This album is satisfying on several levels. It is a return to the label that contained the composer’s his first big release, the three disc set on DG which contained “Drumming” (1971), “Six Pianos”, and “Music for Mallet Instruments, Voices, and Organ” (both from 1973). Of course it was the ECM release of “Music for 18 Musicians” (1974-6) that became his signature work incorporating the experimentation heard in the music in that DG box set into the composer’s now familiar mature compositional language. The present release, also available on vinyl, seemingly reflects the post experimental composer’s grappling with the oh, so classical form of the string quartet. It’s a truly fine release and an homage to the composer.
DG 2740 106
Like many of his peers, Reich eschewed many of the conventions of western art music. His work at the San Francisco Tape Music Center helped him discover “phasing” and use of the speaking voice as a compositional element. His study with master drummers in Ghana taught him about quasi improvisational large ensembles and his subsequent study of Hebrew cantillation further refined his understanding of speech and song in his compositional contexts.
As he is quoted in the accompanying booklet, Reich never thought of attempting to use the string quartet form in his work. But along came the delightfully forward looking and genre breaking Kronos Quartet. That collaboration brought forth his landmark, “Different Trains” (1988). And the rest is, as they say, history. “Triple Quartet” for string quartet and tape (but no voices) came in 1998 and his WTC 9/11 (2010) which used sampled voices much as he did in Different Trains.
To be fair, Reich never appears to have intended to engage with the classical form of the string quartet (or any other classical forms for that matter). He uses the convenient availability of musicians sympathetic and sufficiently skilled to perform his compositions. The fact that they happen to be in string quartets is incidental. Much as the inclusion of a singer (as Schoenberg did) bent the quartet to fit his compositional goals, many have subsequently done similar alterations and additions to that classical ensemble. The difference is that Schoenberg adding a soprano, Kirchner (among others) adding electronics, etc. did so but clearly defined their works as “string quartets”. Reich did not do this but this disengagement with classical forms (string quartet, concerto, symphony, etc.) does not detract from the absolute quality of his music.
It would be unfair and would miss the point to try to judge these works via comparison and contrast with Haydn, Beethoven, Bartok, etc. In fact these works are not a part of that canon. Ultimately they stand on their own as part of Reich’s unique vision as a composer and, as such, they succeed very well.
WTC 9/11 and Different Trains are political statements with specific spoken word samples entered into a musical counterpoint. They succeed very well as protest and memorial for the respective events they frame. Triple Quartet, however, is absolute music concerned solely with Reich’s largely contrapuntal techniques of shifting repeated patterns. All three works succeed very well in their ability to engage audiences. All three are finely wrought compositions by by a major composer true to his maverick, experimental beginnings, true to the artist’s personal vision.
The Mivos Quartet does a fine job of navigating these technically difficult works and produce a fitting homage to a wonderful composer and make a strong case for the deeply substantial nature of this music. This is a great release. Highly recommended.
Let me start with a positive image from a brief photography trip which I managed this year. It was one of the highlights of what has been a difficult year for many of us. Weather, politics, COVID, itinerant employment issues, financial, and personal difficulties were an encumbrance but now stand in relief to the many positive aspects of 2022.
First, let me say that nothing musical fell into the category of “worst of” so fear not, what follows is essentially my “best of” from 2022. In my head I blame the aforementioned encumbrances for delays and sheer lack of production on my part. Whether that is the ultimate truth does not matter really so here, for better or worse, is my celebration of the positive experiences enumerated in this music blog in 2022.
This is one of the albums that stoked my interest.
My first post for the year struck a sad note. It was my personal tribute to a composer, A Belated Fan Letter: Homage to George Crumb described George Crumb, who had been one of my “gateway drugs”, so to speak, which helped put me on the exciting roads of new music upon with I continue to travel with great joy. Recordings of his complete works are still being released on the visionary Bridge Records.
Hannah Collins debut on Sono Luminus was a compelling offering from this rising star.
Carolyn Shaw’s striking and much performed “In Manus Tuas” (on solo viola as well as solo cello) was originally written for Collins. Her selections on this album, including that Shaw work, suggest to this writer/listener that she has both vision and an encyclopedic knowledge of music, especially that written for her instrument. She will be among the major shapers of this repertoire via her vision as well as her interpretive talents. And Sono Luminus’ superb sonics certainly helps make this a great release.
The first volume of Sarah Cahill’s landmark trilogy of piano music by women composers.
I have followed the work of Sarah Cahill since her first solo CD (music of Ravel). Like Collins, she has been an artist who, by her intelligent selection of repertoire, serves as a guide to listeners (and musicians) as well. She has championed many composers as a pianist and as a broadcaster on her weekly KALW broadcasts. Her curation of concerts throughout the Bay Area, such as her solstice concerts at Oakland’s Chapel of the Chimes, have showcased a large variety of creative performers.
As she focuses her lens on women composers (neglected is implied) she embraces a stunning range of styles from the baroque era to the present and it seems as though she can play anything she chooses well. She is also collaborative with an amazing ability to discern the substance in the works she chooses to play. And she has discovered (or rescued?) much music from obscurity via scholarship and intelligent collaboration. Can’t wait for the next release. She is consistently interesting and relevant.
