Let me start with a positive image from a brief photography trip which I managed this year. It was one of the highlights of what has been a difficult year for many of us. Weather, politics, COVID, itinerant employment issues, financial, and personal difficulties were an encumbrance but now stand in relief to the many positive aspects of 2022.
First, let me say that nothing musical fell into the category of “worst of” so fear not, what follows is essentially my “best of” from 2022. In my head I blame the aforementioned encumbrances for delays and sheer lack of production on my part. Whether that is the ultimate truth does not matter really so here, for better or worse, is my celebration of the positive experiences enumerated in this music blog in 2022.
My first post for the year struck a sad note. It was my personal tribute to a composer, A Belated Fan Letter: Homage to George Crumb described George Crumb, who had been one of my “gateway drugs”, so to speak, which helped put me on the exciting roads of new music upon with I continue to travel with great joy. Recordings of his complete works are still being released on the visionary Bridge Records.
Carolyn Shaw’s striking and much performed “In Manus Tuas” (on solo viola as well as solo cello) was originally written for Collins. Her selections on this album, including that Shaw work, suggest to this writer/listener that she has both vision and an encyclopedic knowledge of music, especially that written for her instrument. She will be among the major shapers of this repertoire via her vision as well as her interpretive talents. And Sono Luminus’ superb sonics certainly helps make this a great release.
I have followed the work of Sarah Cahill since her first solo CD (music of Ravel). Like Collins, she has been an artist who, by her intelligent selection of repertoire, serves as a guide to listeners (and musicians) as well. She has championed many composers as a pianist and as a broadcaster on her weekly KALW broadcasts. Her curation of concerts throughout the Bay Area, such as her solstice concerts at Oakland’s Chapel of the Chimes, have showcased a large variety of creative performers.
As she focuses her lens on women composers (neglected is implied) she embraces a stunning range of styles from the baroque era to the present and it seems as though she can play anything she chooses well. She is also collaborative with an amazing ability to discern the substance in the works she chooses to play. And she has discovered (or rescued?) much music from obscurity via scholarship and intelligent collaboration. Can’t wait for the next release. She is consistently interesting and relevant.
This album was sent to me by a friend. I knew the Ligeti pieces but heard them with new ears in this release and I was amazed by the Kodaly works too. Marcus Creed may not be as well known in the U.S. as he is across the pond but he should be.
This album was kindly sent to me for review by John Schneider of Microfest records. Read the review. Listen to this album. And watch for more from Chris Votek, another rising star in 2022.
Dan Lippel is one of the founders of the fabulous new music label, New Focus Recordings. Here he is acoustic, electric, conventional, and experimental but always interesting. Keep his name on your radar.
This is a gorgeously designed, very collectible art object. It is a beautiful hard cover, full color book which also contains a CD of a recording (from acetate masters) which had languished in the archives of the Eastman/Rochester Music School where Harry Partch gave this lucid lecture/performance in 1942. Mr. Schneider, who sent me the Votek release as well, fronts an ensemble called PARTCH which, in addition to performing Harry Partch ‘s work, is recording Partch’s complete works for David and Becky Starobin’s Bridge label. This one is both eye and ear candy to my ears.
Rescuing those acetate masters from obscurity is a major find that rises in significance (in the musical sense) almost to the level of the archeological discovery of Tut’s Tomb. Schneider is a musician, a composer, a radio broadcaster, and an archivist and now a sonic archeologist I suppose. He also sports a collection of authentic copies of Partch’s curious instruments which were built to play the microtonal scales required. Partch is a major American composer whose work is now gaining its rightful place among the best of American classical music.
I first discovered Mr. Susman’s work when I was asked to review a performance of another composer’s work. I heard one of his works played by the remarkable San Jose Chamber Orchestra on that same concert. Here we have another multi volume release of these lovely and significant piano works. The remarkable pianist (mentioned often in these pages) has contracted to record all 4 books of this sort of “Well Tempered Clavier” type gesture which effectively provides much insight to this composer. Nicolas Horvath, known for marathon concerts performing (and subsequently recording) all of Philip Glass’ piano music, among others. (We’re talking 15 hours or so. There is also a 35 hour live rendition of Erik Satie’s “Vexations” on you tube.) Who better to record these? The remaining three volumes are due some time this year. Who better to take on this post minimalist set of pieces? Can’t wait for the next volume.
