My 2019 in the Arts


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The amazing Stuart Dempster at a house 2015 house concert at Philip Gelb’s Sound and Savor.  

In many ways this has been a year of reckoning.  I kept my promise to myself to double down on writing this blog and have already reached more viewers than any previous year.  I am now averaging a little more than 1000 hits a month from (at last count) 192 countries and have written 74 pieces (compared to 48 last year).  I need to keep this up just to be able to stay in touch with similarly minded folks (thanks to all my readers).  Add to that the fact that a piece of music I wrote 15 years ago was tracked down by the enterprising Thorson and Thurber Duo.  They will provide me with my very first public performance this coming July in Denmark.  Please stop by if you can.  After having lost all my scores (since 1975) in a fire and subsequently the rest of my work on a stolen digital hard drive I had pretty much let go of that aspect of my life but now…well, maybe not.

Well one of my tasks (little nudges via email have been steadily coming in) is to create a year end “best of” list.  Keep in mind that my personal list is tempered by the fact that I have a day job which at times impinges on my ability to do much else such as my ability to attend concerts.  However I am pleased to say that I did get to 2 of the three Other Minds concerts this past year.  The first one featured all the music for string quartet and string trio by Ivan Wyschnegradsky (1893-1979).  The second one featured music by the same composer written for four pianos (with two tuned a quarter tone down).  Both of these concerts exceeded my expectations and brought to light an amazing cache of music which really deserves a wider audience.  These are major musical highlights for this listener this year.

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The Arditti Quartet acknowledging the applause at the Wyschnegradsky Concert.

Read the blog reviews for details but I must say that Other Minds continues to be a artistic and musical treasure.  Under the leadership of composer/producer/broadcaster Charles Amirkhanian (who turns 75 in January) the organization is about to produce their 25th anniversary concert with a 4 day series beginning in April, 2020.  For my money its one of the reasons to be in the Bay Area if you love new music.  He is scheduled for a live interview on the actual day of his birthday, January 19th as a guest on his own series, The Nature of Music.  This series of live interviews (sometimes with performance material) with composers and sound artists he has hosted since 2016.

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Amirkhanian performing at OM 23 (2018)

Next I will share with you my most obvious metric, how many views my various blog posts got.  I have decided to share all those which received more than 100 views.

The winner for 2019 is:

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Linda Twine (unknown copyright)

Linda Twine, a Musician You Should Know

A rather brief post written and published in February, 2018 for Black History Month.  It was entirely based on internet research and it got 59 views that year.  As of this writing in 2019 it has been seen 592 times.  I have no idea why this “went viral” as they say.  I just hope it serves only to her benefit.  Amazing musician.

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Fatu Duo

Charming little album of lesser known romantic violin and piano pieces played by a husband and wife duo.  This self produced album seems to have had little distribution but for some reason people are enjoying reading about it.  I only hope that the exposure will boost their sales.  This is a fun album.

The Three Black Countertenors

I’m guessing this is one of my “viral” posts.  I wrote it in 2014 and it continues to get escalating hits, 180 this year.  The title pretty much says it all.  First time three black countertenors appeared on the same stage.

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Jenny Q Chai

This concert was an all too brief presentation of some very interesting work.  Quite a pianist too.  File this artist’s name in your “pay attention” category.

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Heavenly Violin and Piano Music by Giya Kancheli 

Giya Kancheli (1935-2019), one of the artists we lost this year (I refuse to do that list).  If you don’t know his work you should. He wrote I think 7 Symphonies and various concertos, film scores, and other works.  He was sort of elected to the “Holy Minimalists” category but that only describes a portion of the man’s work.  Very pretty album actually.

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Because Isaac Schankler

This composer new to me, works with electronics, and maintains an entertaining presence on Twitter.  Frankly, I’m not sure exactly what to make of this music except to say I keep coming back to it.  Very leading edge material.

 

 

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Wolfgang von Schweinitz’s “Klang”

A very different music from that of Schankler listed just above.  But another recording to which I find myself returning.  Thanks to Mr. Eamonn Quinn for turning me on to this one.

