Tag Archives: choral music

Collider, The Marvelous Music of Daniel Bjarnason






This is the second album I’ve had the pleasure of reviewing by this wonderfully talented composer and conductor from Iceland. The other album which put his name forever into my watch list was Recurrence. Daniel Bjarnason conducted on that recording which features his work as well as that of fellow Icelandic composers.

The present release is also conducted by Bjarnason and features three amazing works by this young composer and conductor. The works include, “Blow Bright” (2013) for orchestra, “The Isle is Full of Noises” (2012) for chorus and orchestra, and the title work, “Collider” (2015).

Blow Bright and Collider are performed by the lucid Icelandic Symphony. They are joined by the Hamrahild Choir for the three movement, Isle Full of Noises. The recording is also listener friendly (with detail that sent this listener to find headphones to hear them).

It is a mark of genius that this composer already has a clearly defined sound all his own. Hearing these left this listener wanting to hear these pieces again and to hear more of this man’s work.

Blow Bright and Collider are significant contributions to the modern orchestral repertoire and Isle Full of Noises is an opportunity to hear Bjarnason’s vocal writing with orchestra. This listener, no surprise was charmed. His facility in melodic invention, judicious use of modern harmonies make for very listener friendly music that challenge gently but always entertain. Classical music is alive and well…at least in Iceland.

Visions of a Dreamer: Keane Southard’s Waltzing Dervish


dervish

Keane Southard (1987- ) is a composer and pianist whose work is influenced by a variety of styles including standard classical and pop and folk influences.  This major debut disc is a fine sampling of his work though it is important to realize that his work is for diverse ensembles of pretty much every description and the present sampling is of music for wind ensemble.

Just like every specialized grouping, be it string quartet, string orchestra, wind quintet, solo piano, full orchestra, etc., one encounters composers with varying degrees of facility in each configuration.  Southard seems very much at home with the wind ensemble/band and its possibilities.  A quick look through his extensive works list at his site suggests a hugely prolific musician with a wide variety of skill sets in a variety of musical configurations.  Wind ensemble is clearly one of his strengths and the Northeastern State University Wind Ensemble of Oklahoma under conductor Norman Wika are up to the challenges.  Southard playfully refers to this grouping as a “wind powered” ensemble using it as a metaphor for ecologically sustainable power systems.

There are nine tracks of which three are transcriptions of other composers’ work and the remaining six are by Southard.  His metaphors are as eclectic as his musical choices but fear not, his choices are friendly ones.  The first track, Waltzing Dervish sets the tone as an original and substantial composition of some ten minutes duration in which he takes on the waltz and its various meanings both public and personal to create an original band composition concerned as much with ecological metaphor as with a striving for multicultural diversity in an optimistic and thoughtful exploration of what can easily be a tired dance form.

The second piece is an arrangement of a piece by Francisco Mignone (1897-1986), one of the composers whose music he encountered during his 2013 Fulbright Fellowship in Brazil.  The piece is scored for optional choir (not used in this recording) and band, an arrangement Southard made with the intention of sharing this music as a highly viable selection for concert band.  It is indeed a joyous affair and one could easily imagine this being adopted as a staple in the rarefied realm of concert band music.

Do You Know How Many You Are? is the composer’s 2013 band arrangement of a 2010 choral piece which he describes as having basically come to him in a dream.

Claude Debussy’s Menuet (ca. 1890) was originally a piano piece which Southard envisioned in this orchestrated form during the course of his studies of orchestration.  That sort of inspiration is not uncommon for a composer but the result is not always as ideal as the composer imagined.  Fortunately this orchestration works quite well and again would proudly fit in a given band’s repertoire as an audience pleasing piece.

The next piece, originally an orchestral piece from 2013 is presented in the composer’s own arrangement for band.  No Interior Do Rio De Janeiro (2013/15) is another of the inspirations from the composer’s 2013 Fulbright Fellowship and was inspired by his work with “Orquestrando a Vida”, a Brazilian music project inspired by Venezuela’s famed “El Sistema”.  The band version was written on a commission from the present NSU Wind Ensemble.  Here is perhaps a departure from the dance theme of the first three tracks.  It seems to be a thesis or musical diary entry reflecting his personal take on the experience of working with this project though the spirit of the dance remains throughout.

Carousel (2008/2010) is the arrangement for band of the third movement of a mini-symphony (perhaps a scherzo?) for orchestra.  Curiously he describes his inspiration as coming from the sound of the calliope, a sort of steam driven organ common in circuses of the late 19th and early 20th centuries.