Yolanda Kondonassis is about as household a name that you can find among harpists. These five minute (more or less) pieces are a significant addition to the solo harp repertoire. They are forward looking works for her instrument. Very interesting work, excellently performed.
I remain in awe at the curatorial and historically aware work of this truly fine pianist. Greenberg helped me grasp the historical context of the Second Viennese School in a new way with his earlier release “Book of the Hanging Gardens”. In that release he played all the Debussy Preludes along with Schoenberg’s pre twelve tone song cycle, Webern’s Variations, and the Berg Sonata which helped this listener to better grasp the historical context of this music. This small collection of works written for him reflects a collaborative and visionary ethic akin to that of Sarah Cahill’s. Keep an ear out for this guy.
I have received some good natured teasing about the fact that this, one of my longer reviews, is of a 15 minute piece of music. But this act of musical archeology by the bay area’s Kate Stenberg (who is a regular collaborator with Sarah Cahill BTW) has made the first recording of this little work. It’s Webernian duration belies a style very much in character with this beloved composer’s other work. My review was as much about the music and the recording as it was about the dedication of Stenberg to new music. This release is from Other Minds, another shining example of advocacy of new music and collaboration among composers and performers. Get it. Listen to it. And don’t miss a chance to hear Stenberg live performances or to hear anything Harrison has written.
The Chicago based Cedille label is one of my favorite classical music labels. Producer James Ginsburg has a golden ear and Cedille is the finest Chicago based classical label since the justly fabled Mercury records. All their releases deserve attention but this two disc set of little known works for String Trio written between the world wars is a feast of substantive, if slightly conservative, voices. This one is a great listen and, trust me, none of this music is in your collection.
While circumstances conspired to limit my attendance to only one of the three days of OM 26, I would be loathe to leave this world class music festival off my “best of” list. My first published blog of 2023 was of the 30th anniversary celebration which showcased Marc-Andre Hamelin’s stunning reading of Charles Ives’ massive Concord Sonata. Anything OM does deserves your attention but the roughly annual festival continues to present composers and performers from around the world. Not to be missed.
Another exciting release of Cahill’s visionary series. Like the previous volume (and the aforementioned Cedille release) the consumer will suffer no unnecessary duplications if the music herein. Fascinating and expertly done. This set (the third volume due this year) is a testament to Cahill’s encyclopedic knowledge of piano music as well as her collaborative nature and, of course, her skills as a pianist.
I’m cheating a bit here since I wasn’t able to complete my review until 2023 but this Starkland disc was released in 2022 and definitely earns its place in my “best of” list. This rising star is another one to watch. Starkland, run by the dynamic Tom Steenland is one of those labels that reliably finds interesting and substantive new music. This one is no exception. It goes a long way to alleviating my skepticism of the electroacoustic genre.
And, in order to be fair I must cheat equitably. Charles Amirkhanian kindly sent me this exciting and excellent DVD of his collaboration with his partner in life and in artistic crimes, Carol Law. My more extensive review will appear shortly but this was a major release in 2022. Amirkhanian spends far less time promoting and performing his own unique compositions so this is an especially welcome release.
Last but not least of my best of 2022 is this wonderful Neuma release which, when I began my research to write a cogent and informed review, left me stunned at how little I actually knew about composer David Tudor and the astounding dimensions of this unusual piece that evolves with every performance. After gathering a whole ton of data I finally decided that I could not write a comprehensive review without more research so I settled on a tasteful (I hope) summary with the expectation that I will write a larger piece on Tudor and his work. The review will be out very shortly. This is an amazing and significant release.
Happy 2023 to all my readers and thanks to those who kept reading my blog during more fallow times. I have many blogs currently in preparation that I look forward to sharing in the months to come. Peace, health, and music to all.