Mathew Rosenblum: Klezmer, Witches, and the Avant-Garde


Conjuring the spirits of the 1950s/ 60s avant-garde and a few musical references composer Mathew Rosenblum (1954- ) enlists the klezmer spirit of none other than David Krakauer and master conductor Gil Rose with his wonderful Boston Modern Orchestra Project to bring life to this klezmer clarinet concerto.

The concerto, titled, “Lament/Witches Sabbath” (2017) is a tour de force for the soloist and certainly a challenge for the large orchestra.  Using elements of klezmer style along with musical references such as Berlioz in suggesting the evil sabbath revels the composer creates an unusual but fascinating canvas.  Nothing evil here, just some truly exciting musicianship. In addition we hear various noisy avant-garde effects and even voice overs reminiscent of Robert Ashley.  Ultimately it is also a species of classical which has a sociopolitical view and this is both memory and homage to the composer’s past, lamenting the suffering and pondering the evil that fueled it.

Krakauer’s facility with his instrument is simply astonishing.  He has the klezmer thing down but he also brings with him a great virtuosity as a classical clarinetist and a working knowledge of free jazz.  It’s not clear how much creativity this soloist was allowed within the constraints of the piece but the bottom line is that it works very well.  Gil Rose’ expertise in handling all this potential chaos is impressive as always and he delivers ultimately a very enjoyable performance despite those noisy avant-garde moments.  Indeed it is Rose’ ability to select repertoire with which he can grasp and from which he can conjure a compelling performance.  It is Rosenblum’s family biography taking him from the pogroms of the Ukraine to the United States.

The second track (of 4) is a solo for percussion.  Again the avant-garde remains interesting and both performance and recording communicate well with the listener.  Northern Flicker (2013) is no filler, it is an interesting, if rather brief, work.  Lisa Pegher is the busy soloist.

Falling (2013) is a complex work involving pre-recorded audio as well as a chamber group in a song cycle based on the James Dickey poem of the same name.  It is a retelling of an incident in which an airline stewardess who died when she was sucked out of a defective emergency exit in the plane and fell to her death.  The cycle recounts an imagined look into her psyche as she fell to her death.  It is an affecting, if unusual, presentation but Rosenblum’s judicious use of modern elements  while still using recognizable melodies and more traditional techniques make for a listenable, if harrowing, experience.

Here the Pittsburgh New Music Ensemble consisting of Lindsey Goodman, flute; Eric Jacobs, clarinet; Nathalie Shaw, violin; Norbert Lewandowski, cello; Ian Rosenbaum, percussion; and Oscar Micaelsson, piano/keyboard join with soprano Lindsey Kesselman with conductor Kevin Noe to produce this rewarding work.

Finally we get another large work, this time for multi-tracked string quartet with percussion titled Last Round (2015) which is also biographical in that the composer is attempting to evoke a time in the 1980s when he frequented an establishment with fellow composers.  The composer, in his entertaining and informative liner notes recounts his time with fellow composer Lee Hyla and friends and seeks to evoke elements of the downtown scene of that era.  This is a rather large work with its own complexities but one which speaks easily to an audience, even one not experienced in the time and place the composer attempts to evoke.

This is a marvelous recording of a music by a composer unfamiliar to this writer (until now) whose work deserves your attention.

Oceanus Procellarum: Gareth Davis and Elliot Sharp


oceanus

I recall excitedly taking a class in college in the late 70s which dealt with post 1950 composition.  The professor emphasized that the reigning characteristic of this music is “pluralism”, that is to say that anything goes and one gets less useful information from labels like, “classical”, “baroque”, “romantic”, “post-romantic”, “post-modern”, etc.  There is no question that this maxim remains very true and we now are seeing composers well-versed in virtually every technique known to the world of composition.

This album is a fine example of such pluralism.  Seeing names such as Elliott Sharp and Gareth Davis one might expect something of the “free jazz” genre and that would not necessarily be an inaccurate description.  But it would fail to capture the wonderful writing for Ensemble Resonanz by the eclectic (yes, pluralistic too) Elliott Sharp.  As a composer Sharp draws on late twentieth century modern/post-modern compositional techniques along with a fair amount of his own creative innovations gleaned from his own experimentation and, no doubt, from his exposure to the wildly creative milieu of the Downtown New York scene of the 80s and 90s.

The result is like listening to shades of Penderecki and Xenakis as they wrote in the late 1950s though the 70s.  This is far more homage than derivation however and the achievement here is how well the soloists on guitar and bass clarinet fit into the work as a whole.  They fit remarkably well.

This could easily be called “Symphony for Ensemble with Obligatto Guitar and Bass Clarinet” or even Concerto if you like.  The point is that Sharp is an engaging composer whose works are very substantial.  From his beginnings on the New York Downtown scene with its mix of jazz, experimental and classical he has continued to explore and grow as a composer and that is what ultimately makes this release so compelling.

The musicianship here from Ensemble Resonanz, Sharp and Davis is of the first order and there is a certain sense of a tight fit such that, whatever may be improvised here sounds as though it were carefully written into this large orchestral fabric.  This is a powerful piece of music and repeated listenings will doubtless reveal more and more depth.  This is a very engaging piece.

Sharp is clearly evolving and growing as a composer and still hasn’t lost his marvelous collaborative and improvisatorial abilities.  This is a major work and a lovely recording.

 

 

 

Dane Rousay’s Blip


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Dane Rousay is a San Antonio based percussionist and this is the first of several planned releases.  This is a solo effort largely with drum kit and perhaps a couple of enhancements or additional percussive hardware.  There are 8 rather brief tracks on this album, all of an experimental nature and all very well recorded.

One small disclaimer:  I generally don’t review download only releases but Mr. Rousay was persistent and kind in his requests for a review.  Another aspect is that there appears to be an increase in this purely digital release format and to ignore that in favor of a demand for a physical product would likely be missing an opportunity to hear some good work.

Despite the brevity there is much for the ear.  The percussion seems to be closely miked and that is apparently the point here.  Each track is like a mini-etude or experiment which will presumably be used as material for other work.  Whether this is jazz, free jazz, new music, classical, etc. is actually beside the point.  The point appears to be the sound itself.

There are no liner notes and little in the way of explanation to be found even on the composer’s web site.  (That’s not necessarily a negative thing either.)  It is not clear if this music is improvised or composed or if there is any predetermined structure and there appears to be no intended connection between each of the tracks.  Most of the work is mallets or sticks of some sort hitting the targeted percussive surface though he does make use of extended techniques such as rubbing the mallets across the surface creating rich harmonics in the manner of the spectralists.

After multiple listens this reviewer is left with the impression of having visited the artist’s studio for a rather personal tour of some of his working ideas.  If you are a percussionist or a fan of percussion music this album will doubtless interest you.  It is not easy listening but it does appear to be a very personal exploration of this artist’s techniques and ideas.

I am looking forward to more from this interesting and seemingly uncompromising artist.

 

Ken Thomson’s Restless: a Feast of New Chamber Music


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Ken Thomson is one of the rapidly rising stars of the New York music scene and beyond. His involvement with his group Slow/Fast which includes Ken Thomson, Russ Johnson, Nir Felder, Adam Armstrong and Fred Kennedy as well as Bang on a Can and others in the new music/new jazz community demonstrates his level of drive.  Thomson is a saxophone player and a composer.

The present album showcases his talents as a composer and are different than what I had expected from a musician with roots in free jazz and with saxophone as his principal instrument.  This is a set of two suites in the classical manner, a collection of movements. They do not appear to have any direct influence from jazz but rather they are quite clearly in a classical new music vein.

The first, Restless (2014) is a four movement piece for cello and piano.  It could have been called a sonata for all its complexity and development.  It is a lyrical and very listenable piece which is restless at times (though I think the title actually suggests multiple meanings) and loaded with fascinating musical ideas.  The writing for both the cello and the piano are apparently technically challenging but both are handled very well by Ashley Bathgate (cello) and Karl Larson (piano).  This disc is worth the price if only for the fantastic musicianship of these performers.

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Ashley Bathgate (cellist) and Karl Larson (pianist) (Photo by Gabriel Gomez, all rights reserved)

The three movement suite, Me vs. (2012) is a pianistic tour de force that makes great use of various pianistic effects involving judicious use of the sustain pedal and the creation of after image type effects which allow the harmonics to vibrate on strings not struck by the keys.  Again the nod to a basic three movement classical piano sonata with a complex first movement followed by a lyrical slow movement and a spritely virtuosic finale which resembles a moto perpetuo.

More about the internal dialogue that went on in the composer’s head is available in his commentary but this music doesn’t really require much explanation.  It is pretty clear and very effective music.  This is simply a wonderful recording of some fascinating new music.

My 2014, a Summation and (sort of) “Best of…” List


The stage at Kanbar Hall stands ready to receive performers on opening night of OM 18

The stage at Kanbar Hall stands ready to receive performers on opening night of OM 18

As New Music Buff heads on into its fourth year in the online realm I find that I have a steadily increasing readership averaging 18 hits per day with an international reach of about 88 countries. I say readers, not followers because the stats provided have no way to track returning visitors but you know who you are.  And I thank WordPress for their entertaining summary published earlier here.