Cortège et Litanie (1922) by French composer and organist Marcel Dupré (1886-1971) is a bit of a departure.  Neither a dance nor derived from Brazilian sources this piece was originally written for organ.  The organ (like the calliope in the previous piece) is arguably a wind instrument and this transcription retains some of the ambiance of that grand instrument.  It is among Dupré’s better known pieces and seems a natural for band.

Uma Pasacalha Brasiliera (2015) is a commission from a the Arrowhead Union High School Wind Ensemble and conductor Jacob T. Polancich.  The composer describes various influences in the circuitous path the the completion of this work but it is basically a sort of homage to the baroque form of the pasacaglia (variations over a repeating bass line) as well as to some of the great folk song influenced composers such as Percy Grainger.  Brazilian influences dominate much of the composer’s work from this period and they combine with the aforementioned baroque and folk influences to form a wonderfully creative take on that form of baroque counterpoint.

Finally the big finale is presented in another transcription, this time of a concerto for piano and organ from 2008.  Of course the organ again lends it’s sound easily to a band transcription and we have this Concertino for Piano and Wind Band (2008 rev. 2015) which allows us to hear the considerable keyboard skills of the composer.  This is the most substantial work on the disc and provides a satisfying finale to this portrait of a prolific and optimistic young composer at the very successful beginnings of what this writer (optimistically) hopes will be a long and productive career.

 

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.

Lou Silver Harrison

 

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.)
 

Kristjan Järvi Celebrates Steve Reich’s 80th


Kristjan Järvi (1972- ) is the youngest son of justly famed conductor Neeme Järvi.  He is also a frequent collaborator with the talented and ubiquitous Gene Pritsker among others.  This double CD represents a portion of his concerts in celebration of Reich’s 80th birthday.  There are apparently recordings available on the streaming service Medici TV of several other Reich works including the Three Movements for Orchestra (1983) and Desert Music (1986).  All these stemmed from a residency (2013-2014) that Reich enjoyed with the MDR Leipzig Radio Symphony and Chorus.

This 80th birthday tribute gives us yet another opportunity to hear another generation (other than Reich’s) interpreting this music.  For years only Reich and his ensemble had access to his scores but this is not the case with his orchestral and choral works.  Some may still consider Reich to be a difficult or experimental composer and this has limited the programming (and no doubt the commissioning) of music for such larger ensembles.  It is delightful to hear how other musicians respond to and interpret Reich’s music.  

In fact Reich’s music for larger ensembles is definitely worth hearing and hearing in different interpretations.  This set gives us the world premieres of beefed up orchestrations of You Are and Daniel Variations.  This writer looks forward to the orchestral version of Tehillim (1981) as well.  

This handsome two disc set includes the early Clapping Music (1971), Duet (1993), The Four Sections (1987), You Are Variations (2004),  and Daniel Variations (2006).  It is not a greatest hits compilation.  Rather it is a personal survey by a wonderful young musician.  Kristian Järvi is a conductor, composer and new music raconteur who is at the beginnings of a very promising career.  This album is a love song if you will.  Järvi clearly understands and loves this music and the opportunity to record these works, especially perhaps the intimate Clapping Music with the participation of the composer.

The Four Sections is tantamount to being a concerto for orchestra and is among this reviewer’s favorites among Reich’s works.  It has received too few performances and to date only two recordings.  This is the first live recording and gives insight into the amazing competence of both conductor and orchestra.  The 1993 Duet for Two Violins and String Orchestra is Reich’s homage to a musician of a generation preceding his, the wonderful violinist, conductor, and pedagogue, Yehudi Menuhin on his 80th birthday.  Soloists Andreas Hartmann and Waltraut Wachter handle this all too brief piece with skill and insight.  

The second disc contains studio recordings of the large orchestra versions of two very personal works.  These recordings alone are adequate reason to purchase this set.  Reich has gained much from tapping his Jewish heritage (musical, linguistic, and literary) in service of his art.  Both of these pieces feature texts from a variety of sources including the Bible, Hasidic aphorisms, the writings of Ludwig Wittgenstein among others.  In both works the texts determine to some degree the rhythmic choices of the music. 

You Are Variations is a four movement orchestral/choral work which sets a different aphorism in each movement.  It is among the composer’s more personal works and includes quotations from Wittgenstein (the subject of Reich’s undergraduate studies) along with Biblical and Talmudic texts in a beautiful existential meditation.

Daniel Variations is a powerful overtly political work written in response to the tragic murder of journalist Daniel Pearl who was beheaded by extremists in Pakistan in 2002. It is a deeply felt and very pained work which expresses the tragedy and creatively makes a link with the Book of Daniel as well as Pearl’s own words.  Reich is no stranger to political protest on his music and this is among his finest in that genre.