This release on Lars Hannibal’s OUR records was a brilliant new recording of some of Ligeti’s music and introduced me to Kodaly’s solo choral works.
This album was sent to me by a friend. I knew the Ligeti pieces but heard them with new ears in this release and I was amazed by the Kodaly works too. Marcus Creed may not be as well known in the U.S. as he is across the pond but he should be.
Another debut album by a cellist.
This album was kindly sent to me for review by John Schneider of Microfest records. Read the review. Listen to this album. And watch for more from Chris Votek, another rising star in 2022.
Dan Lippel’s virtual manifesto displaying his vision and skill as he furthers the mission of the guitarist in all their guises.
Dan Lippel is one of the founders of the fabulous new music label, New Focus Recordings. Here he is acoustic, electric, conventional, and experimental but always interesting. Keep his name on your radar.
Languishing no longer.
This is a gorgeously designed, very collectible art object. It is a beautiful hard cover, full color book which also contains a CD of a recording (from acetate masters) which had languished in the archives of the Eastman/Rochester Music School where Harry Partch gave this lucid lecture/performance in 1942. Mr. Schneider, who sent me the Votek release as well, fronts an ensemble called PARTCH which, in addition to performing Harry Partch ‘s work, is recording Partch’s complete works for David and Becky Starobin’s Bridge label. This one is both eye and ear candy to my ears.
Rescuing those acetate masters from obscurity is a major find that rises in significance (in the musical sense) almost to the level of the archeological discovery of Tut’s Tomb. Schneider is a musician, a composer, a radio broadcaster, and an archivist and now a sonic archeologist I suppose. He also sports a collection of authentic copies of Partch’s curious instruments which were built to play the microtonal scales required. Partch is a major American composer whose work is now gaining its rightful place among the best of American classical music.
Seminal work by an American post minimalist composer.
I first discovered Mr. Susman’s work when I was asked to review a performance of another composer’s work. I heard one of his works played by the remarkable San Jose Chamber Orchestra on that same concert. Here we have another multi volume release of these lovely and significant piano works. The remarkable pianist (mentioned often in these pages) has contracted to record all 4 books of this sort of “Well Tempered Clavier” type gesture which effectively provides much insight to this composer. Nicolas Horvath, known for marathon concerts performing (and subsequently recording) all of Philip Glass’ piano music, among others. (We’re talking 15 hours or so. There is also a 35 hour live rendition of Erik Satie’s “Vexations” on you tube.) Who better to record these? The remaining three volumes are due some time this year. Who better to take on this post minimalist set of pieces? Can’t wait for the next volume.
Kondonassis’ new music manifesto for the Harp (and the earth).
Yolanda Kondonassis is about as household a name that you can find among harpists. These five minute (more or less) pieces are a significant addition to the solo harp repertoire. They are forward looking works for her instrument. Very interesting work, excellently performed.
New piano music written for Jacob Greenberg
I remain in awe at the curatorial and historically aware work of this truly fine pianist. Greenberg helped me grasp the historical context of the Second Viennese School in a new way with his earlier release “Book of the Hanging Gardens”. In that release he played all the Debussy Preludes along with Schoenberg’s pre twelve tone song cycle, Webern’s Variations, and the Berg Sonata which helped this listener to better grasp the historical context of this music. This small collection of works written for him reflects a collaborative and visionary ethic akin to that of Sarah Cahill’s. Keep an ear out for this guy.
Lou Harrison’s brief Solo Violin Sonata
I have received some good natured teasing about the fact that this, one of my longer reviews, is of a 15 minute piece of music. But this act of musical archeology by the bay area’s Kate Stenberg (who is a regular collaborator with Sarah Cahill BTW) has made the first recording of this little work. It’s Webernian duration belies a style very much in character with this beloved composer’s other work. My review was as much about the music and the recording as it was about the dedication of Stenberg to new music. This release is from Other Minds, another shining example of advocacy of new music and collaboration among composers and performers. Get it. Listen to it. And don’t miss a chance to hear Stenberg live performances or to hear anything Harrison has written.
Music between the wars
The Chicago based Cedille label is one of my favorite classical music labels. Producer James Ginsburg has a golden ear and Cedille is the finest Chicago based classical label since the justly fabled Mercury records. All their releases deserve attention but this two disc set of little known works for String Trio written between the world wars is a feast of substantive, if slightly conservative, voices. This one is a great listen and, trust me, none of this music is in your collection.
Other Minds Executive and Artistic Director of Other Minds Charles Amirkhanian applauds a rare performance of his own music at OM 26.
While circumstances conspired to limit my attendance to only one of the three days of OM 26, I would be loathe to leave this world class music festival off my “best of” list. My first published blog of 2023 was of the 30th anniversary celebration which showcased Marc-Andre Hamelin’s stunning reading of Charles Ives’ massive Concord Sonata. Anything OM does deserves your attention but the roughly annual festival continues to present composers and performers from around the world. Not to be missed.