 

Last year I provided a list of my greatest hits (i.e. my most read articles in 2013) so here is a list of 2014’s top ten:

Black Classical Conductors (Black Classical Part Two)
This is a 2013 article which continues to be popular. I did an addendum called: Black Conductors, A Belated Addendum  and received a note from Tania Leon who remarked quite correctly that she is indeed a black American conductor.  Clearly I will need to expand this survey once again.

Maybe Music Remains Forever
This review of the excellent newly released Martin Bresnick CD went the equivalent of viral for my blog and I was pleased to have discovered the work of this wonderful American composer.

Primous Fountain World Tour Begins in Moldova
This relatively little known living black American composer was a child prodigy whose second symphony was commissioned by Quincy Jones had his sixth symphony premiered in Moldova in 2014.

Tawawa House in Modesto?
I was granted a comp ticket to see this really great performance of a little known 20th century opera by a black female American composer, Zenobia Powell Perry.  It was a great experience, a passionate, entertaining performance and put Modesto on the musical map for me.

Other Minds 18, Three Nights on the Leading Edge
Curiously this review was read more than the one about the 2014 Other Minds 19. More to come about the upcoming Other Minds 20.  For anyone who doesn’t know this is my favorite new music festival.

Far Famed Tim Rayborn Takes on the Vikings
This article about a 2013 performance by this very talented multi-instrumentalist, singer and scholar/historian continues to be popular. I’m hoping to catch another of his performances in 2015.

Black Composers Since the 1964 Civil Rights Act: Primous Fountain
I started in 2013 writing an occasional series of articles for Black History Month. I had no idea how popular this would become. The theme for the 2014 series is given in the title and you can rest assured that I will continue the series in 2015.

Tom Johnson and Samuel Vriezen, Great New Recording
A review of a crowd sourced recording project and one of my favorites of 2014.

Black Composers Since the 1964 Civil Rights Act
This is the introductory article for the 2014 series. Many thanks for the comments and support on this article and its successors.  I plan to give my summation of the various responses on this received both on and off the books.

Abraham Lincoln and the Avant Garde
This is one of an ongoing series of articles on political expression in music. It was after I friended Dorothy Martirano on Facebook and mentioned this piece that the article got a few new readers. Perhaps I should have mentioned the composer in my title.  Kudos to the late great Salvatore Martirano, gone too soon and too little known even now some twenty years after his passing.

 

SOME OF MY FAVORITES FROM 2014

Now regarding my personal favorite recordings of 2014 I have to insert a disclaimer to the effect that I make no claim whatsoever to this list being comprehensive or representing anything more than a few of my personal favorite recordings encountered in this past year. My apologies in advance to those I missed. I hope to catch up some day. So, in no particular order:

Mysterienspiel 2012

Game of the Antichrist by Robert Moran (Innova 251)
I promise a more comprehensive review soon but this is a great CD by a too little known American composer.  Mr. Moran recommended the disc to me after I wrote to him praising his wonderful “Trinity Requiem”.  I plan a more comprehensive article soon.  Meanwhile here is a link to a performance on Vimeo.

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Alcatraz/Eberbach by Ingram Marshall and Jim Bengston  (Starkland S-2019)

This DVD is essentially the completion of a collaboration of photographer Jim Bengston and composer Ingram Marshall.  As such it is the most complete artistic statement superseding the audio only release (still worth having by the way) from some years ago.

 

Who Has the Biggest Sound? by Paul Dolden. (Starkland ST-220)
A difficult to categorize recording that brings two major works by this (previously unknown to me) Canadian composer to the listening audience. I reviewed this disc here.  I am still working on absorbing its subtleties.

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Prayers Remain Forever by Martin Bresnick (Starkland ST-221)
In addition to providing me with quite a few readers the opportunity to review this recording introduced me to the work of this too little known living American composer.  My review garnered quite an amazing amount of readers as well as an appreciative response from Mr. Bresnick himself.  And now I find myself buying his other recordings.  Really great music.

 

Album cover

Album cover

Notes from the Underground by Anthony Davis. (BMOP sound 1036)

I have been a fan on Anthony Davis and his music for some years now and I was pleased to be able to review this disc.   I  was later able to obtain an interview with Professor Davis which will be forthcoming later this year.

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Tom Johnson/Samuel Vriezen Chord Catalog/Within Fourths, Within Fifths. (Edition Vandelweiser)

I eagerly reviewed this crowd sourced CD in which I was proud to be one of the contributors to its production.  It is only the second recording of Johnson’s landmark of minimalism and an opportunity to hear the work of the fine composer/performer Samuel Vriezen.

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Basket Rondo/Jukebox in the Tavern of Love by Meredith Monk/Eric Salzman. (Labor LAB 7094)

This Labor Records release would have escaped my attention were it not for my having run across it while researching another new music article.  New music aficionados might remember Eric Salzman for earlier works such as “Civilization and It’s Discontents” and his involvement with Nonesuch records or one of his many other significant involvements in the new music scene over the last 40 years or so.  This disc is the première recording of Meredith Monk’s “Basket Rondo”, one of her best realized new works as well as the première of a great new sound/music drama by Salzman.  A more thorough review is in the works.

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Something by Howard Hersh ( Snow Leopard Music 888295062350)

Mr. Hersh kindly sent me this CD for review which will be forthcoming but it easily makes it to my favorites list for 2014.

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I also have to mention another crowd sourced project, “We Break Strings” by Thom Andrews and Dimitri Djuric, a book about the “alternative classical scene in London”.  The book which includes a CD sampler languishes in my “to be read” stack but my initial perusal left me with the impression of a beautifully conceived and executed volume which has much to offer the musically curious.  More about this book in a future blog.

 

 

 

Alvin Curran at 75, Experimentalism with an Ethnic and Social Conscience


English: The American composer Alvin Curran pl...

English: The American composer Alvin Curran playing the shofar in his composition “Shofar 3,” for shofar and live electronics (2007). Photo taken at a concert of Curran’s music in Warner Concert Hall, Oberlin Conservatory of Music, Oberlin College, Oberlin, Ohio, United States. (Photo credit: Wikipedia

Alvin Curran (1938- ) is an American composer currently living and teaching in Rome whose career began as an expatriate artist working with the cutting edge improv electronics group Musica Elletronica Viva (MEV) in 1966. He turns 75 on December 13, 2013.

Curran was born in Providence, Rhode Island.  His father was a musician in a dance band and he learned to play piano and trombone early on.  He was exposed to big band music, jazz, traditional Jewish music and western classical music during his formative years.  Following his father’s example he also played in dance bands during boat crossings of the Atlantic.  He earned a B.A. in music from Brown University in 1960 where he studied composition with Ron Nelson.  He went on to complete his M.M. at Yale in 1963 were he studied with Elliott Carter and Mel Powell.

A 1964 Ford Foundation grant allowed him to go study in Darmstadt where he met the likes of Stravinsky, Xenakis, Berio, Yuji Takahashi, Andriessen, Remo Remotti, and above all Frederic Rzewski.  He joined with Rzewski,  Richard Teitelbaum and Allan Bryant, all fellow expatriate American musician/composers, with whom he formed the legendary ‘Musica Elettronica Viva‘ or MEV.  This was in early 1966 where their use of largely home made electronics in their improvisational ensemble live performances preceded the days of easily obtainable and operated electronic musical instruments. That wouldn’t begin to happen until about 1964 when Don Buchla, in collaboration with Ramon Sender, Morton Subotnick and the San Franciso Tape Music Center created the first modular instrument, the “music easel” later known as the ‘Buchla Box’ and Robert Moog on the east coast developed the “Moog” synthesizer.  Curran crossed paths with many of these people during his tenure teaching (1999-2006) at Mills College in Oakland where the San Francisco Tape Music Center had been integrated into the Mills Center for Contemporary Music.

Curran says that during all his years in Rome he met and interacted with many in the Italian avantgarde and new music circles like Franco Donatoni and Guiseppe Chiari.  He was mentored by the reclusive (think Thomas Pynchon) Giacinto Scelsi who held regular salons at his villa.  It was in these days that Curran developed his individual style further.  He lived and taught in Rome from 1966 to 1999 and was very active on the European scene.  After his teaching stint at Mills College Curran returned again to Rome.

Buchla 100 series modular synthesizer at NYU

Buchla 100 series modular synthesizer at NYU (Photo credit: Wikipedia)

In addition to electronics he uses acoustic instruments ranging from conventional instruments such as piano, strings, woodwinds, voices, etc. to the ancient shofar and environmental sounds including site-specific sound installations, multi-media works and film scores.  His works include the massive set of piano pieces ‘Inner Cities’ (1993-2010) which lasts about 6 hours in a complete performance, the early multi-media Songs and Views from the Magnetic Garden (1973), Maritime Rites (1984) written to be played by musicians in boats in various harbors incorporating, of course, the ambience of the given harbor’s acoustic properties.  Maritime Rites has been performed in its various incarnations in Central Park in New York as well as Philadelphia, Berlin and Sydney.