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A New Voice for the Accordion

I pretty sure that Gene Pritsker can shoulder at least part of the blame for connecting me with this great new musician  The accordion has come a long way and this guy leads it gently forward.

 

 

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Bernstein’s Age of Anxiety in a new recording

Loved this one.  I had only listened to this work three or four times and probably not with adequate attention.  Hearing this performance was revelatory.  It’s a great work deserving of a place in the standard repertoire/

 

 

 

Black Classical Conductors

Written in 2013, just an occasional piece about black conductors for Black History Month.  It’s now been read over 2000 times.  It is my most read article.  It’s embarrassingly incomplete and in need of a great deal of recent history but that’s a whole ‘nother project.

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Blue Violet Records

Blue Violet Duo

So glad this disc got a little exposure.  Its gorgeous.  This disc of jazz influenced classical Americana unearths some real musical gems.

 

 

 

 

 

 

 

 

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Shakuhachi Ecstasy 

OK, I meet this guy at a vegan underground restaurant (whose proprietor is noted Shakuhachi player, Philip Gelb).  A little casual conversation, a few vegan courses (Phil can seriously cook), and whaddya know?  About a month or so later he sends me this gorgeous self produced set of him playing shakuhachi…but the upshot is that this is the distillation of the artist’s sensibilities filtering his very personal take on the world via his instrument.  It has collectible written all over it and that is as much due to the music itself as to the integrated graphics and packaging.  You really have to see and hear this trilogy.  It got over 100 hits.  Thanks to Cornelius Boots and Philip Gelb (musical and culinary concierge).

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That’s it.  Everything else (300 plus articles total with 74 from this year) got less than 100 views.

 

Personal Favorites

It was a great year for recordings and I listened to more than I did last year.  Some may have noticed some experimentation with writing style and length of review here.  The problem is that the very nature of my interest is the new and unknown so I have to do the research and have to share at least some of that to hopefully provide some context to potential consumers that will ignite the idea, “gotta check that out” without then boring them to death.

For this last section I will provide the reader with a list in reverse order of the publication of my reviews of CD and streaming releases that prompt this listener to seek out another listen and hopefully draw birds of a feather to listen as well.

 

Keep yer ears peeled.  This young accordion virtuoso is an artist to watch.  This was also one of my most read review articles.  This guy is making the future of the instrument.  Stay tuned.

 

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This artist continues to draw my attention in wonderful ways.  Her scope of repertoire ranges hundreds of years and she brings heretofore unknown or lesser known gems to a grateful listening audience.  Blues Dialogues is a fine example.  It is also reflective of the larger vision of the Chicago based Cedille label.

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I found myself really taken by this solo debut album by American Contemporary Ensemble (ACME) director Clarice Jensen.  In particular her collaboration with La Monte Young student Michael Harrison puts this solo cello (with electronics) debut in a class all its own, This independent release is worth your time.

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This album of string chamber music arrangements of Mahler is utterly charming.  No Time for Chamber Music is a seriously conceived and played homage.

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Canadian composer Frank Horvat’s major string quartet opus is a modern classic of political classical music.  It is a tribute to 35 Thai activists who lost their lives in the execution of their work.  His method of translating their names into a purely musical language has created a haunting and beautiful musical work which is a monument to human rights.

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Donut Robot is a playful but seriously executed album.  The kitschy cover art belies a really entertaining set of short pieces commissioned for this duet of saxophone and bassoon.  Really wonderful album.

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It has been my contention that anything released on the Starkland label requires the intelligent listener’s attention.  This release is a fine example which supports that contention.  Unlike most such releases this one was performed and recorded in Lithuania by the composer.  Leave it to the new music bloodhound, producer Tom Steenland to find it.  In Search of Lost Beauty is a major new work by a composer who deserves our attention.

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My favorite big label release.  This new Cello Concerto from conductor/composer Esa-Peka Salonen restores my faith that all the great music has been written and that all new music is only getting attention from independent labels.  Granted, Sony is mostly mainstream and “safe” but banking on the superstar talent of soloist Yo-Yo Ma they have done great service to new music with this release.  Not easy listening but deeply substantive.