Volume two of three
Another exciting release of Cahill’s visionary series. Like the previous volume (and the aforementioned Cedille release) the consumer will suffer no unnecessary duplications if the music herein. Fascinating and expertly done. This set (the third volume due this year) is a testament to Cahill’s encyclopedic knowledge of piano music as well as her collaborative nature and, of course, her skills as a pianist.
A new voice in electroacoustic composition Kataro Suzuki.
I’m cheating a bit here since I wasn’t able to complete my review until 2023 but this Starkland disc was released in 2022 and definitely earns its place in my “best of” list. This rising star is another one to watch. Starkland, run by the dynamic Tom Steenland is one of those labels that reliably finds interesting and substantive new music. This one is no exception. It goes a long way to alleviating my skepticism of the electroacoustic genre.
DVD OM 4001
And, in order to be fair I must cheat equitably. Charles Amirkhanian kindly sent me this exciting and excellent DVD of his collaboration with his partner in life and in artistic crimes, Carol Law. My more extensive review will appear shortly but this was a major release in 2022. Amirkhanian spends far less time promoting and performing his own unique compositions so this is an especially welcome release.
Neuma
Last but not least of my best of 2022 is this wonderful Neuma release which, when I began my research to write a cogent and informed review, left me stunned at how little I actually knew about composer David Tudor and the astounding dimensions of this unusual piece that evolves with every performance. After gathering a whole ton of data I finally decided that I could not write a comprehensive review without more research so I settled on a tasteful (I hope) summary with the expectation that I will write a larger piece on Tudor and his work. The review will be out very shortly. This is an amazing and significant release.
Happy 2023 to all my readers and thanks to those who kept reading my blog during more fallow times. I have many blogs currently in preparation that I look forward to sharing in the months to come. Peace, health, and music to all.
I don’t recall when I first heard Guy Klucevsek but I think it was the early 90s. I grew up hearing a great deal of accordions in polka bands at weddings throughout my childhood. This instrument had, pretty much since its beginnings in the early 19th century, been associated primarily with folk bands and not at all with classical music. I don’t think one can find an accordion used in a classical orchestra before Tchaikovsky’s 1822 Second Orchestral Suite and only sparingly after that. So when I discovered this New York musician via his releases on the Starkland label, Transylvanian Software (1999) and Free Range Accordion (2000) and the CRI disc Manhattan Cascade (1992). I was curious to see what this musician would do with this traditionally “low brow” folk instrument.
Free Range Accordion Starkland ST-209
Transylvanian Software Starkland ST-207
I had come to trust the Starkland label (which began in 1991) as one whose releases were usually very much to my taste and I was not disappointed to hear Klucevsek’s playing of pieces written by him and other composers for this instrument. Unlike Pauline Oliveros who did much to expand the very nature of the instrument itself, Klucevsek retained, and sometimes parodied, the humble folk/pop origins and reputation of the instrument while still pursuing its possibilities in the New York downtown experimental music scene where he worked with people like Laurie Anderson, Bang On a Can, Brave Combo, Anthony Braxton, Anthony Coleman, Dave Douglas, Bill Frisell, Rahim al Haj, Robin Holcomb, Kepa Junkera, the Kronos Quartet, Natalie Merchant, Present Music, Relâche, Zeitgeist, and John Zorn among many others. Klucevsek expanded the role of the accordion in his own way.
Klucevsek later put together a commissioning project called, “Polka from the Fringe” (1992), a project which echoes the 1981 “Waltz Project” by Robert Moran and presages another accordionist William Schimmel’s “The Tango Project” of 2006. All of these commissioning projects utilized dance forms common in the 20th century as a “stepping off” place for a new musical piece. And it was Starkland which rescued the fascinating two disc release of Polka from the Fringe (2013) from over two decades languishing in “out of print” status. These projects are significant in that they invite composers to get out of their comfort zone and demonstrate their take on the given dance form. Like Klucevsek’s earlier releases this Polka collection is a veritable Who’s Who of working composers of the era much as the Variations (1819) project of Anton Diabelli collected some 51 composers’ works based on Diabelli’s waltz-like theme (Beethoven’s gargantuan set of variations was published as volume 1 and the other 50 variations in volume 2 which included composers like Schubert and Liszt).
Polka from the Fringe Starkland ST-218
So here comes Starkland to the rescue again in this (languished for some 25 years after only having been available for two years) very personal recording which displays Klucevsek’s substantial compositional chops as well as his knowledge and use of extended instrumental techniques for his instrument. It presents pieces written for a dance performances and shows a very different side of Klucevsek, one which shows more of his substance as a composer alongside his virtuosic skills on his instrument. In this digital only release there is an option to include (for a mere $3.00 more on the Bandcamp site) a series of 13 videos featuring Guy Klucevsek talking about the music on this album and his various musical interests. A gorgeous 10 page booklet providing further detail including the original liner notes with updates is included in all purchases. The album will also be available on Spotify, You Tube, and other streaming services but the videos are only available on Bandcamp.