In a wonderful interview from 2003 with the ever vigilant composer/journalist Frank Oteri (published online at New Music Box) he was asked about the political and ethnic/religious content of his music.  Curran replied that he did not set out to express these things as aspects of himself, that the pieces  just happened due to an inspiration at the time.  He says that he is composing all the time and his influences are as wide ranging as his teachers and his milieu.  His style varies widely in part due to his many influences but also because a given style seems to work for the piece.  It sounds as though music is channeled through him.

Unfortunately, as with most expatriate composers, his music is generally less well known in his native country but there are quite a few recordings including some recent releases of some out of print recordings.  In addition there are quite a few videos on YouTube including pianist Kurt Jordan’s live performance of Inner Cities 1-13 from 2009 at Azusa Pacific University which is more than the previously complete recording by Daan Vandewalle who recorded 1-11 (as of 2010 there are 14 parts according  to Curran’s official web site).   As is frequently the case with much contemporary music YouTube provides a great resource, especially for the casual and/or cash-strapped listener.  It is a really good way to get familiar with this man’s diverse and fascinating music.

Not infrequently his music takes on sociopolitical issues as well as inspiration from the composer’s Jewish heritage.  His Schtetl Variations (1987), dedicated to Morton Feldman is an improvisatory meditation on these poor villages of eastern Europe and Russia (think of Fiddler on the Roof) which became the settings for the notorious anti-semitic pogroms. A later piano piece called 11 Schtetl Settings (1988) continues his exploration of this part of his ancestry.  Animal Behavior (1992) for sampler keyboard and optional percussion is a pretty transparent indictment of 1990s American politics.  And the list goes on.

His “Nineteen Eighty Five: Piece for Peace” (1985) involved three ensembles performing at 3 different radio stations in Venice, Amsterdam and Frankfurt (which was simulcast by all three countries) is a a sort of precursor to what is perhaps his most integrated and powerful political composition, his ‘Crystal Psalms’ of 1988.  Here the historical, sociopolitical, ethnic and even geographical are joined to the avant garde in a stunning sonic commemoration and condemnation of the fascism and genocide that characterized the horrors of the second world war.

Interior of a Berlin Synagogue after Kristallnacht

Interior of a Berlin Synagogue after Kristallnacht

Seventy Five years ago this November (9th and 10th) Jewish shops and synagogues were vandalized and looted over those two nights throughout much of Nazi Germany and Austria in a most extreme incarnation of the “pogroms” that became known as “Kristallnacht” or the “Night of Broken Glass“.  It was one of the first major and overt expressions of Hitler’s genocidal plans then still being formulated. Unfortunately this event continues to be imitated by like-minded hateful individuals and groups worldwide. So the sociopolitical context of this musical work written for the 50th anniversary of that event sadly has an ongoing relevance for our contemporary world even 25 years after its creation.

At its most basic level this piece is a sort of concerto for six instrumental ensembles playing in radio stations in six different countries live mixed by the composer and broadcast throughout Northern Europe on October 20th of 1988. There is no text as such but the sounds of people praying and the apparently random Hebrew letters and German numbers are scattered throughout the piece along with environmental and found sounds on the tape Curran prepared which plays throughout the performance as a sort of political pedal point.

English: "Hebrew alphabet" in Hebrew...

English: “Hebrew alphabet” in Hebrew, modern serif typeface. (Photo credit: Wikipedia)

The liner notes of the recording describe the piece as “radio concert for six choruses; six sextets each including a quartet (violas, cellos, bass clarinets, bass flutes, trombones, tenor sax/tuba) plus accordion and percussion; tape.”  All were individually conducted with the conductors coordinated by a click track and mixed live by the composer. The recording on New World records is the document of that broadcast.

The effect is that of a collage connected by the electronic nervous system, the radio stations, which link the various performances.  The program is largely implicit here and listening to this piece evokes images that can vary from one listener to the next as any great piece of art provokes different experiences. The sound images here are not pretty and the work is very emotionally intense. Those images are guided by the tone of the music and fueled by the cryptic words and sounds mixed in with the live performances.  It is, in effect, his Mitzvah to the memories of the fallen.  You will not come away unmoved.

Kristallnacht occurred in November of 1938, a month before Curran was born but  the impact of that action continues to resound from that generation to this.  As a politically aware artist he was compelled to respond and he did so in a most emphatic, creative and powerful manner.  Perhaps it is the inherited duty of one generation to exorcise the demons and the atrocities of the previous ones.  Curran has certainly contributed most memorably to such an effort with this work.

Thank you, Mr. Curran, for your prolific and varied contributions to music and your efforts through your art to exorcise the demons of our collective past.  I wish you a happy 75th birthday and wishes for many more creative years to come.

In the Mood for Food, a unique underground dinner/concert series returns to the east bay


The door is open to the underground restaurant.

The door is open to the underground restaurant.

This past Monday October 7th there was a gathering of twelve people at a small loft space in West Oakland.  This is not a neighborhood known for about anything but light industry and cheaper rents.  But there are gems to be found in nasty old Oakland, CA and this is one of them.  It was the return of an irregular (approximately monthly) series of dinners and dinner concerts hosted by local vegan caterer and chef extraordinaire (and shakuhachi teacher as well) Philip Gelb.  These concerts, according to Mr. Gelb, were inspired by the Creative Music Studio which flourished in Woodstock, New York from 1971 to 1984 which featured many of the brightest and most innovative musicians in jazz, free improvisation and experimental music.  But the inclusion of such high quality creative cooking is unique here.

View through a glass, lightly.

View through a glass, lightly.

It has been many months since he last hosted one of these at his loft space.  Phil has chosen to combine his substantial cooking talents with his interest and connections with the music community to create this unique blend of freshly shopped and created vegan dishes with local and visiting musical talent.  This series, dubbed “In The Mood for Food”, is named after one of his favorite films, “In the Mood for Love” by Wong Kar-Wai.  The series has occurred more or less monthly for the last 8 years. To date I have enjoyed the creative and varied multi-course meals (which are frequently themed to the season or to the performer’s preferences) and have enjoyed both dinner conversation and performances by Pauline Oliveros, Terry Riley, Stuart Dempster, Gyan Riley, Tim Rayborn, Michael Manring, Barre Phillips, Mark Dresser, Amy X Neuberg and Pamela Z to name just a few.

The meals are always multi-course, locally created, sourced and shopped meticulously by Phil himself.  He serves only farm fresh ingredients, never canned or packaged and the recipes are his personal creations.  Food is served by the chef and one or two assistants depending on the size of the audience (maximum capacity is about 20 people).  Cost ranges from $40 to $60 per person, about what you would pay at a good area restaurant.  The musicians are either people with whom Phil has collaborated or found by word of mouth from other musicians and friends.  He has had many musicians call him to ask if they can play at his venue.  Why would that be?  There is no significant publicity or profit to be had here.  The answer, I believe, is the intimacy which is a combination of the loving creation of both food and music, both raised to an art form by their execution as well as their content.

There is reportedly a cook book in the works which, in addition to many carefully tested vegan recipes, will tell some of the history of this series.  Phil is occasionally soliciting recipe testers via Facebook.  He is also known for his hands on cooking classes.

As it happened, Monday’s event did not include music but it did include some familiar faces who I frequently encounter at these dinners as well as an overall interesting collection of guests who make for great conversation and frequently share their BYOB offerings.  In fact the bartender from the great San Francisco vegan restaurant, ‘Millenium’, asked to attend and to prepare some delicious cocktails specially designed by him and incorporating some of the food ingredients to enhance the experience.  Two of the guests were the operators of a local new tempeh making business called Rhizocali and their superior product was featured in the night’s food offerings.

Unfortunately I forgot to get a picture of the wonderful dessert course which consisted of pumpkin waffles, spiced pumpkin sorbet and maple tea poached pears.  Characteristically the attentive chef went around offering more scoops of the refreshing pumpkin sorbet which no one appeared to refuse as they engaged each other in pleasant conversations.  It is good to have this series back again and, well, let’s just say no one walked away unsatisfied.

Appetizer- Fresh rice noodles wrapped with apple smoked tofu and miso glazed, grilled pumpkin hijiki salad

Appetizer- Fresh rice noodles wrapped with apple smoked tofu and miso glazed, grilled pumpkin hijiki salad

First course- Kim chi soup with rice cakes, homemade kim chi in a seaweed/pumpkin broth and a little side dish of Pumpkin tempura brushed with gochujang

First course- Kim chi soup with rice cakes, homemade kim chi in a seaweed/pumpkin broth and a little side dish of Pumpkin tempura brushed with gochujang

Entree- Dumpling pumpkin stuffed with Thai red curry with Rhizocali Tempeh, gai fan, snap peas and Thai eggplant; jade pearl rice, green mango salad and lotus root pickles
Entree- Dumpling pumpkin stuffed with Thai red curry with Rhizocali Tempeh, gai fan, snap peas and Thai eggplant; jade pearl rice, green mango salad and lotus root pickles

Happy diners chatting after a fantastic dinner.