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This release typifies the best of Chicago based Cedille records’ vision. Under the guidance of producer James Ginsburg, this local label blazes important paths in the documentation of great music.  “W” is a disc of classical orchestra pieces written by women and conducted by the newly appointed woman conductor, Mei-Ann Chen.  She succeeds the late great Paul Freeman who founded Chicago’s great “second orchestra”, the Chicago Sinfonietta.  Ginsburg taps into Chicago’s progressive political spirit (I guess its still there) to promote quality music, far beyond the old philosophy of “dead white men” as the only acceptable arbiters of culture.  Bravo to Mr Ginsburg who launched Cedille Records 30 years ago while he was a student at the University of Chicago.

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Become Desert will forever be in my memory as the disc that finally got me hooked on John Luther Adams.  Yes, I had been aware of his work and even purchased and listened to albums like Dream in White on White and Songbirdsongs.  I heard the broadcast of the premiere of the Pulitzer Prize winning Become Ocean.  I liked his music, but this recording was a quantum change experience that leads me to seek out (eventually) pretty much anything he has done.  Gorgeous music beautifully performed and recorded.

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OK, I’m a sucker for political classical.  But Freedom and Faith just does such a great job of advancing progressive political ideas in both social and musical ways.  This is a clever reimagining of the performance possibilities of the string quartet and a showcase for music in support of progressive political ideas.

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Michala Petri is the reigning virtuoso on the recorder.  Combine that with the always substantial production chops of Lars Hannibal and American Recorder Concertos becomes a landmark recording.  Very listenable and substantive music.

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I have admired and sought the music of Harry Partch since I first heard that excerpt from Castor and Pollux on the little 7 inch promotional LP that came packaged with my copy of Switched on Bach.  Now this third volume in the encyclopedic survey of the composer’s work on Bridge Records not only documents but updates, clarifies and, in this case, unearths a previously unknown work by the master.  Sonata Dementia is a profoundly important entry into the late composer’s discography.  I owe PARTCH director, the composer/guitarist John Schneider a sort of apology.  I had the pleasure of interviewing him about this album and the planned future recordings of Partch’s music but that has not yet been completed.  You will see it in 2020 well before the elections.

The aforementioned Shakuhachi Trilogy is a revelatory collection which continues to occupy my thoughts and my CD player.

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Gil Rose, David Krakauer, klezmer and the inventive compositional talent of Mathew Rosenblum have made this album a personal favorite.  Lament/Witches Sabbath is a must hear album.

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Another Cedille disc makes the cut here, Souvenirs of Spain and Italy.  The only actual Chicago connection is that the fine Pacifica Quartet had been in residence at the University of Chicago.  But what a fine disc this is!  The musicianship and scholarship are astounding.  Guitar soloist Sharon Isbin celebrates the 30th anniversary of her founding the department of guitar studies at Julliard, a feat that stands in parallel with the 30th anniversary of the founding of Cedille records.  This great disc resurrects a major chamber work by Mario Castelnuovo-Tedesco and presents a definitive program of chamber music for guitar and string quartet.  This one has Grammy written all over it.

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This New Focus recording was my personal introduction to the music of Du Yun and I’m still reeling.  What substance!  What force! Dinosaur Scar is quite an experience.

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Another Starkland release, this album of music by the great new music pianist is a personal vision of the pianist and the creators of this forward looking repertoire.  Eye to Ivory is a release containing music by several composers and championed most ably by Kathleen Supové.

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Chicago born Jennifer Koh is one of the finest and most forward looking performers working today.  Limitless is a collaboration between a curious but fascinating bunch of composers who have written music that demands and receives serious collaboration from this open minded ambassador for good music no matter how new it is.  And Cedille scores another must hear.

Many recordings remain to be reviewed and some will bleed over into the new year so don’t imagine for a second that this list is comprehensive.  It is just a personal list I wished to share. Happy listening and reading to all.

Painting With Sound: J.L. Adams’ “Become Desert”


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This is the third work in a series which began with Become River (2010).  It remains to be seen if this series will be capped as a trilogy or will go on to further installments but, for this reviewer the very name of John Luther Adams (1953- ) has a strong positive bias.  I have been a fan since I first heard Songbirdsongs (1974-80) in its original Opus One release.  Though I have not followed all of his most recent work I was again drawn in in a big way with his Pulitzer Prize winning Become Ocean (2013).