If you don’t know Reich’s music this is not a bad place to start.  If you are already a fan (as I’ve been for years) you will want this set to round out your collection.  

Skylark: Crossing Over, bringing the chamber choir to the mainstream


skylark

Sono Luminus continues their dedication to high quality performances and recordings of a wide variety of music from the 20th and 21st centuries.  In this lovely  disc we are treated to a great deal of interesting and very listenable a capella choral music from the mid-twentieth century to the present.

It is this reviewer’s perception that a capella choral music is somewhat of an outlier in the classical music field and is generally not as well known as solo instrumental, orchestral, chamber music and such. (Band music is a similarly neglected area which is not frequently explored by many composers and not as familiar to audiences.)   It is not an area very familiar to me but this recording appears to be one that can expand this niche considerably by virtue of the sheer beauty of these recordings.

There are eight pieces by seven composers of varying levels of familiarity.  The most familiar names here are those of the late John Tavener (1944-2013) and William Schuman (1910-1992).  (Schuman was also no stranger to writing for band music.)  Some listeners may have heard of Jon Leifs (1899-1968), an Icelandic composer who should definitely be better known.  (Curiously the only comprehensive information available in English on this composer is in Wikipedia.)

The remaining composers, Daniel Elder (1986- ), Nicolai Kedrov (1871-1940), Robert Vuichard (1985- ) and (fellow Icelander) Anna Thorvaldsdottir (1977- ).  Thorvaldsdottir may be familiar to listeners via her earlier Sono Luminus release (reviewed here) as well as numerous other releases which definitely mark her as a rising star.

The disc opens with Elegy (2013) by Daniel Elder.  It is the only piece which features soloists and is a touching piece which demonstrates the composer’s skill with this specialized genre.

Butterfly Dreams (2002) by John Tavener is a series of eight choral meditations based on Chuang Tse known for his “…Am I a man dreaming he is a butterfly or a butterfly dreaming he is a man?”.  Tavener’s work has pushed the solo choral genre more to the mainstream than nearly any composer of the last 50 years and this piece is a good example of how he has managed to do this.  Tavener’s inspiration comes in part from the choral styles of eastern rite church music, a rich and sonorous sound.

Otche Nash by Nicolai Kedrov is apparently a classic in sacred music circles.  In Latin this would be Pater Noster and in English, Our Father.  This is a beautiful setting of the classic Christian Prayer.

Requiem (1947) by Jon Leifs is based on Icelandic folk poetry.  It was written in response to his grief at the loss of his daughter who drowned at the age of 18.  While not exactly representative of Leifs’ modern style it is a good example of the power of his invention in this heartfelt homage.  This is perhaps the composer’s best known work.

Heliocentric Meditation by Robert Vuichard is another example of the deep knowledge of the specialized techniques available to composers in this genre.  Vuichard appears to be a niche choral composer and one who has considerable skill.  There is a rather modernist feel to this powerful meditation.

William Schuman’s Carols of Death (1958) is a sort of modern classic which has been recorded many times.  There are three movements, each on a separate track.  It is curious how well these pieces fit in style with the rest of the disc given the date of composition.

Beyond the Veil (2005) is a setting by Anna Thorvaldsdottir of an old Icelandic psalm.  It is a prayer which is, in part, a meditation on death.  The composer has a mystical/impressionistic style that suits this music particularly well.

Funeral Ikos (1981) by John Tavener is definitely a modern classic.  This piece pretty much marks the beginning of the change from his early modernist style to the sort of “holy minimalist” (if you will) style that followed his conversion to and immersion in eastern rite sacred music.

Skylark is a chamber choir (five voices to each part, SATB) and this is their second album.  They were formed in 2011 and are under the direction of Matthew Guard.

This review is basically about the music but I have to say that this is also one of the most beautiful booklets I have seen.  It is short on info about the music but the photography and graphic design by Collin J. Rae and Caleb Nei deserve special recognition as well.  Each page features a photograph and texts of these pieces are tastefully printed across the photos.  This really enhances the experience and seems to be in harmony with the overall production.

Dan Mercurio, producer, has definitely made something special here and one hopes that this will help promote this compositional and performance niche to a more common experience and will encourage composers to write for a capella choir as well.  Daniel Shores is the recording and mastering engineer.  I am unable to assess the DVD audio and can only imagine how it must sound.  The CD itself is amazing to hear.

For an album ostensibly about death there is great joy and beauty to be found here.  Highly recommended, and not just to fans of choral music.