Teetering on the Verge of Normalcy Starkland ST-225
Listeners may find this new release has some in common with Starkland’s previous Klucevsek release from Starkland, “Teetering on the Verge of Normalcy” (2016) which features some similar compositional diversity in a disc entirely of Klucevsek’s works. The line from Citrus, My Love to Teetering on the Edge of Normalcy seems to be a logical succession in Klucevsek’s compositional development. In addition to his accordion studies Klucevsek studied composition in Pittsburgh but it was the influence of Morton Subotnick with whom he studied in his independent post graduate work at the California Institute of the Arts that exposed this east coast artist to some of the splendors of the west coast encountering artists like Terry Riley and Pauline Oliveros. Indeed Klucevsek can be said to be “bi-coastal” in his compositional endeavors. And though this is a “tongue in cheek” characterization it does speak to the roots of Klucevsek’s diversity in style.
There are 12 tracks on “Citrus, My Love” representing 3 separate works: the three movement, “Passage North” (1990), the single movement, “Patience and Thyme” (1991), and the eponymous, “Citrus, My Love” (1990) in 8 movements. The production of this album is by none other than Bobby Previte, another valued east coast musician and colleague. The notes have been updated under the guidance of Tom Steenland with input from Klucevsek who, understandably, expresses great joy in having this album available again.
The first three tracks are dedicated to a single work, “Passage North” (1990) written for accordion and string trio consisting of Mary Rowell, violin/viola, Erik Friedlander, cello, and Jonathan Storck, double bass. They are dubbed “The Bantam Orchestra”. This Copland-esque work was commissioned by Angela Caponigro Dance Ensemble. The second movement is for string trio alone and is dedicated to the memory of Aaron Copland who died in 1990.
Patience and Thyme (1991) according to the composer “is a love note to my wife, Jan.” He composed the work while in residence at the Yellow Springs Institute in Pennsylvania, which coincided with his 22nd wedding anniversary. It is scored for piano and string trio, no accordion. Compositionally it seems at home between the larger pieces.
Citrus, My Love was commissioned by Stuart Pimsler for the dance of the same name. It is in 8 scenes and is scored for Klucevsek’s accordion accompanied by his personally chosen Bantam Orchestra. Klucevsek describes the music on this album as representing his transition from hard core minimalism to a more melody driven style and this is the missing link, the “hole” to which I referred in the Beatles metaphor in the title of this review.
For those who already appreciate Klucevsek’s work this album is a must have. To those who have not gotten to know this unique talent this is a good place to start.
For those seeking to get more deeply into Klucevsek’s work (a worthwhile endeavor) and to provide a perspective on the range of this artist’s work I’m appending a discography (shamelessly lifted and updated from the Free Reed Journal) :
SOLOIST/LEADER
Scenes from a Mirage (Review) Who Stole the Polka? (out-of-print) Flying Vegetables of the Apocalypse (Experimental Intermedia) Polka Dots & Laser Beams (out-of-print) Manhattan Cascade (CRI) Transylvanian Softwear (Starkland) Citrus, My Love (Starkland) Stolen Memories (Tzadik) Altered Landscapes (out-of-print) Accordance with Alan Bern (Winter & Winter) Free Range Accordion (Starkland) The Heart of the Andes (Winter & Winter) Tales from the Cryptic with Phillip Johnston (Winter & Winter) Notefalls with Alan Bern (Winter & Winter) Song of Remembrance (Tzadik) Dancing On the Volcano (Tzadik) The Multiple Personality Reunion Tour (Innova) Polka From The Fringe (Starkland) Teetering On the Verge of Normalcy (Starkland)
COMPILATIONS
Great Jewish Music: Burt Bacharach, Who Gets the Guy?, This Guy’s in Love With You (Tzadik) Planet Squeezebox, The Grass, It Is Blue, Ellipsis Arts Legends of Accordion, Awakening (Rhino) The Composer-Performer, Samba D Hiccup (CRI) Koroshi No Blues, Sukiyaki Etoufee, Maki Gami Koechi (Toshiba EMI) Norwegian Wood, Monk’s Intermezzo, Aki Takahashi (Toshiba EMI) Music by Lukas Foss, Curriculum Vitae (CRI) Here and Now, Oscillation No. 2, Relache (Callisto) A Haymish Groove, Transylvanian Softwear (Extraplatte) A Confederacy of Dances, Vol. I. Sylvan Steps (Einstein) A Classic Guide to No Man’s Land, Samba D Hiccup (No Man’s Land)
WITH JOHN ZORN
The Big Gundown (Nonesuch Icon) Cobra (Hat Art) Lost in the Stars: The Music of Kurt Weill, Der Kleine Leutnant Des Lieben Gottes (A&M)
WITH RELACHE
On Edge (Mode) Open Boundaries, Parterre (Minnesota Composers Forum McKnight Recording) Pauline Oliveros: The Well and The Gentle (Hat Art)
WITH OTHERS
Laurie Anderson: Bright Red (Warner Bros) Anthony Braxton: Four Ensemble Compositions, 1992(Black Saint) Mary Ellen Childs: Kilter (XI) Anthony Coleman: Disco by Night (Avante) Nicolas Collins: It Was a Dark and Stormy Night (Trace Elements) Fast Forward: Same Same (XI) Bill Frisell: Have A Little Faith (Elektra Musician) David Garland: Control Songs (Review) Robin Holcomb: Rockabye (Elektra Musician) Guy Klucevsek/Pauline Oliveros: Sounding/Way, private cassette release (out-of-print) Orchestra of Our Time: Virgil Thomson, Four Saints in Three Acts (Nonesuch) Bobby Previte: Claude’s Late Morning (Gramavision)
Let me say that this disc represents one of the most integrated releases that I have seen/heard. This has the gravitas of a well conceived and executed prog rock concept album (remember those?). This young group of musicians from Detroit present themselves in a photo in the accompanying booklet in casual dress flouting the old fashioned traditions of playing in tuxes much as another creative chamber ensemble (The Kronos Quartet) did many years ago. The Akropolis Reed Quintet is a group of instruments not commonly known (I’ve never heard of any repertoire for this combination of instruments, any musicians/musicologists want to chime in here?) in classical chamber ensembles. Whereas the Kronos began work a with a long held standard ensemble comprising two violins, a viola and a cello, the classical string quartet which can easily trace a long standing tradition going back to Haydn and very much alive today, the Akropolis consists of oboe (Tim Gocklin), clarinet (Kari Landry), saxophone (Matt Landry), bass clarinet (Andrew Koeppe), and bassoon (Ryan Reynolds), an unheard of combo. Its history begins here.