J.L. Adams is generally speaking a post minimalist composer to the extent that such categories matter.  He is without a doubt the highest profile composer at the moment to focus so much on the natural world and his web site linked above is a fine guide to his recordings and listings of works yet to get such documentation.

Become Desert (2018) is a truly welcome installment in this prolific composer’s oeuvre.  It is a one track CD but one would be at a loss to make any divisions by dividing this recording in tracks.  The work is a coherent whole much in the spirit of his previous work but distinct in its sound world as are all of his pieces (at least that this reviewer has heard).  It is a slowly unfolding work with a large orchestra and chorus used judiciously and softly.  The Seattle Symphony and Chorus under Ludovic Morlot (who also premiered Become Ocean) are at the height of their interpretive powers and the recording is first rate.

The release also contains a DVD featuring some of Adams’ stunning photography along with the music is a nice feature but the music also works well all by itself.  Reviewing this CD will doubtless find me “preaching to the choir” to the established fans of the composer but it will likely help him find and even wider audience.  Much has already been written about this disc so let me just say it is beautiful and, hearing it in your favorite relaxed setting without distraction, is a calming and spiritual experience.

ADDENDUM: I usually publish the text of my reviews on the Amazon website.  Given what I tend to review mine is usually the first and frequently the only review.  So be it.  Though not shocked I was a little surprised to find no reviews as of 6/21/2019 and the invitation link titled, “Be the first to review this item”.  I guess that chorus to whom I imagined I preached might not shop on Amazon.

A Major Peter Garland Work


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The Whole Earth Catalog turned 50 this year.  It was in the 1980 edition of this classic publication that this writer stumbled across and embraced a small article which listed, “A Basic 10 Records of American Composers”.  It was written by one Peter Garland and forever influenced most of my subsequent listening choices and purchases.  For the record they are:

The Complete Music of Carl Ruggles (recently released on CD Other Minds OM 1020-21-2)

Piano Music of Henry Cowell (Folkways FM 3349)

Ameriques, Arcana, Ionisation by Edgar Varese (Columbia M 34552)

Peaens, Stars, Granites: Music by Dane Rudhyar and Ruth Crawford Seeger (CRI  S 247)

Ives: Three Places in New England, Copland: Appalachian Spring (Sound 80 DLR 101)

Music of Silvestre Revueltas (RCA)

Conlon Nancarrow: Complete Studies for Player Piano (Other Minds CD 1012-1015-2)

Lou Harrison: Pacifika Rondo and other works (Desto DC 6478)

Harry Partch: Delusion of the Fury (Columbia M2 30576)

John Cage: Three Dances for Two Pianos, Steve Reich: Four Organs (Angel S 36059)

And I start here to illustrate the range of this still too little known composer, musicologist, writer, musician.  Peter Garland (1952- ) doesn’t even have a dedicated website as of this writing and this list helps to put him in a context.  But a quick look at Google, Wikipedia, and Baker’s Biographical Dictionary will confirm that Garland is indeed a prolific composer as well as an accomplished and dedicated musicologist. The list of albums reflect far ranging tastes and interests. That 1980 article serves to reflect how his scholarship reached effectively beyond academia and reached a much wider audience and the same wide embrace is slowly being realized about his musical output.

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Peter Garland

He studied at Cal Arts with James Tenney and Harold Budd.  He started Soundings Press after attending a workshop with Dick Higgins.  Soundings press published articles by Garland and other musicologists.  Garland has focused on Native American and Latin American indigenous musics and is regarded as an expert in these areas.  Hie own music employs a variety of styles including minimalism and some use of folk melodies but he doesn’t really sound like anyone else.

