicologist, performer, teacher, dancer, calligrapher, and Esperantist.  He used Esperanto to title many of his works and set some Esperanto texts to music.

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And the Buddha Becomes an Esperantist

In his masterful big composition, La Koro Sutro (1972) translated portions of the text of the Buddhist Heart Sutra (into Esperanto) are set for mixed chorus and American Gamelan.  Gamelan is an Indonesian mostly percussion orchestra which Harrison studied extensively following the example of pioneering Canadian ethnomusicologist and composer Colin McPhee (1900-1964).

Gamelan was first introduced to western audiences at the 1889 Paris World’s Fair where composers such as Claude Debussy and Erik Satie heard the instruments and later incorporated some of those sounds in their music.  (That Gamelan now resides in Chicago’s Field Museum of Natural History.) Harrison’s life partner Bill Colvig, an instrument maker, constructed a percussion ensemble which they called the American Gamelan to differentiate it from the traditional Indonesian ensemble.  The American Gamelan, consisting of five percussion instruments (augmented with organ, harp, and chorus) was first used in the cantata La Koro Sutro.

Harriso (left) with Bill Colvig

This composition is very much a synthesis of the composer’s musical and philosophical ideas.  Harrison was an avowed pacifist and the Heart Sutra is a key Buddhist scripture which supports introspection and non-violence.  Here he uses his expertise as an esperantist, his knowledge of Indonesian as well as western classical music to create one of his largest and finest works.

Lou Harrison with Charles Amirkhanian (curator of this concert series) in 1966

It is a testament to Harrison’s influence that this is the fourth performance of La Koro Sutro in the Bay Area.  It was written for an Esperanto conference in Seattle in 1972 with a translation by fellow esperantist Bruce Kennedy and was premiered that same year at Lone Mountain College  in San Francisco (now part of the University of San Francisco).  Additional performances (available on You Tube) were staged in Berkeley in 1973 and again in 2012.  This is truly an American masterpiece as well as a prayer for our times.

The performances will take place in the Mission San Francisco de Asís Basilica, better known as Mission Dolores.  The mission was founded in 1776 and the still active small adobe church next to the Basilica, built in 1791, is the oldest surviving building in San Francisco.  The much larger Basilica next to the adobe church (and the actual location of said concert) was dedicated in 1918.

Interior of the historic Mission Dolores Basilica

For the record, a Basilica is a reference to both architectural and spiritual aspects of any church so designated.  In the Catholic Church a Basilica is a pilgrimage site, a place to which the faithful travel in a spiritual quest.  I don’t believe it is too much of a stretch to view this event as a musico-spiritual pilgrimage open to all ears and minds, and hearts.  You won’t come out speaking Esperanto but you will never forget what you’ve heard.
The program will include:


Threnody for Oliver Daniel for harp (1990) 

Suite for Cello & Harp (1948)

Meredith Clark, harp

Emil Miland, cello

Pedal Sonata for Organ (1987/1989) Praises for Michael the Archangel (1946-47)

Jerome Lenk, organ

Suite for Violin & American Gamelan (1974, composed with Richard Dee) 

Shalini Vijayan, violin

William Winant Percussion Group

La Koro Sutro (The Heart Sutra, 1972)

For large mixed chorus, organ, harp, and American Gamelan

The Mission Dolores Choir, Resound, Jerome Lenk, organ, Meredith Clark, harp, and the William Winant Percussion Group conducted by Nicole Paiement.
Saturday, May 20, 2017- 7:30 p.m. 

Mission Dolores Basilica

3321 16th St.

San Francisco, CA
The very affordable tickets ($12-$20) are available at:

http://om22concerttwo.brownpapertickets.com/

Revido tie. (See you there.)
 

When Politics and the Arts Clash, OM 22


Isang Yun (1917-1995)


The relationship between politics and music is complex and varied.  There are many instances of clashes between these two disciplines from the politics of state and church sponsored music to its repression by those same institutions.

After centuries of Catholic church sponsored music a decision was made in 1903 to repress the performance of anything but Gregorian chant and any instruments except for the ubiquitous organ.  The reasons for this decree have been discussed but the end result was less work for musicians.

More recently the Nazi “degenerate art” concepts and the later proscriptions on “formalist music” in Soviet Russia similarly put artists and musicians out of work.  In fact many were jailed or killed.  Shostakovich and Prokofiev were high profile musicians who endured bans on performances of their music based ostensibly on claims that it brought (or potentially brought) harm to the state’s political visions.

Even more recently the blacklist created by Joseph McCarthy and his acolytes perpetrated a similar assault on actors, directors and writers like Dalton Trumbo (recently dramatized in the excellent film Trumbo with Bryan Cranston leading the fine cast).  This sad chapter of history did not completely end until the 1970s and only recently have efforts succeeded in restoring suppressed screen credits to these films.  Many lives were destroyed or irreparably harmed.  One hopes, of course, that such travesties will not be repeated but the recent efforts to eliminate the NEA suggest that such struggles remain with us.