Illustrator Ashton Springer
Unfamiliar music by an unfamiliar group of reed instruments doesn’t exactly shout, “Buy me, listen to me”, but the prospective listener need not fear. The program here consists of all new music for this ensemble. There are no competitors, at least for now. But all this music in truly excellent performances/recordings along with remarkably integrated collaboration with visual artist, British artist and illustrator Ashton Springer, and poet/writer Marsha Music combines in an apparent attempt to reclaim the artistic history that, in the days of the booming automotive industry and the success of Motown Recordings made Detroit a creative center known round the world. Ms. Music (a nom de plume for Marsha Battle Philpot), a Detroit native, is in many ways the heart of this album. Her father was a producer for Motown and her poetic reflections on local history infuses the album with a certain authenticity. The poet states she was “born in a record store”. Indeed it was the Joe’s Records which appears in Ashton’s album cover art to which she refers (metaphorically of course)
Ghost Light brings a variety of things into focus in this paean to Detroit, the home of these artists whose work very organically includes promotion of the arts in local schools and other venues. In works generally focused on themes of birth, death, and rebirth this album tells a sad story of lost history, of razed black neighborhoods, of fond memories, of a once thriving economy now struggling but fully embracing pride of place while seeking resolution of (and forgiveness?) for past injustices while looking optimistically to a better future.
Poet Marsha Music
The art work itself is a nostalgic example of fine cover art which successfully reflects the content and the character of the music contained within. The illustrations which so beautifully attract the eye to the cover are continued in the accompanying booklet which provides concise notes which place the music in the context of the composers’ various intent and processes as well as the nearly cinematic efforts made to represent the intended content of each piece. Though neither the poet nor the illustrator are known to this writer it is reasonable to assume that we will see/hear from them again. That would be my wish.
This is the fourth album by this prize winning chamber group which was formed in 2009 at the University of Michigan. It contains five musical compositions and three poems (which precede movements I, II, and IV of the final work). All the music, as noted above is generally on themes of life, death, and rebirth as well as “ghosts” of the past.
The first work by the only composer here that was known previously to this writer is “Rites for the Afterlife” (2018) by the amazing Stacy Garrop whose facility with melodic invention and subtle use of tone colors permeated her exciting Mythology Symphony. The four movements are roughly analogous to the classical sonata forms with a longer more complex first movement followed by a slow movement, a scherzo-like movement, and a finale which ties them all together. Here she titles her movements: I. Inscriptions from the Book of the Dead, II. Passage Through the Netherworld, III. The Hall of Judgement, and IV. The Field of Reeds. The composer provides a scenario which is recounted in the booklet. Let me say that her tone painting is that of a true master and I advise listeners to collect anything she releases. You will not be disappointed.
Second is “Kinds of Light” (2018) by Michael Gilbertson. This piece, in four brief movements attempting to metaphorically treat each instrument as a pigment. The movements: I. Flicker, II. Twilight, III. Fluorescence, and IV. Ultraviolet utilize timbres and combinations of timbres to represent the visuals implied by the titles. This is probably the most “experimental” of the pieces here but the experiment engages rather than repels.
“Firing Squad” (2018?) by Niloufar Nourbakhsh. If I’m reading those liner notes correctly, the performance of this work is accomplished with the ensemble playing with a recording of themselves playing the work. This is the most overtly political of the works represented here in its intense single movement.
“Seed to Snag” (2018) by Theo Chandler is cast in three movements: I. Sprout, II. Stretch, and III. Sow. Here is a metaphoric evocation of the cycle of life from birth to death utilizing baroque musical structures.