His compositions almost seem secondary to his academic pursuits and, despite tantalizing descriptions of Garland’s performances in places like EAR magazine his music was hard to come by for some time. There have been a few recordings and, for those who don’t know his work, here is a little discography:

  • 1982 Matachin Dances (EP, Cold Blue)
  • 1986 Peñasco Blanco (Cold Blue, reissued on Nana + Victorio, 1993)
  • 1992 Border Music (¿What Next?, reissued on OO Disc, 2002)
  • 1992 Walk in Beauty (New Albion)
  • 1993 Nana + Victorio (Avant)
  • 2000 The Days Run Away (Tzadik)
  • 2002 Another Sunrise (Mode)
  • 2005 Love Songs (Tzadik)
  • 2008 Three Strange Angels (Tzadik) reissue of Border Music expanded with live recordings
  • 2009 String Quartets (Cold Blue)
  • 2011 Waves Breaking on Rocks (New World)
  • 2015 After the Wars (Cold Blue) EP with Sarah Cahill
  • 2017 The Birthday Party (New World)

Fortunately there are a few record producers who have recognized Garland’s talents.  And it should come as no surprise that these producers are of the independent label variety.  Starkland Records is indeed one of those independents with a reliable nose/ear for good new music and have chosen to record a major opus, The Landscape Scrolls.

This choice embodies much of what is great about Peter Garland.  In this work we get exposed to his scholarship of the stories and symbols of the scrolls as well as some insight to his interest in experimental and unusual instruments.  This is in fact a percussion piece but not the percussion music of your mother’s generation.

Commissioned by and dedicated to percussionist John Lane, The Landscape Scrolls (2010-2011) depicts the 24-hour day cycle in five movements. Garland remarks the work was influenced by Indian ragas, Japanese haiku poetry, and, especially, the famous Landscape Scroll of the Four Seasons by Japan’s 15th century painter Sesshu.

Each of the five movements is a metaphorical monochromatic study, more about resonance and space than melody or harmony: mid-day (Chinese drums); afternoon (rice bowls); after dark (triangles); late (glockenspiel); early morning (tubular bells). Garland notes that, after the fact, he was likely influenced by his fascination with the single-tonal color paintings of Barnett Newman.

John Luther Adams, himself a composer of some significant percussion music lately, provides most of the lucid liner notes.  Clearly Garland is respected by his fellow artists.  This release provides a fine opportunity to get to know this American master through this major opus.  As usual the Starkland production is very well recorded and sounds great.  This one was really done right.

 

The Shaman: Spectacular New Canadian Orchestral Music


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I don’t know what it is about political borders and the arts but there must be some kind of walls up that prevent musical immigration from Canada, Mexico, Central and South America, etc.  In short there is a strong Eurocentric/American flavor to the classical music distributed here.

 

One of the issues with which the large colonial countries such as the United States and Canada grappled was the tendency for all their composers to sound like second rate European composers.  With the dawn of the 20th Century there was the obligatory attention to folksong but that is also arguably Eurocentric…not bad, mind you, just leaving out the Native Americans or, using the elegant Canadian term, First Peoples.

Eventually both the U.S. and Canada began to pay attention to indigenous traditions of the peoples they had conquered.  One suspects that an appreciation of the social and spiritual traditions of indigenous peoples also encouraged a different view of the very landscapes.  In Canada the composer most closely associated with the post Eurocentric traditions would have to be Raymond Murray Schafer whose incorporation of the vast landscapes of his country embraced it musically and dramatically in a way that no one had previously.

So along comes this disc from composer Vincent Ho (1975- ) born in Ottawa, Ontario, Canada.  He was educated variously at Canada’s Royal Conservatory of Music, a Bachelor of Music from the University of Calgary, an MM from the University of Toronto, and a DMA from the University of Southern California.  His mentors have included Allan Bell, David Eagle, Christos Hatzis, Walter Buczynski, and Stephen Hartke. In 1997, he was awarded a scholarship to attend the Schola Cantorum Summer Composition Program in Paris, where he received further training in analysis, composition, counterpoint, and harmony, supervised by David Diamond, Philip Lasser, and Narcis Bonet.

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Vincent Ho

 

Impressive credentials for sure but this album demonstrates the very impressive work of a composer who would seem to be poised to take on the mantle of the next generation of artists working to create music that represents the entire country in this generation.  This is a man with formidable skills in writing for large ensembles.  No doubt his facility with writing music allows him to create convincingly for any size ensemble.  A quick look at the composer’s catalog of works inspired the mini polemic with which this review begins.  How can so much wonderful music go unnoticed south of the border here in the U.S.?  (End rant.)