Happy diners chatting after a fantastic dinner.

Other Minds 18, three nights on the leading edge


The stage at Kanbar Hall stands ready to receive performers on opening night of OM 18

The stage at Kanbar Hall stands ready to receive performers on opening night of OM 18

OM 18 has been my fifth experience at the Other Minds festival.  The most amazing thing about Other Minds is their ability to find new music by casting a wide net in the search for new, unusual and always interesting music.  As I said in my preview blog for these concerts this year’s selection of composers was largely unfamiliar to me.  Now I am no expert but my own listening interests casts a pretty wide net.  Well this year I had the pleasure of being introduced to many of these composers and performers with no introduction save for the little research I did just before writing the preview blog (part of my motivation for doing the preview blog was to learn something about what I was soon to hear).

Gáman

Danish folk trio Gáman

The first night of the series consisted of what is generally classified as “folk” or “traditional” music.  Not surprisingly these terms fail to describe what the audience heard on Thursday night.

First up was the Danish folk trio ‘Gáman’ consisting of violin, accordion and recorder.  This is not a typical folk trio but rather one which uses the creative forces of three virtuosic musicians arranging traditional musics for this unusual ensemble.  On recorder was Bolette Roed who played various sizes of recorders from sopranino to bass recorder.  Andreas Borregaard played accordion.  And Rune Tonsgaard Sørensen was on violin.

The first piece, ‘Brestiskvædi’ was their rendering of this traditional song from the Faroe Islands (a group of islands which is under the general administration of Denmark but which has its own identity and a significant degree of independence).  It struck my ears as similar in sound to the music of Scotland and Ireland, lilting beautiful melodies with a curiously nostalgic quality.

Next was a piece by Faroese composer Sunleif Rasmussen.  It was the U.S. premiere of his ‘Accvire’ from 2008, a name derived from the two first letters of the instruments for which it was written (as we learned in the always interesting pre-concert panel).  It was commissioned by this ensemble.  The work reflected the composer’s facility with instrumentation and retained some suggestion of folk roots as well.  It employed a rich harmonic language within a tonal framework in what sounded almost like a post-minimalist piece.  The trio met the challenges of the music and delivered a lucid reading of this music which seemed to satisfy both the musicians and the audience.

The trio followed this with three more folk arrangements, two more from the Faroe Islands and one from Denmark.  Like the first piece they played these had a similar ambience of calm nostalgia.

The Danish folk piece set the stage for the next work, a world premiere by one of Denmark’s best known living composers, Pelle Gudmunsen-Holmgreen.  The piece ‘Together or Not’ from 2013 is an Other Minds commission.  The composer, who was not present, wrote to Other Minds director Charles Amirkhanian saying, “the title is the program note”.  While the statement was rather cryptic the music was not.  This was less overtly tonal than the Rasmussen work and was filled with extended instrumental techniques and good humor.  Again the instrumentalists demonstrated a comfortable facility with the technical challenges of the music and delivered a fine reading of this entertaining piece.

The nicely framed program continued with two traditional drum songs from Greenland (the violinist, holding his instrument rather like a guitar produced a sort of modified pizzicato technique which played the drum part).  These haunting melodies seemed to evoke the desolate landscape of their origin.

The program ended with a Swedish polka and, in response to a very appreciative audience, an encore of another spirited polka.  These were upbeat dance music that all but got the audience up and dancing.  The audience seemed uplifted by their positive energy.

Sachdev

G.S. Sachdev (left) and Swapan Chaudhuri.

The second half of the first night’s concert consisted of two traditional Hindustani Ragas.  These pieces are structured in aspects of the the music but allow for a great deal of repetition and improvisation in which the musicians bring the music to life.  Hindustani music is deeply rooted in culture and spirituality.  The ragas are associated with yogic chakras, moods and time of day.  Their performance is intended to enhance the audience esthetically and spiritually.

G.S. Sachdev is a bansuri player.  The bansuri is a wooden flute common in this type of music (though Sachdev’s level of mastery is hardly common).  He was accompanied by the familiar tanpura drone produced by digital drone boxes instead of the actual instruments which produce the familiar drone sound that underlies Hindustani music performances.  Swapan Chaudhuri played tabla.  It is difficult to see the tabla as an “accompanying” instrument as much as it is a complementary instruments especially when played by a master such as he.  Chaudhuri is the head of the percussion department at the Ali Akbar Khan school in San Rafael in the north bay.  Sachdev has also taught there.  Both men have ties to the bay area.

The musicians performed Raga Shyam Kalyaan followed by Raga Bahar.  Originally I had thought of trying to describe these ragas in their technical aspects but my knowledge of Hindustani music cannot do justice to such an analysis.  Rather I will focus on the performances.

Raga Shyam Kalyaan was first and received an extended reading.  How long?  Well I’m not sure but this music does create a sort of suspended sense of timelessness when performed well.  Indeed that was the effect on this listener.  The whole performance of both ragas could not have exceeded one hour  but the performances by these master musicians achieved the height of their art in producing riveting performances of this beautiful music.  Sachdev’s mastery certainly has virtuosity but his genius lies in being able to infuse his performance with spirituality from within himself and to impart that spiritual resonance to his audience.  He was ably aided in that endeavor by Chaudhuri who, clearly a master of his instrument and connected with Sachdev, channeled his connection with the infinite.

The audience responded with great warmth and appreciation concluding the first day of the festival.

D. Lee OM18

Composer, performer, designer, shaman Dohee Lee performing her work, ‘ARA’.

Friday night began with the world premiere of the music theater performance piece, ‘ARA’ by Korean-American artist Dohee Lee.  Continuing with the spiritual tone set by yesterday’s Raga performances Lee introduced her multi-disciplinary art derived from her study of Korean music, dance and shamanism as well as costume design and music performance.

She was aided in her efforts by the unique instrument designed for her by sculptor and multi-disciplinary artist Colin Ernst.  The Eye Harp (seen in the above photo) is an instrument that is played by bowing and plucking strings and is connected to electronics as well.

The art of lighting designer David Robertson, whose work subtly enhanced all the performances, was clearly in evidence here.  This was  a feast for the eyes, ears and souls.  Dohee Lee’s creative costume design was integrated with the visually striking Eye Harp instrument.  And the music with sound design processing her instrument nicely complimented her vocalizations.  All were lit so as to enhance the visual design and create a unified whole of this performance.

Dohee Lee on the carefully lit stage off Kanbar Hall.

Dohee Lee on the carefully lit stage off Kanbar Hall.

Her performance began slowly with Lee in her beautiful costume took on the role of a modern shaman conjuring glossolalia in shamanic trance along with choreographed movement and accompanied by her Eye Harp and electronic sounds through the theater’s great sound system.   Like the raga performances of the previous night I wasn’t aware of how long this timeless performance lasted (the program said it was 10 minutes) .  But I wished it would have gone on longer.  Even with photographs the experience here is difficult to articulate.  The sound enveloped the audience who viewed the carefully lit stage in the otherwise darkened hall as the sounds communicated a connection with the sacred.

I am still trying to digest what I saw and heard on this Friday night.  I don’t know how most of the audience experienced this piece but they seemed to have connected with it and responded with grateful applause.  She seemed to connect as both artist and shaman.

Anna Petrini performing with her Paetzold contrabass recorder.

Anna Petrini performing with her Paetzold contrabass recorder.

Following Dohee Lee were three pieces for an instrument called the Paetzold contrabass recorder (two before intermission and one after).  Paetzold is the manufacturer who specializes in the manufacture of recorders, forerunner of the modern flute.  The square contrabass recorder is a modern design of this woodwind instrument.  However, knowing the sound of the recorder in music of Bach and his contemporaries, gives the listener no useful clues as to what to expect from the unusual looking instrument pictured above.

Anna Petrini is a Swedish recorder virtuoso who specializes in baroque and modern music written for the recorder.  At this performance she played her contrabass instrument augmented variously by modifications, additions of microphones, little speakers and electronic processing.  These pieces were perhaps the most avant-garde and the most abstract music in this festival.

Anna Petrini performing on the stage of Kanbar Hall at the Other Minds festival.

Anna Petrini performing on the stage of Kanbar Hall at the Other Minds festival.

The creative stage lighting provided a useful visual counterpoint to the music.  The first piece, ‘Split Rudder’ (2011) by fellow Swede Malin Bang was here given it’s U.S. premiere.  This piece is concerned with the sounds made inside the instrument captured by small microphones inserted into the instrument.  The resulting sounds were unlike any recorder sound that this listener has heard.  The piece created percussive sounds and wind sounds.

The next piece, ‘Seascape’ (1994) by the late Italian composer Fausto Rominelli (1963-2004) used amplification but no electronic processing.  These abstract works were received well by the audience.