The album concludes with “Homage to Paradise Valley” by Jeff Scott. This is the largest work here clocking in at over 30 minutes including the poetry. Its four movements attempt to describe forgotten neighborhoods of Detroit. The movements are titled: I. Ghosts of black Bottom, II. Hastings Street blues, III. Roho Pumzika Kwa Amani, and IV. Paradise Theater Jump. Movements I, II, and IV are preceded by Detroit poet Marsha Music reading from her work. The beautiful title of the third movement is a phrase in Swahili which translates as, “Spirits, Rest Peacefully”. The other movements channel the ghosts of these nearly forgotten neighborhoods and that third movement invites those ghosts to a place of rest and the peace of knowing that they will not be forgotten.
I’ve placed links throughout this article so that readers can find more detail about the composers and other artists involved. All of the artists involved here deserve at least a second look if not more. Kudos to all who were involved in this project.
There are seemingly more string quartets performing these days than ever before and they are fine musicians. Whether we’re talking about the Kronos Quartet, Arditti Quartet, Pacifica, Telegraph, etc. all contain truly finely trained and virtuosic musicians. The problem is to distinguish one’s self (or one’s ensemble) in some way. I’m not going to go into how each of the mentioned string quartets have done this so don’t worry.
My point here is to review this fine disc by yet another new music quartet called PULBIQuartet. They have chosen, at least in this, their second release, to continue their efforts at “genre bending”, exploring music and transcribing music that is atypical of the standard quartet repertoire. Like their colleagues they are aiming at a redefinition or perhaps a revitalization of the string quartet genre. The performers are: Curtis Stewart, Jannina Norpoth, violins; Nick Revel, viola; and Amanda Gookin, cello.
The album at hand, titled “Freedom and Faith” presents music predominantly written by or associated with women. Get into the Now (2017) by Jessica Meyer is classical in the sense that it uses the standard 2 violins, viola,and cello and is divided into three movements played with short pauses. Content wise this is a strong piece which requires a great deal of virtuosity and a handful of extended techniques involving percussive use of the bodies of the instruments themselves and even a few spots that require the musicians to vocalize. All in all a riot of a piece with good humor. It lasts about 20 minutes and begs to be heard again. Very entertaining!
The next 9 tracks fit into the PUBLIQuartet’s project called Mind|the|Gap which is at the heart of their efforts to breathe new life into the string quartet and, hopefully, garner some new fans. All members of the quartet share arrangement and, at times, co-compositional duties.
Tracks 4, 5, and 6 contain transcriptions of sacred vocal music by female composers. The Medieval Hildegard von Bingen’s, “O ignee Spiritus” is followed by Francesca Caccini’s, “Regina Coeli”, and then Chiara Margarita Cozzolani’s, “O quam suavis est Domine spiritus tuus”. The vocal originals must be quite lovely but these works seem to retain their sacred ambiance even without the words. So ends the section which contributes to the “faith” in the title of the album.
Who knew that “A tisket, a tasket…” was by Ella Fitzgerald’s arranger Van Alexander. The PUBLIs (if you’ll forgive the truncation) do a marvelous and entertaining arrangement of this novelty song. It provides a sort of comic relief dividing the faith segment of the program to the “freedom” segment.
The next 4 tracks focus on transcriptions of popular music. These are serious pieces, not the “pop” type songs that are basically feel good or dance tunes but the type of music that is in the shadow of serious social issues. Who better than Nina Simone? These are loving and strikingly original arrangements of Herb Sacker/Nina Simone’s, “Blackbird”, Leslie Bricusse/Anthony Newly’s, “Feelin Good”, Nina Simone/Weldon Irvine’s, “Young Gifted and Black”, and Nina Simone’s powerful antiracist reproach in her, “Mississippi Goddam”.
These transcriptions are done in a free manner with echoes of Stephane Grappelli, Cajun music and, doubtless, references that this reviewer has not grasped. They are highly entertaining.
The album ends with another string quartet. This one is by Shelley Washington and it is a powerful piece. In its relatively short ten minutes or so she manages to create some memorable sound worlds. There are few program notes that give a clue as to the background and intended meanings of the purely instrumental works (those not derived from vocal music) but one senses political stirrings.
All in all a unique little recital which at least challenges the common notions of this chamber grouping and, frequently, succeeds.
The arrestingly beautiful portrait that graces the cover of this album should be enough of a cover to judge this release favorably. Just the presence of these two women suggests that you’re in for some serious music making. Add to that the fact that this is one of those impeccable Cedille releases and you know that you, the listener, will not be disappointed. Here is another offering for Women’s History Month (even though the disc was released in November, 2018).
Kaija Saariaho (1952- ) is possibly the hottest composer to come out of Finland since Sibelius. Her career has steadily grown and she has written for chamber ensemble, stage, and orchestra. It is somehow satisfying to have this little portrait of her work. (This reviewer’s first encounter with the composer was in 1987 when the Kronos Quartet premiered her Nymphea for string quartet and electronics.) Five works are selected here and, if you don’t know this composer’s work, think Debussy, Takemitsu, and their ilk. No electronics on this disc though. Her work is a unique expression and pretty much listener friendly whether or not she uses electronics.
There are four chamber music pieces and a nice new performance of her masterful violin concerto, “Graal Théâtre”. Saariaho is so prolific such that one can only do a sort of “snapshot” selection of her work on a single CD. A decent retrospective would likely require several more discs.