Finally to the disc at hand.  This is a beautifully recorded live concert of two major works by Mr. Ho, “The Shaman” (2011) and Arctic Symphony (2010).  Both are for large orchestra and inhabit a very listenable realm melodically and harmonically.  That is NOT to say that these are ordinary or simple works.  In fact they clearly embody the work of a well trained and thoughtful artist.  This is exciting music and the audience response at the end of each work was highly approving.

Your reviewer heard the Carnegie Hall broadcast of The Shaman and jumped at the opportunity to review this disc.  Dame Evelyn Glennie is reason enough to pay attention.  This (essentially) Concerto for Percussion was written for her and she is ostensibly the shaman of the work’s title.  Her performance is simply spellbinding.  The piece has three numbered movements and an interlude.  I will leave it to the program note readers to plumb the additional depths of meaning embodied in the concerto but I will tell you that if you are not enthralled by the “fire dance” finale you may very well be dead.

The Arctic Symphony is another animal.  It is a programmatic work inspired by the composer’s experience on a research vessel, the Amundsen, exploring various arctic regions and describing the different areas of research being done.  There are environmental themes here for sure and also an incorporation of Inuit songs transcribed by the composer and sonic evocations of various aspects of the composer’s experience of the journey (wind, silence, the strange sounds of uncertain causes that one apparently hears in these nether regions.  The five movements fit pretty comfortably into the basic classical forms that comprise symphonies.  There are chorales, variations, a nice scherzo in the Amundsen (3rd movement).  It is, like the concerto, a very entertaining and exciting piece.

The Winnipeg Symphony and it’s talented conductor, Alexander Mickelthwate must be mentioned for their skill at holding this complex music together.  In both works they provided readings that were both accurate and stimulating.  One can’t imagine any audience failing to enjoy this music.

One can’t help but wonder about the confluences between the work of Mr. Ho and that of John Luther Adams.  Both deal with arctic landscapes and both express environmental concerns.  Well I invite listeners to do their part in eliminating the weird musical apartheid that appears to exist by buying this album.  It is excellent.

Emanuele Arciuli, Defining a Genre: Walk in Beauty


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This 2 CD set virtually defines a genre.  Following in the traditions of such notable compilations as Robert Helps’ “New Music for the Piano”, Alan Feinberg’s wonderful series of discs on Argo records among many others we see Arciuli displaying his grasp of music in the tradition of the gentle musical anthropology found in the music and scholarship of Peter Garland.  The album’s title comes from Garland’s lovely multiple movement Walk in Beauty (1992) released on New World records in the 1990s.  The present collection is both nostalgic and forward looking reminding us of great past efforts and introducing us to new work.  It is a look at a loosely defined style of mostly late 20th century American piano music through the lens of a non-American artist.

Garland’s interest in Native American myths and music inform his post minimalist ethic and the additional pieces chosen for this two disc set reflect similar artistic sensibilities.  Emanuele Arciuli is an Italian pianist whose interests range from the Second Viennese School to the unique compositions of Thelonius Monk.  He also has a strong interest in classical music from Native American traditions which puts him very much in sync with Garland’s work as well.  Here he has chosen music which he clearly understands and which appear to have deep meaning for him.

There are 28 tracks on 2 discs representing 13 composers.  Five of these composers are explicitly affiliated with their respective Native American traditions and the remaining eight composers take their inspiration at least in part from the rich music and/or mythology of those cultures.  The bottom line here is that these are carefully and lovingly chosen works which open a window on one fine musician’s perception of a certain Western/Native American/New American style which, at worst, holds up a mirror and, whether we like it or not, it tells us something about who we are and from whence we came.

Connor Chee‘s “Navajo Vocable No. 9” opens the album and sets the tone.  This is one of a series of piano pieces by this fascinating composer/pianist whose star is deservedly rising.  His work celebrates Navajo culture and is informed as well by his training in traditional western art music.

This is followed by Peter Garland‘s “Walk in Beauty”.  This piece is representative of Garland’s post-minimalist, impressionistic style.  It was previously recorded so wonderfully by Aki Takahashi on the eponymously titled New World Records album from the early 1990s.