‘SinewOod’ (2008) by Mattias Petersson involved introducing sound into the body of the  instrument as well as miking it internally and setting up electronic processing with which the performer interacts.  Like the two pieces that preceded it this was a complex exercise in the interaction between music and technology which is to my ears more opaque and requires repeated listenings to fully appreciate.

Taborn

Craig Taborn performing on the stage of Kanbar Hall at the 2013

The second concert was brought to its conclusion by the young jazz pianist and ECM recording artist Craig Taborn.  Detroit born, Taborn came under the influence of Roscoe Mitchell (of AACM fame) and began developing his unique style.  Here the term jazz does little to describe what the audience was about to hear.

Taborn sat at the keyboard with a look of intense concentration and began slowly playing rather sparse and disconnected sounding notes.  Gradually his playing became more complex.  I listened searching for a context to help me understand what he was doing.  Am I hearing influences of Cecil Taylor?  Thelonius Monk?  Keith Jarrett maybe?

Well comparisons have their limits.  As Taborn played on his music became more complex and incredibly virtuosic.  He demonstrated a highly acute sense of dynamics and used this to add to his style of playing.  I was unprepared for the density and power of this music. Despite the complexity it never became muddy.  All the lines were distinct and clear.  And despite his powerful and sustained hammering at that keyboard the piano sustained no damage.  But the audience clearly picked up on the raw energy of the performance.

This is very difficult music to describe except to say that it had power and presence and the performer is a creative virtuoso whose work I intend to follow.

Amy X Neuberg along with the William Winant percussion group playing Aaron Gervais.

Amy X Neuberg along with the William Winant percussion group playing Aaron Gervais.

The final concert on Saturday began with the world premiere of another Other Minds commissioned work, ‘Work Around the World’ (2012) for live voice with looping electronics and percussion ensemble.  This, we learned in the pre-concert panel is another iteration in a series of language based works, this one featuring the word ‘work’ in 12 different languages.

Amy X Neuberg singing at the premiere of Aaron Gervais' 'Work Around the World'.

Amy X Neuberg singing at the premiere of Aaron Gervais’ ‘Work Around the World’.

Language is an essential part of the work of local vocal/techno diva Amy X Neuberg’s compositions and performance work.  With her live looping electronics she was one instrument, if you will, in the orchestra of this rhythmically complex work.  William Winant presided over the complexity leading all successfully in the performance which the musicians appeared to enjoy.  The audience was also apparently pleased with the great musicianship and the novelty of the work.  Its complexities would no doubt reveal more on repeated listenings but the piece definitely spoke to the audience which seemed to have absorbed some of the incredible energy of the performance.

Michala Petri performing Sunleif Rasmussen's 'Vogelstimmung'.

Michala Petri performing Sunleif Rasmussen’s ‘Vogelstimmung’.

Back to the recorder again but this time to the more familiar instrument if not to more familiar repertoire.  Recorder virtuoso Michala Petri whose work was first made known to the record buying public some years ago is familiar to most (this writer as well) for her fine performances of the baroque repertoire.

Tonight she shared her passion for contemporary music.  First she played Sunleif Rasmussen’s ‘Vogelstimmung’ (2011) which he wrote for her.  It was the U.S. premiere of this solo recorder piece.  Vogelstimmung is inspired by pictures of birds and is a technically challenging piece that Petri performed with confidence.  At 17 minutes it was virtually a solo concerto.

And then back to electronics, this time with Paula Matthusen who now teaches at Wesleyan holding the position once held by the now emeritus professor Alvin Lucier.  Her piece for recorder and electronics, ‘sparrows in supermarkets’ (2011) was performed by Ms. Petri with Ms. Matthusen on live electronic processing.  This was a multi-channel work with speakers surrounding the audience immersing all in a complex but not unfriendly soundfield.

Michael Straus (left) with Charles Amirkhanian

Michael Straus (left) with Charles Amirkhanian

 

Some technical difficulties plagued the beginning of the first piece after intermission so the always resourceful emcee, Other Minds executive director Charles Amirkhanian took the opportunity to introduce the new Operations Director Michael Straus.  Straus replaces Adam Fong who has gone on to head a new music center elsewhere in San Francisco.

Mr. Amirkhanian also spoke of big plans in the works for the 20th Other Minds concert scheduled for 2015 which will reportedly bring back some of the previous composers in celebration of 20 years of this cutting edge festival.  No doubt Mr. Straus has his work cut out for him in the coming months.

 

Ström, part of the video projection

Ström, part of the video projection

With the difficulties sufficiently resolved it was time to see and hear Mattias Petersson’s ‘Ström’ (2011) for live electronics and interactive video in its U.S. premiere.  Petersson collaborated with video artist Frederik Olofsson to produce this work in which the video responds to the 5 channels of electronics which are manipulated live by the composer and the five lines on the video respond to the sounds made.  The hall was darkened so that just about all the audience could see was the large projected video screen whilst surrounded by the electronic sounds.

The work started at first with silence, then a few scratching sounds, clicks and pops.  By the end the sound was loud and driving and all-encompassing.  It ended rather abruptly.  The audience which was no doubt skeptical at the beginning warmed to the piece and gave an appreciative round of applause.

Paula Matthusen performing her work, '...and believing in...'

Paula Matthusen performing her work, ‘…and believing in…’

Next up, again in a darkened hall was a piece for solo performer and electronics.  Composer Paula Matthusen came out on stage and assumed the posture in the above photograph all the while holding a stethoscope to her heart.  The details of this work were not given in the program but this appears to be related to the work of Alvin Lucier and his biofeedback work on the 1970s.  Again the sounds surrounded the audience as the lonely crouching figure remained apparently motionless on stage providing a curious visual to accompany the again complex but not unfriendly sounds.  Again the audience was appreciative of this rather meditative piece.

Pamela Z (left) improvising with Paula Matthusen

Pamela Z (left) improvising with Paula Matthusen

Following that Ms. Mathussen joined another bay area singer and electronics diva, Pamela Z for a joint improvisation.  Ms. Z, using her proximity triggered devices and a computer looped her voice creating familiar sounds for those who know her work while the diminutive academic sat at her desk stage right manipulating her electronics.  It was an interesting collaboration which the musicians seemed to enjoy and which the audience also clearly appreciated.

Pamela Z performing Meredith Monk's 'Scared Song'

Pamela Z performing Meredith Monk’s ‘Scared Song’

For the finale Pamela Z performed her 2009 arrangement of Meredith Monk’s ‘Scared Song’ 1986) which appeared on a crowd sourced CD curated by another Other Minds alum, DJ Spooky.  Z effectively imitated Monks complex vocalizations and multi-tracked her voice as accompaniment providing a fitting tribute to yet another vocal diva and Other Minds alumnus.  The audience showed their appreciation with long and sustained applause.

All the composers of Other Minds 18

All the composers of Other Minds 18

Annie Lewandowski, Luciano Chessa, Theresa Wong in Berkeley


Lewandowski piano

A view of the inside of the piano showing Lewandowski’s alterations.

It is easy to miss the nondescript storefront on University Avenue where this performance took place. And the promotion of this concert appeared to be mostly through Facebook and the Bay Area improvisers web site which resulted in a small but appreciative audience interested in hearing the work of Annie Lewandowski, now a music lecturer at Cornell. She is a graduate of Mills College. She has a varied resume ranging from classical piano to progressive rock bands and she presented tonight her work with extended piano techniques much like those of John Cage but with some distinctly personal twists extending Cage’s methods further. Ms. Lewandowski was hosted by Theresa Wong (also a Mills graduate), bay area composer, cellist and singer who organized the event and Luciano Chessa, San Francisco Conservatory professor, composer, musicologist, historian and performer and producer who played a couple of different roles in this evening.

performance of La Barbara's 'Hear What I Feel'

Luciano Chessa performing Joan La Barbara’s ‘Hear What I Feel’

The first performance was introduced by Ms. Wong who informed us that Luciano Chessa had been kept in isolation for the last hour while the preparations were done for his performance. The piece being performed was Joan LaBarbara’s ‘Hear What I Feel’ from 1974. It consists of a table upon which there are several plates each containing some object or substance. The performer, who is blindfolded, is seated at the table and the performance consists of the performers reactions to the substances and/or objects he examines with his hands alone. It is performance art that would be perfectly at home with other Dada and Fluxus-like scores.

Wong led Chessa carefully from the back of the performance space to the table containing six plates. After seating him she positioned the microphone carefully in front of him. Chessa spent several minutes with each object examining three predominantly with his left hand and three with his right. All the while during his tactile adventure he vocalized a variety of sounds evoking (presumably) his emotional response to each object or creating an audio analog for them.

As with all such scores the result leaves a wide range of possibilities to the performer. And this performance was suitably humorous and engaging. Following his examination of the last of the objects Chessa removed the blindfold and reacted to each of the objects (without vocalizing) as he examined them visually. There was an effective combination of (mockingly?) serious concentration and idiosyncratic responses that left the audience genially amused and entertained.