Jennifer Koh is without doubt one of the finest violinists working today, especially in contemporary music. She even broke ground in one of the coolest blind castings in contemporary performance playing Einstein in Glass’ opera, “Einstein on the Beach”. For those who are unfamiliar the role of Einstein requires a violinist wearing a wig who plays some mighty difficult violin music at different points during the opera. This writer heard her in performance of this role at the revival in Berkeley a few years ago and it is a mark of Koh’s expertise that she made the role her own. Her range (which includes more conventional repertoire like Mozart, Tchaikovsky, etc.) is simply astounding and her technical ability puts her in competition for an ever growing list of commissions and other works she has added to her repertoire.
On this CD we get to hear Koh in the intimate settings of chamber music where the skills of listening to others is so critical as the individual voices weave their parts though the texture. While Saariaho is basically a well trained modernist romanticism and perhaps impressionism still remain a part of her palette. Joining Koh in the chamber pieces are: Nicholas Hodges, piano; Hsin Yun Huang, viola; Wilhelmina Smith, cello; Anssi Karttunen, cello;
Of course the big showpiece here is the violin concerto from 1994. This large scale work is actually as lucid and detailed as her chamber music, albeit with a larger range of sounds. It is a masterful composition and this appears to be the second recording it has received though apparently the first recording of the version with reduced orchestra played by the Curtis 20/21 Ensemble conducted by Conner Gray Covington (another reason to want this album). I wasn’t able to locate the other recording with Gidon Kremer but it is a good sign when you have more than one top soloist recording your work. Brava Ms. Koh and Ms. Saariaho! This is a collaboration blessed by the Gods. Saariaho x Koh = bliss.
For this listener, traversing contemporary music concerts in the 1980s there appeared a trend to modify the traditional look of classical performers. The first striking example I can recall is the venerable Kronos Quartet performing all in tight black leather outfits. And there are performers who have an intentionally different look such as violinist Nigel Kennedy or Kathleen Supove whose look is decidedly unconventional. Focusing on attire could conceivably detract from a musical performance but the previously mentioned performers have in common with the performer on this disc both virtuosity and a distinctly different look which seems integral to their performance delivering decidedly unconventional music. The photography by Corrie Schneider creates a striking and evocative cover image giving her a sort of superhero ambiance. Why not?
Rebekah Heller, of course, is also one of the members of the wonderful ICE Ensemble, one of the finest working chamber groups focusing on contemporary music. ICE has in common with groups like Bang on a Can, Alarm Will Sound, ACME, and others the fact that they are populated by some of the finest young musicians who seem to be able to meet any challenge…er, commission thrown at them. In addition many of the musicians in these groups are also interesting composers. The others have a profound interest in new music that match their skills and passions oh so well.
In Metafagote Rebekah Heller presents 4 works on 4 tracks. Rand Steiger (1957- ) is a graduate of the Manhattan School of Music and Cal Arts. Steiger has been at UC San Diego since He is a 2015 Guggenheim Award recipient and though his discography is adequate this writer sees his name, hears his music too infrequently.
Steiger’s work opens this disc with Concatenation (2012) for bassoon and live electronics. Steiger is skilled in writing for both conventional instruments and for high tech electronics including spatialization, live processing. Steiger’s work is assertive, pretty much freely atonal, and packs a punch emotionally if memory serves. There was a vinyl record (this composer is younger than me by one year and I’m guessing still hoards at least a selection of LPs. The work was Hexadecathlon: “A New Slain Knight” (1984), basically a horn concerto for horn with chamber ensemble. It burns in my brain still, wonderful 6 minute cadenza at the end too.
Back to Concatenation, it is a sort of all consuming experience, a sound bath if you will. The timbres achieved with the combination of bassoon with electronics creates some grand, almost orchestral textures.
The second work is by one Jason Eckhardt (1971- ), a name vaguely familiar but his work is new to me, Eckhardt earned a B.A. from Berklee in 1992 followed by an M.A. (1994) and a D.M.A. (1998). He has studied with James Dillon, Jonathan Kramer, Milton Babbitt, Brian Ferneyhough, and Karlheinz Stockhausen. That provenance gives one an idea of what to expect…complexity. And he dishes that out for solo bassoon. Heller is up to the challenge in this piece, “Wild Ginger” (2014) from a series of pieces based on native plants in the Catskills. Again, why not?
The third track contains, “Following” (2014) for solo bassoon from a composer whose inspiration also sometimes comes from plants. Dai Fujikura (1977- ) is a prolific Japanese composer who also comes from a legacy of complexity having studied with the likes of Boulez, Taketmitsu, and Ligeti. Fujikura’s music may be complex but his music tends to have a softer edge, more like Takemitsu than Boulez. Again Heller demonstrates her technical skills that rise to meet the challenges posed here.
Last but not least is a piece as large and encompassing as the Steiger. Felipe Lara (1979- ) is an accomplished Brazilian composer. He is represented here by, “Metafagote” (2015), the most recent of the compositions here. It is scored for bassoon and 6 pre-recorded tracks. One is naturally put in the mind of Steve Reich’s counterpoint series for soloist playing against multiple pre-recorded similar instruments. The piece also can, and has been, performed by a soloist with 6 other bassoonists.