Garland’s music is fairly well documented but deserves a wider audience. (Curiously he does not have a dedicated web site.)  His scholarship and promotion of new music also serve to place him very highly among this countries finest artists and scholars.  In addition to his compositional output he is known for his Soundings Press publications and his papers are now held by the University of Texas at Austin.

Kyle Gann is, similarly, a scholar and a prolific composer.  He has for many years demonstrated a keen interest in Native American myths in his diverse and creative output.  Gann is here represented by his “Earth Preserving Chant”.

Michael Daugherty is known for his incorporation of pop culture in his work and has been recognized with no fewer than three Grammy Awards.  His work is rooted in pop Americana and “Buffalo Dance” is his homage to Native Americana.  And if his homage seems a bit P.T. Barnum at times, that too is Americana.

John Luther Adams, a recent Pulitzer Prize winner for his orchestral work, Become Ocean, is a prolific composer who derives much of his inspiration from the mythology of Alaskan natives.  Adams spent many of his creative years in Alaska working with ecological projects as well as musical ones.  “Tukiliit” is representative of this work and pays homage to Native American/First Nation peoples.

Raven Chacon is an emerging composer who has produced a great deal of work though little appears to be available on recordings.  “Nilchi Shada’ji Nalaghali” (Winds that turn on the side from the Sun) is an electroacoustic work serves as a little sample of this artist’s work and its inclusion in this fine collection alone suggests that the remainder of his work deserves to be explored.

Martin Bresnick is an honored member of the American Institute of Arts and Letters and his work is fortunately well known.  The present piece, “Ishii’s Song” is a reference to an American Indian, the last of his tribe who lived out his life under the protection and scrutiny of anthropologist Alfred Kroeber at the University of California Berkeley.  His spirit still seems to linger in the Bay Area and this piece is a sort of homage to him.

This set contains two works by Louis W. Ballard (1931-2007) who was a Native American composer that composed classical concert music.  His work is steeped in Native American mythology and deserves to be better known.  Leave it to a non-American to point out this deficit.  Arciuli makes a strong case for listeners and for other musicians to embrace this neglected artist.  Disc Two track 2 contains the “Osage Variation” and Disc two tracks 13-16 contain his “Four American Indian Piano Preludes”.

Jennifer Higdon is a star already very much risen on the musical scene and she is here represented by a substantial piano piece called “Secret and Glass Gardens”.  Higdon, also a recipient of the Pulitzer Prize, is one of those composers who manages to be friendly and accessible as well as modern.  Arciuli seems to perceive similarities in her vision that make this work fit in convincingly in this collection.  Hers is seemingly a similar romanticism and nostalgia and Arciuli has convinced at least this listener of the kinship of this piece in the vision of this collection.

Arciuli introduces another composer unknown to this reviewer, Peter Gilbert.  This young composer with an impressive resume is the co-director of the composition program at the University of New Mexico.  The offering here is his set of four “Intermezzi” for piano.

The inclusion of Carl Ruggles‘ “Evocations-Four Chants for Piano” seem at first to be a strange choice but following the Gilbert Intermezzi one gets the impression that the Americana that is Ruggles is a part of the provenance of this collection.  Ruggles coarse and famously racist attitudes hardly fit with the generally romantic vision of this collection but Americana as perceived by a non-American need not edit the unsavory from the overall picture.  The music is what this is about and these are indeed masterful little essays and a part of the American grain.

Another new name is given a brief appearance in the “Testament of Atom” by Brent Michael Davids.   This young composer’s clever website lists a plethora of works whose titles resemble many of the pieces on these discs.  Again we must trust the artist that his inclusion of this work is representative of his vision of this version of Americana.

For his concluding track Arciuli does a wonderful thing by including the work of Talib Rasul Hakim (1940-1988), another too little known American composer.  Born Stephen Alexander Chambers, he changed his name in 1973 when he converted to Sufism, a spiritual sect of Islam.  The music, “Sound Gone”, is a fitting finale to this beautiful, challenging, and ultimately inclusive collection of Americana.  Bravo, Mr. Arciuli and thank you for the gift of showing us some of the best of how we Americans look to you.