Lewandowski piano

Annie Lewandowski playing in the piano, on the keyboard and singing.

Wong cello

Theresa Wong playing her carefully altered and electronically enhanced cello and singing.

This was followed by a duet between Lewandowski and Wong. Both performers utilized various ways of altering the sounds of their instruments by adding objects to the strings or by exciting the strings with objects. Wong also made use of a foot pedal controlling some electronics. Lewandowski’s piano was miked and amplified somewhat.

The improvisation was started by Lewandowski with some percussive like sounds elicited at the keyboard. Wong responded sparely at first and the two seemed to trade ideas which became richer as the performance went on. Again the serious concentration was present as the performers carefully heard and responded to each others’ music making. While satisfying it was a sort of introduction or first taste of what was to come in the second half.

A brief intermission saw the performers mingling with audience members, many of whom were acquaintances and other musicians.

Annie Lewandoski, Luciano Chessa and Theresa Wong in a trio improvisation

Annie Lewandoski, Luciano Chessa and Theresa Wong in a trio improvisation

What concluded this unusual program was a trio for all three performers. Lewandowski with her prepared piano, Wong with her altered cello, Chessa with his signature Vietnamese Dan Bau and guitar. All three also sang. The performance started sparely as each introduced suggestions or themes for the improvisation and reacted to them.

Lewandowski gave a much fuller exposition of the possibilities of her instrument playing the keyboard, inside and all around the piano as well as singing. Wong also seemed to use a wider amount of sound possibilities in her playing. Chessa played the traditional Vietnamese folk instrument in all but traditional ways using devices to excite the strings and focusing on tuning and even some percussive possibilities. At one point he left the table where he was performing to pick up an acoustic guitar. After picking a few notes he walked to the back of the stage area and ascended a stair case leading to a sort of balcony that surrounded the performance space. It was at this point that he began softly singing what sounded like an Italian folk tune as he played the guitar in a most traditional manner. This gave a collage effect to the performance juxtaposing the most traditional kind of music making with the extended and experimental sounds.

Chessa remained on the balcony for a bit, then descended the staircase again and returned to the more unusual playing methods at first on the guitar and then back at the table on the Dan Bau. Following this Lewandowski began vocalizing a melody with sparse accompaniment that would have been perfectly at home in a scene from ‘Eraserhead’ at times. She was echoed by Wong’s extended vocal techniques at first and then Lewandowski and Wong began singing a more traditional sounding melody with beautiful harmonizations interpolating this singing at different points while still traversing their freely improvised instrumental playing supported by Chessa on the Dan Bau.

This made for a rather tranquil mood as they ended the second half of the concert. The audience was appreciative. And this writer was pleased to have found a gem of a concert experience by young, serious (but good-humored) and accomplished musicians in the eclectic world of the east bay.

Experimentalism Otherwise, a significant new book on the New York progressive music scene in thec1960’s


I posted my blog review of the Carl Ruggles CD release on Amazon so I decided it would be reasonable to take an earlier review from Amazon and post it to my blog. So having made this guilty disclaimer, here is my review of a great book I came across in the fall of 2011:

For those interested in contemporary music and the New York avant garde of the early to mid 1960’s this is a book that is hard to put down. Each of the first four chapters is devoted respectively to: The New York Philharmonic’s 1961 performance of John Cage’s ‘Atlas Eclipticalis’; Henry Flynt and his rejection of mainstream avant garde trends (Stockhausen, Boulez, etc.); The (short lived) Jazz Composer’s Guild; and the performances of cellist Charlotte Moorman. A final chapter is devoted to a summary analysis which further connects these performers and events to the work of the ONCE Festival, Sonic Arts Union and (surprisingly but most appropriately) to the influence of these avant gardists on the subsequent work of Iggy Pop.

Nearly every significant figure of the avant garde is mentioned or quoted and the views of the general public as well as more specialized critics (which, of course, includes various members of the avant garde) are included in the course of the discussion and analysis. In addition to John Cage we hear from the likes of Morton Feldman, Christian Wolff, David Tudor. The Henry Flynt chapter necessarily involves various figures associated with the Fluxus movement and related projects. The Jazz Composer’s Guild chapter includes Bill Dixon, Roswell Rudd, Michael Mantler, Carla Bley, Paul Bley, Amiri Baraka, George Lewis, the AACM. And the chapter on Moorman includes Nam Jun Paik as well as John Cage and various Fluxus artists. The final chapter connects to others not so closely associated with New York such as Robert Ashley, Gordon Mumma, the ONCE Festival, Sonic Arts Union and finally to MC5, John Sinclair and Iggy Pop.

While there is some musical analysis here the author seems primarily concerned with analyzing these events and people and placing them more clearly within the political, social and cultural contexts in which they existed and to which they reacted. And indeed he finds highly relevant connections to civil rights issues and political conflicts and social movements as well as musical and performance movements and practices.

The analysis in terms of the likes of Pierre Bordieu, Franzt Fanon and Michel Foucault may be a bit difficult for those who have no familiarity with their works but his analysis is fascinating and his writing style is very lucid. This is an intelligent book not aimed at a narrow specialist audience. I believe that he succeeds in producing a fresh, important and valuable perspective on the people, the music, the events and the responses to them which will continue to prove useful in present and future analyses of the state of contemporary music and performance.

Finally the book is full of references comprising at least a third of the volume which serve both to support and illustrate Mr. Piekut’s theses and also to provide easy access to further reading and research.

In the time since I published this review Mr. Piekut has come to the United States and is now an Assistant Professor at Cornell University. I will certainly continue to follow the work of this young scholar. And I eagerly anticipate his next project. Perhaps he will see fit to turn his analytical insights to more of America’s too little known avant garde music movements and provide some much needed documentation. And hopefully his students will be motivated to explore these as well.

It is worth noting that the ‘Other Minds’ people in San Francisco have recently chosen to make this book available at a discount on their website. They stock a small but carefully selected cache of books related to new music and their inclusion of this one suggests that they find it a significant volume. In addition they are also stocking local artist/composer/professor Luciano Chessa’s new book on Luigi Russolo, the early twentieth century Italian artist best known for his advocacy of the use of noise as a musical element. In fact I have it cued up in my reading list and plan a future review.

The Complete Works of Carl Ruggles (reissue)


At long last the 1980 CBS recording of The Complete Music of Carl Ruggles (1876-1971) has been reissued by Other Minds records (OM 1021/2-2).  I have owned the vinyl two disc set for many years having come across a review of it in a list of suggested recordings of American classical music in, of all places, The Whole Earth Catalog.  And it is definitely a vital part of any serious collection of American classical music.  Ruggles was one of a group collectively labeled, “The American Five”, a title intended to compare the group with the French “Le Six”, the “Russian Five” or the often cited “Three B’s” (Bach, Beethoven, Brahms).  The American group consists of Charles Ives, Henry Cowell, Wallingford Riegger, Carl Ruggles and John J. Becker who strove to define an American sound not beholden to the European models which had dominated the previous century.  Ruggles’ students included James Tenney and Merton Brown.

This album is a recording of Ruggles’ complete published works.  A recent recording of newly unearthed ephemera was recently released but the present record is everything that Ruggles acknowledged and approved.  It is a meager output for a man who lived to the age of 95 similar to the output of the equally important Edgard Varese whose complete works also fit on two vinyl records and the music is just as finely crafted.  The music here is likely not as familiar even to those who know the work of Ives and Cowell.  But make no mistake this is powerful and unique music that deserves more than just a casual listen.

It is thanks to the efforts of Michael Tilson Thomas, who first heard his teacher Ingolf Dahl conduct Ruggles’ three movement symphony, ‘Men and Mountains’ that inspired him to add Ruggles’ work to his repertoire.  But the connections do not stop there.  Thomas and producer Syrl Silberman of WGBH went to visit Ruggles in a rest home and introduced themselves by putting headphones on the composer and playing an air check of Thomas’ performance of Ruggles’ best known work, ‘Sun Treader’.  Thomas’  wonderful essay about that auspicious encounter is included in Wayne Smith’s beautifully designed booklet.  Also included are the original liner notes with Thomas’ essay, notes and analysis by pianist and Ives scholar John Kirkpatrick and an additional essay by Lou Harrison reprinted as well.  There is also an introduction written by Other Minds Associate Director Adam Fong, himself a student of James Tenney, which puts Ruggles in a wider historical perspective.

Executive producers Charles Amirkhanian and Adam Fong acquired permission from Sony Music to digitize the original master tapes working with a grant from the Aaron Copland Fund to bring this essential recording into the digital age.  And the performances by the acclaimed new music advocate Buffalo Philharmonic Orchestra (MTT was then its musical director), a brass ensemble led by Gerard Schwarz and none other than John Kirkpatrick on piano in the Four Evocations.  Michael Tilson Thomas accompanies soprano Judith Blegen in the little song, ‘Toys’ from 1919 which Ruggles wrote for his son.  Speculum Musicae accompany mezzo-soprano Beverly Morgan in ‘Vox Clamans in Deserto’ from 1923.  Trumpeter/conductor Gerard Schwarz leads a brass ensemble in the original 1921 version of ‘Angels’ for six trumpets as well as its 1940 revision for trumpets and trombones.  Even American choral music experts the Gregg Smith Singers come in to perform Ruggles’ last completed composition, ‘Exaltation’ from 1958, composed in memory of his late wife Charlotte.