On February 18th Other Minds will present a centennial celebration of two composers’ births.  Lou Harrison certainly expressed some political themes in some of his music but did not incur state sponsored political wrath.  Unfortunately this was not the case with the other honoree of Other Minds’ 22nd season.

In 1967 Korean composer Isang Yun was kidnapped by South Korean intelligence officers and taken to South Korea to face accusations of collaboration with the communist government of North Korea.  He was held for two years and was subjected to interrogation and torture based on information later acknowledged to have been fabricated.  Even so South Korea declined to allow the ailing composer’s request to visit his hometown in 1994.  He died the following year in his adoptive home in Berlin, Germany.

A petition signed by over 200 artists including composers Karlheinz Stockhausen, Hans Werner Henze, Gyorgy Ligeti and conductors Otto Klemperer and Joseph Keilberth among the many was sent to the South Korean government in protest.  A fine recent article by K. J. Noh, Republic of Terror, Republic of Torture puts the incident in larger political context. It is a lesson sadly relevant even now in our politically turbulent times.

The concert will feature works from various points in his career, both before and after the aforementioned incident.  It is a fine opportunity to hear the work of this too little known 20th century master.  Conductor and pianist Dennis Russell Davies knew and worked with both Harrison and Isang.  It is so fitting that he will participate along with his wife, justly famed new music pianist Maki Namekawa, in this tribute to the the late composer.  This can’t right the wrongs but what better way to honor a composer than by performing his music?

The performance is at 7:30 PM at the historic Mission Dolores Basilica at 3321 16th Street
San Francisco, CA 94114.  Tickets available (only $20) at Brown Paper Tickets.

February 18th, Mark Your Calendars: Other Minds 22, A Must Hear


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Lou Harrison (1917-2003)

The American composer Lou Harrison (1917-2003) and Korean composer Isang Yun (1917-1995) turn 100 this year and Other Minds 22 has a wonderful celebration that is not to be missed.  On February 18th at 7:30 PM in the beautiful, historic Mission Dolores Basilica in San Francisco’s famed Mission District.  This is actually only the first of two concerts which will comprise the Other Minds season 22 which is subtitled, “Pacific Rim Centennials”.  It is curated by Charles Amirkhanian, the reliable arbiter of modern musical tastes in the Bay Area and beyond.  (The second concert, scheduled for May 20, will be an all Lou Harrison concert closer to the composer’s May 14th birthday.)

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Yun Isang (1917-1995)

Harrison is well known to new music aficionados, especially on the west coast for his compositions as well as his scholarship and teaching.  His extensive catalog contains symphonies, concertos, sonatas and other such traditional classical forms as well as some of the finest of what we now call “world music” featuring instruments from non-western cultures including the Indonesian gamelan.  He is also the man responsible for the preparation and premiere of Charles Ives’ Third Symphony in 1946 which was subsequently awarded a Pulitzer Prize.

Yun is perhaps less of a household name but is known for his many finely crafted compositions in the modern western classical tradition and, later, incorporating instruments and techniques from his native Korea.  He was infamously kidnapped by South Korean intelligence officers in 1967 and taken from his Berlin home to South Korea where he was held and tortured due to allegations (later proven fabricated) of collaboration with North Korea.  Over two hundred composers and other artists signed a petition for his release.  After several years he was returned to his adopted home in Berlin in 1969 where he continued to compose prolifically and teach until his death in 1995.

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                              Dennis Russell Davies (from the American Composers Orchestra site)

This celebratory and memorial concert will feature world renowned artists including Grammy Award winning conductor and pianist Dennis Russell Davies who knew and collaborated with both Harrison and Isang.  Other artists will include pianist Maki Namekawa, violinist Yumi Hwang-Williams, percussionist William Winant (with his percussion group), and the Other Minds Ensemble.

The program is slated to consist of:

Sonata No. 3 for Piano

(1938, Lou Harrison)

Dennis Russell Davies

Kontraste I for Solo Violin

(1987, Isang Yun)

Yumi Hwang-Williams

Gasa, for Violin & Piano

(1963, Isang Yun)

Yumi Hwang-Williams, Dennis Russell Davies

Grand Duo for Violin and Piano (excerpts)

(1988, Lou Harrison)

IIII. Air
II. Stampede

Yumi Hwang-Williams, Dennis Russell Davies

Intermission

Canticle No. 3

(1941, Lou Harrison)

William Winant Percussion Group
Joanna Martin, ocarina
Brian Baumbusch, guitar
Dan Kennedy, Loren Mach, Ben Paysen, William Winant, Nick Woodbury, percussion
Dennis Russell Davies, conductor

Interludium A

(1982, Isang Yun)

Maki Namekawa, piano

Suite for Violin, Piano & Small Orchestra

(1951, Lou Harrison)

I. Overture
II. Elegy
III. First Gamelan
IIII. Aria
V. Second Gamelan
VI. Chorale

Yumi Hwang-Williams, violin
Maki Namekawa, piano
The Other Minds Ensemble:
Joanna Martin and Janet Woodhans, flute
Kyle Bruckman, oboe
Meredith Clark, harp
Evelyn Davis, celesta
Andrew Jamieson, tack piano
Emil Miland and Crystal Pascucci, cello
Scott Padden, bass
William Winant, percussion
Dennis Russell Davies, conductor

Other Minds is also co-sponsoring (with the Berkeley Art Museum/Pacific Film Archive) a screening of the 2015 German television produced film, Isang Yun: In Between North and South Korea on February 19th (4:15PM) at the Pacific Film Archive in Berkeley.  Dennis Russell Davies and composer Charles Boone will also be present to discuss the film.