The Buffalo Philharmonic with its long history of performing contemporary music under Lukas Foss and Michael Tilson Thomas does a wonderful job of handling the six orchestral works.  Best known of these is the tone poem ‘Sun Treader’ which Thomas had recorded earlier with the Boston Symphony in about 1970.  ‘Men’ from 1921, the three movement symphony ‘Men and Mountains’ from 1924, the orchestral version of the four ‘Evocations’ and the 1947 ‘Organum’ also receive very effective readings.  Michael Tilson Thomas is the conductor for all and he clearly knows and loves this music.

The sound is great and the performances are truly definitive coming from artists with varying levels of connection to the composer and  all clearly with a passion for this music.

In fact I can find only a handful of other recordings of Ruggles’ music.  Most are out of print and/or dated in sonic reproduction.  A notable exception is New World Records’, ‘The Uncovered Ruggles’, posthumous reconstructions done by John Kirkpatrick and performed and produced by Kirkpatrick student Donald Berman actually makes a nice companion to the release at hand here for the Ruggles fanatic. (I know they’re out there.)  And there are digital downloads of some out of print recordings as well.

So, as in their previous releases, OM records continues its traversal of sometimes difficult but always relevant music.  So order your copy today through Other Minds, Naxos Distribution or through Amazon.com.  You might be challenged but you won’t be disappointed.  This is a great recording.

Other Minds 17 Day 3


The final night of the 17th Other Minds Festival presented music by four composers and included two premieres of music commissioned by Other Minds.

The concert began with music by Finnish composer Lotte Wenakoski. This diminutive Finnish woman, who also sang quite beautifully during the panel discussion, works with barely audible sounds seeking inspiration ” on the borders of silence”. Her 2006-7 work Nosztalgiam (Hungarian for ‘my nostalgia’) was performed by the modular Magik*Magik Orchestra whose size varies according to the need of the pieces to be played. Tonight’s configuration for this piece consisted of 12 players playing woodwinds, brass and strings.

Fellow OM 17 composer John Kennedy, who is the conductor for the Spoleto Festival among others, conducted the chamber ensemble. Nosztalgiam (2007) is apparently a set of variations/deconstructions or meditations on two Hungarian folk songs (one of which she spiritedly sang during the preconcert discussion). The sometimes sparse and always delicate sounds expressed Wennakoski’s personal impressions of her time studying in Budapest in the late 1980s. It is difficult to assess this composer represented in this festival by a single work. But the sweet, delicate personally nostalgic sounds evoked by a variety of extended techniques suggest that seeking to hear more of her work would certainly be worth one’s effort. The sensitive and virtuosic performance was greeted warmly by audience and composer alike.

Next in this first half were two works by John Kennedy, conductor, composer, percussionist and promoter of New Music. Here is a man in a role similar to that of OM Festival director Charles Amirkhanian having a chance to be, so to speak, on the other side of the table. There are apparently no available commercial recordings of this man’s music but according to his web site (which does have some too brief sound samples) he has composed many works in all genres including theater, orchestral, solo and electronic. And he has received many commissions.

This night he was represented by two works, one of them an Other Minds commission. Both are hommages to the late John Cage. As I mentioned in an earlier blog Cage is also the inspiration/impetus behind Other Minds’ esthetic.

The first work, “First Deconstruction in Plastic” (the title a play on Cage’s First Construction in Metal), does double duty as an homage and as an environmental statement. Percussion duo Ryder Shelley and Andrew Myerson sat facing each other each with a collection of ‘found objects’ consisting of plastic buckets, bottles, shopping bags, etc. This well rehearsed duo gave an energetic and engaging performance which the audience clearly appreciated. But for this reviewer was left with the impression that this accomplished work, though no doubt intricate in it’s conception and satisfying to the musicians, failed to fully engage it’s audience. I was entertained but I did not particularly want to hear it again.

The second work, “Island in Time” (2012), was a world premiere. This, also dedicated to Cage, was a different matter. Scored for the unusual combination of bass clarinet, flute, cello and percussion (all members of Magik*Magik Orchestra) was an engaging though not derivative tribute to the influence of John Cage. The composer describes a process involving different types of temporal processes to structure the work. But the specifics of the processes are secondary here to the overall impact of the work. A meandering flow of sounds and tempi flowed beautifully reverently invoking the spirit and influence of Cage’s work. I have no doubt that the riches in this piece would continue to reveal themselves with repeated hearings. And though I have very little knowledge of this composer’s other work I have no doubt that it is likely to be quite compelling.

The musicians, clearly familiar with the work, gave a loving smooth reading of what appears to be a fairly complex work requiring serious concentration and collaboration. The audience, myself included, rewarded their efforts with enthusiastic applause.

In the second half of the program the next composer, who had performed the previous night in collaboration with Ikue Mori and Ken Ueno, was Tyshawn Sorey. This was to have been a solo performance as a percussionist but in the course of the discussion in last night’s pre-concert panel festival director Charles Amirkhanian mentioned that he had heard Sorey playing the piano earlier in the day. Amirkhanian remarked on the apparently eclectic nature of what he had played. Sorey responded saying that his piano playing is informed by the likes of Art Tatum, David Tudor, Cecil Taylor and Morton Feldman. He also mentioned deconstructing Boulez’ Second Piano Sonata (!) to inspire his compositional process. Eclectic indeed! And he easily consented to playing the piano in his segment of the program saying, “…if you are open to it, sure.”. Sorey exudes a sort of calm, friendly, matter of fact confidence in his skills.

So Sorey walked onto the stage which contained his percussion kit on one side and a concert grand piano on the other. He began with a percussion improvisation starting with a fortissimo strike on the side drum followed by some fevered loud work on tenor and snares as well. This then segued into some more delicate and complex soft sounds elicited from various cymbals and drums making frequent use of special techniques which brought forth some rich vibrant harmonics especially in the quieter moments. I couldn’t help being reminded at times of Han Benink’s performance at last years festival as he released a small sower of sticks onto a drum at one point. Sorey’s sheer energy and good humor were reminiscent (though not imitative). And, unlike Benink, Sorey never left the stage in the course of the performance.

Following the well received percussion set Sorey moved to the grand piano sitting confidently and commandingly at the keyboard and pausing as he focused on the task at hand. He started slowly with a few chords and before long launched into a dizzying and virtuosic flow of music reflecting the influences he mentioned. At first perhaps Morton Feldman, sometimes Pierre Boulez, a little Art Tatum, certainly some Cecil Taylor and then deftly playing sometimes inside the piano then back to the keyboard as part of the same unbroken musical phrase evoking the experimentalism of David Tudor. But the overall impression was not episodic imitation but rather an absorption and integration of all these techniques transcending genre and becoming, simply, inspired music making. The audience was transfixed and absorbed in the flow of the music and responded with cheers of “Bravo” and enthusiastic applause (I think they were pushing for an encore but time did not permit). Had I heard a recording of this without knowing the background I would have guessed this to have been an accomplished composed work by a master composer but this was an improvisation. I am surely going to seek recordings and follow this man’s career in the years to come.

The finale was another Other Minds commission this time from composer, vocalist and Berkeley music professor Ken Ueno. The piece, “Peradam” (2011) takes it’s title from the unfinished spiritual allegorical novel, “Mount Analogue” by the French surrealist writer and poet Rene Daumal (1908-1944). Peradam is a mythical diamond-like stone sought after on the similarly mythical mountain of the title.

Ueno’s work is scored, as is his practice, specifically for the skills of the formidably talented Del Sol Quartet who so ably played the Gloria Coates quartet the previous night. Specifically the specialized skill (in addition of course to their string playing) is the multiphonic throat singing capability of violist Charlton Lee. Ueno demonstrated his vocal skills on the previous night singing with the percussions of Ikue Mori and Tyshawn Sorey. In fact all the players were asked to sing as well as play their instruments for this performance. In addition there was video creatively projected onto the sound baffles at the rear of the stage.

The music was a post modern integrated amalgam of a wide variety of conventional and extended instrumental techniques along with singing at times (the throat singing is a strikingly unique timbre which commands attention when it emerges in the fabric of the piece). The quartet positioned themselves stage right to afford the audience a clear view of the projection across the three sound baffles at the back of the stage. They played with characteristic concentration and skill in what looks like a technically challenging piece of shifting moods and tempi to which the images responded.

The images, manipulated in real time and in coordination with the music with software written by video artist Johnny Dekam, were abstract mostly monochrome images that moved and transmuted hypnotically along with the music. Dekam, who has worked with a variety of pop acts like Eminem and Thomas Dolby, had collaborated with Ueno before. In the darkened theater the images dominated the visual field though the quartet could be seen as well.

It was a complex experience that could only be grasped, if at all, by going with the simultaneous flow of music and image. This piece will benefit from repeated listenings/viewings to more fully appreciate it’s intricacies. But this first performance clearly satisfied the mostly hard core new music fans audience. And while the direct John Cage associations were not as obvious it is clear that Ueno, Dekam and the Del Sols embody the open minded spirit of his work in this, his centennial year. This grand finale was appreciated in kind by the cheering audience successfully bringing to a conclusion the 17th always uncategorizably eclectic Other Minds Festival.

Other Minds 17. Day 2


The second night at Other Minds featured two different generations of composers. As is their practice Other Minds on this night featured two composers already established and fairly well known in new music circles as well as three up and coming artists.

The first performance was by San Francisco’s own champions of new music, the Del Sol Quartet. They performed the American premiere of American expatriate composer Gloria Coates’ String Quartet No. 5 composed in 1988. This and her 8 other quartets have been made available on the brave and progressive Naxos CD label. Coates also holds the record as the most prolific woman symphonist of all time with some 16 symphonies to her credit (many of those are available and well worth seeking on CD as Well).

String Quartet No. 5 is cast in three movements. By the composers description all of the movements are canons, a simple counterpoint form. But the result is hardly simple. Using microtonal glissandi, sometimes having instruments tuned a quarter tone apart and relying on creative ways of synchronizing the players individual tempos Coates achieved a complex sounding but friendly and approachable result. The quartet which lasted about 30 minutes would be a challenge for any ensemble but the Del Sol (which, except for the cellist, perform standing in a break with convention) clearly knew and liked the work and gave an intense and beautiful rendering sounding at times like there were more than four players. The piece has an almost romantic feel at times, cleverly incorporating melodies into a sound world uniquely the composer’s own (I am at a loss to identify a precedent). I sincerely hope that this work and her other works become better known in this, her native country. It is a tribute to the acumen of the Other Minds team that music like this is presented here. The audience greeted the performance very appreciatively.

Next up was Harold Budd on piano playing with Keith Lowe on double bass augmented with electronic effects. The piece, titled “It’s Only a Daydream” from 2011 is, by Budd’s description, entirely improvisational as is most of his music. Lowe began playing first with long sustained tones awash with rich harmonics. Budd’s piano then entered and we were transported to the familiar sound world which is Budd’s musical signature. Those who knew his collaborations with Brian Eno and his later solo works recognized his somber pretty ambient sounds. The two musicians were well matched and played a sort of jazz duet trading solos and accompaniments evoking a curiously nostalgic and hypnotic atmosphere of a strange dream-like lounge. Time seemed suspended and I don’t know exactly how long they played but when they finished the enthusiastic audience reception brought them back for a shorter encore, something I had never seen occur before at this festival.

Following intermission Ikue Mori took the stage sitting at her laptop which controls her various electronic sounds. She played the laptop solo for a few minutes and was then joined by UC Berkeley faculty composer Ken Ueno on vocals. But ah, what unusual vocals. His extended vocal techniques seem to come equally from Tuvan throat singing, Buddhist chanting, David Hykes (of the harmonic choir), Meredith Monk, Diamanda Galas, Kenji Suzuki (of the band Can), Tan Dun (on Taoism) and God knows what else. After another few minutes Tyshawn Sorey, a doctoral candidate in composition at Columbia, seated himself quietly at his drum/percussion kit, then with an assertive fortissimo bang on the side drum confidently entered the energetic fray. Mori sat intently gazing at her computer screen and entering the sound changes for her part while Ueno, holding the microphone to his mouth with both hands issued passionate wordless vocalizations of endless variety and Sorey executed a similar endless variety of high energy acoustic percussion sounds.

Mori calmly issued computer commands to perform her Japanese/New York/ punk/free jazz/Stockhausen expanded percussions while the academic Ueno improvised intense growling, multiphonic, wild vocals with few pauses and Sorey got in touch with his AACM ancestors producing a unified three ring circus of wonderful musical mayhem transcending any concept of genre. Three different traditions, separate but working together. Metaphorical? You decide.

Well deserved and enthusiastic applause greeted the intense but calm Mori and the sweaty and apparently exhausted but satisfied Ueno and Sorey.

The relative order of Coates followed by the ethereal calm improvisations of Budd were but a distant memory (albeit a pleasant one) after the ritual emotional exorcism of the second half. This is the rich variety that characterizes these concerts. And now anticipation builds for tomorrow’s finale.

Other Minds Festival 17


Thursday night was the opening concert of Other Minds 17th annual series at the beautiful Kanbar Hall in the San Francisco Jewish Community Center which features a typically eclectic selection of new and recent music. Six countries are represented this year including the United States, Germany, Japan, Denmark, Norway and Finland.

This first night featured the palindromically named Norwegian ensemble Asamisimasa. They are a group of highly trained young musicians who dedicate themselves to the performance of post war avant garde and recent music (some written for them).

What makes them unique is their integration of traditional instruments with various types of electronics and techniques to modify and enhance their sound. They include standard video, digital processing and extended instrumental techniques as well as uncommon enhancements such as hand held megaphones and found sounds like tearing newspaper, spray cans and sliding blocks that rub on various surfaces.

The result was a wonderful embodiment of the post- Cagean musical esthetic which is the driving force behind Other Minds as they describe it in their mission statement. These dedicated skilled classical musicians played a program of a fellow Norwegian and a Danish composer. It was a performance that was adventurous, humorous and engaging.

The first half featured two works by Oivind Torvund. The first work from 2009 was “Neon Forest Space” for clarinet, cello, guitar/radio, percussion and pre-recorded media. Brief motivic segments, mostly by solo instruments, were strung together by a variety of sounds controlled by a musician who doubled as conductor. The overall impression was one of a spare impressionistic piece informed equally by the sound worlds of Pierre Boulez, Karlheinz Stockhausen and, according to the program, Black Flag.
The second piece was the world premiere of “Willibald Motor Landscape” written last year. This piece, using essentially the same instrumentation was built upon a recorded soundtrack of traffic sounds creating an impressionistic picture presumably of the road in the title.
The audience was very appreciative and we learned following intermission that all of the Oivind Torvund CDs had sold out! Welcome to America Mr. Torvund.

The second half of the night featured what was to have been a performance without pause of four pieces by Simon Steen-Andersen of Denmark. Unfortunately, following the performance of “Study for String Instrument #2” (for cello and whammy pedal, 2009), the cellist lost her footing on the darkened stage. The crashing sound seemed at first a part of the performance. But the lights were brought up quickly finding that the cellist was thankfully mostly unharmed and able to continue performing. However her cello had sustained a broken tuning peg. Charles Amirkhanian, the festival director tactfully asked the audience’s indulgence while another cello was obtained, a process which required only about 10 minutes (!). The cellist with the replacement cello returned to the stage to relieved and appreciative applause. Mr. Amirkhanian thanked the audience, who barely moved in the interim, for their patience.

The stage lights were darkened again and the ensemble restarted the piece which had been so briefly interrupted. From the microtonal glissandos duet of cello and whammy pedal they began the second piece, “Half a Bit of Nothing Integrated” (2007) for extremely amplified clarinet, percussion, cello and live video operated by the percussionist. In good humor and with professional showmanship the percussionist began by speaking, “Now where were we?”. And they performed with sounds of seemingly malfunctioning electronics evoking a post apocalyptic sound world which evoked worlds like that of “Blade Runner”.
This time there was no pause as they moved on with an illuminated stage to “On And Off And To And Fro” (2008). This piece featured megaphones operated by musicians who at times were miking the instrumentalists and at other times playing percussive effects with the microphones (blowing into them, scraping them, etc.) and playing quite skillfully with feedback created by holding the mikes various distances from the speakers. The sight of four musicians reading from scores and following a conductor with these megaphones evoked appreciative laughter from the audience. The final piece, “Study for String Instrument #3 (2011)”, was for cello and video. The cellist, Tanja Orning, played her instrument in non-melodic fashion with a bow which produced scraping sounds. Superimposed upon her was a video of her playing and the interest of the piece is a fascinating mostly visual duet between the live performer and the video. Her actions sometimes duplicated, sometimes opposed that of the video and the effect, sometimes humorously reminiscent of the Marx Brothers mirror routine, was an engaging and occasionally disturbing image (I’m not sure why it was disturbing actually).

Warm applause followed this lively and dedicated performance from this fine young group. All in all a very entertaining evening opening the always unpredictable and eclectic Other Minds Festival.

Hello world! This is “New Music Buff”


Welcome to my music blog. I am an avid listener, collector and supporter of music in general. I am particularly interested in new and cutting edge music.

What I offer here are informed opinions about what is essentially one of my hobbies. The blog title “New Music Buff” is intended to connote a somewhat casual perspective by an educated consumer.

I offer personal opinions which I hope will provoke discussion but also stimulate interest.

Thank you for reading.

Allan J. Cronin