If you do know these composers you probably already have your tickets but if you don’t know them you owe it to yourself to check out these performances.

 

The Musical Mother of Us All: Pauline Oliveros, a Personal Appreciation


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Pauline Oliveros at one of Philip Gelb’s dinner concerts in Oakland.  I published this photo on Pauline’s Wikipedia page.

I woke at about 3PM on the day after Thanksgiving (having worked the previous night shift) and I checked my e-mail and then, on Facebook I learned of the passing of theorist, composer, musician, teacher and all round wonderful human being Pauline Oliveros (1932-2016). She had died peacefully in her sleep on Thanksgiving Day.  Going over the copious posts and comments I was saddened at her passing but oddly comforted by the fact that these posts honoring her are effectively eclipsing the ones on the obnoxious political issues as well as demonstrating the incredible reach of her influence.  Thankfully, Pauline will not have to endure the regressive politics which now dominate our country and, indeed, the world.

I first encountered Pauline’s work, as many did, through the Columbia Odyssey LP curated by none other than David Behrman in his Music of Our Time series.  There are several composers on the disc including Steve Reich (Come Out), Richard Maxfield (Night Music), and Pauline Oliveros (I of IV).  Over the years I collected and listened to most of her recordings Discogs lists 55 recordings but no doubt there are many more and likely a plethora of unreleased material which will grace our ears for years to come.  Like her older contemporary John Cage it is difficult to identify a “masterpiece” and, also like Cage, she didn’t aspire to such notions because she aspired to learn and subsequently teach the art of listening. Her Deep Listening Institute is based in Kingston, New York.

 

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Stuart Dempster at another of Philip Gelb’s dinner concerts. Stuart is one of the members of Oliveros’ Deep Listening Band

I was pleased to be able to see one of the incarnations of the Deep Listening Band in Chicago at the Harold Washington Library.  This concert occurred on the night of the famed “Chicago Flood” (1992) in which a construction mishap diverted thousands of gallons of water from the Chicago River into the disused coal delivery railway tunnels which connect most of the downtown buildings.  I brought along a postcard from her album The Well and the Gentle hoping to get her autograph.  It was my first face to face meeting with this icon of new music.  She graciously took the card into her hand and immediately exclaimed with a smile, “Oh, this is from the Well”.  She quipped that next time they would hold their concert in one of the “deep tunnels” which are a part of the Chicago’s massive flood control rainfall overflow system.  I still treasure that autograph and the memory of my first meeting with Pauline.

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Ione (l) doing verbal improvisation while Pauline improvises in parallel on her digital accordion at a memorable dinner concert curated by Philip Gelb.

I can hardly tell you my level of excitement when vegan chef and musician Philip Gelb announced that Pauline with her partner Ione would be appearing at his next dinner concert.  The opportunity for a close encounter with this master was certainly heaven sent. (Pauline later wrote the lovely introduction to Philip’s first vegan cookbook.)

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Philip Gelb performing at the June 21, 2015 Garden of Memory Concert at Oakland’s Chapel of the Chimes. This vegan chef and cookbook author plays and teaches shakuhachi and curates a wonderful dinner/concert series at his loft in West Oakland.  Philip also appears on several albums with Pauline and others.

Indeed, as I sat across from Pauline no doubt babbling some starstruck nonsense, I encountered in both her and her partner Ione two warm and unpretentious people.  While I knew I was in the presence of genius I was given to feel very welcome as they both engaged me and the other guests in lively conversation at this spectacular vegan meal.  In the pause just before dessert they gave a wonderful performance with Ione speaking improvised and passionate poetic utterances while Oliveros played her quirky improvisations in parallel on her digital accordion.

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Pauline Oliveros, Miya Masaoka and Frode Haltli performing Oliveros’ Twins Peeking at Koto (2014) at Other Minds 20 in 2015

I later got to see Pauline as a returning guest composer/performer at Other Minds 20, a series lovingly and painstakingly curated by composer, broadcaster and new music impresario Charles Amirkhanian.  I believe this was her last major bay area appearance.

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A clearly happy Pauline Oliveros acknowledges the warm applause of the Other Minds 20 audience after her performance at the SF Jazz Center in 2015.

Every year at the Garden of Memory summer solstice concert the open membership Cornelius Cardew Choir performs Oliveros’ Heart Sutra every year.  The verbal score describes how one enters the singing circle and intones basically the note of their choice with one hand over their heart and the other on the back of another singer.  I screwed up my courage to participate in this ritual a few years ago and it is now an essential part of the beginning of my summer.  Pauline has taught me much and no doubt will continue to teach me through her writings and recordings.  For that I am eternally grateful.