While the Reich notion is not the worst place to start, this piece is anything but minimalist. Rather it is distinctively modernist. It is a virtuosic exploration of some fascinating possibilities of the lowly bassoon. Lara owes more to free jazz at times in this epic, almost a concerto, piece.
I don’t know how many bassoon fanciers are out there but if you like new and experimental music of a virtuosic nature this is a great bet.
Had to save this one for Christmas. If ever there was an album that conjures more of the positive intents of the Christmas season this one gets my vote. Imagine celebrating a living acknowledged master artist in a milieu of his actual and artistically extended family. That may seem an extreme notion to some but this writer is utterly charmed and thrilled to hear this “one of a kind” collection. Other interpretations will, of course, be valid but none will ever match this one. It’s like the Carter family of the avant-garde (and I mean that unambiguously with great respect).
Any release by Bay Area pianist Sarah Cahill is reason enough alone to perk up one’s ears but this massive four disc collection of all new recordings in honor of Terry Riley’s 80th birthday (Terry was born in 1935) is a major release of (almost) all of Riley’s music for piano, piano four hands and two pianos. In addition two of the discs are dedicated to pieces commissioned in honor of Riley. This set belongs in the collection of anyone interested in mid to late twentieth century music and especially fans of minimalism and the curiously west coast iterations of modernism.
As a listener I have always treated every Terry Riley release as a major event as well and this collection does about as fine a job as one can imagine in paying homage to one of the brightest artistic lights of the Bay Area. Riley came to prominence (at least historically speaking) with his open score piece, In C (1964). It is among the earliest examples of the style which, for better or worse, became known as “minimalism”. Since then he has continued to produce music in pretty much all genres, chamber music, orchestral music, solo music, concerti, etc.
Riley’s style, however, continued to evolve and his later works show diverse influences from his days playing barrel house piano, his interest in progressive jazz, and his studies of Hindustani and Carnatic musics (under the tutelage of Pandit Pran Nath). Like pretty much every composer of that first wave of “minimalists” Riley has evolved a much deeper and individualized style but, even with the diversity of influences as mentioned, he remains uniquely Terry Riley.
Throughout his career as composer and performer Terry has been a teacher and an advocate of new music. His enthusiasm and talent has affected all who know him and, I dare say, all who have experienced his work.
This collection ranges over his entire career from the early “Two Pieces” (1958/9) to later solo and four hand compositions on the first two discs. It is worth noting that Be Kind to One Another (2008/14) was one of the commissions in Sarah Cahill’s wonderful series of anti-war pieces, “A Sweeter Music”. It then goes on to the homages which, of course, can also be said to be influenced by Riley’s work.
This is not simply a collection of Riley’s piano music. What we have here is a lively celebration of most of Riley’s music for piano, two pianos and piano four hands from the full spectrum of his career (as the liner notes say a couple of large compositions were not included, most likely a matter of space) along with a touching set of homages by composers related musically and aesthetically to Mr. Riley. They range from contemporaries to students, artistic descendants to actual family. It is a multi-generational tribute and a loving artifact that celebrates this artist on a very personal level.
Regina Myers supplies the other two hands in the disc of four hand piano pieces by Riley. She credits another Bay Area composer/teacher/conductor, the Mills College based Steed Cowart for recommending her for this crucial role. Such touches add to the sense of this being a Bay Area family project on so many levels.
The interrelationships that comprise this lovely production make it stand distinctly apart from the (no less significant or lovely) homages to fellow minimalists Philip Glass and Steve Reich. This is a much more personal album which reflects Riley as composer, teacher, inspiration, father, icon and friend. Anyone who has met Terry or experienced him in performance has experienced a certain warmth like that of a wise and gentle guru.
After the two discs of Riley’s music we are treated to music inspired by another generation of artists and, last, by long time colleague, the late great Pauline Oliveros (1932-2016), another wise and gentle guru who died just about a year before the release of this album. She and Terry worked together (along with Morton Subotnick, Ramon Sender, Steve Reich, William Maginnis, and Tony Martin) as founders of the San Francisco Tape Music Center which would become the Mills College Center for Contemporary Music (still operating today). The producers wisely dedicated an entire disc to one of Oliveros’ last compositions, this loving tribute to her friend and colleague. It is now, sadly, a tribute to her memory as well. Samuel Adams shares the performing duties along with Ms. Cahill on this extended homage.
There is little doubt that the other composers whose music graces this tribute will continue on their unique paths to continued success always acknowledging their connections to Mr. Riley. Danny Clay is among the less familiar (to this reviewer) names here but his Circle Songs seem to fit quite well to open the first tribute disc. Gyan Riley is, of course, one of Terry’s children and a fine guitarist and composer in his own right. Anyone who has had the pleasure of seeing Gyan and Terry play together cannot miss the close bond personally and musically of these two. They are a joy to behold. The affectionate Poppy Infinite is a reference to the elder Riley’s Poppy Nogood’s Phantom Band which was the “B side” of his classic Rainbow in Curved Air. Samuel Adams is the son of Pulitzer Prize winner John Adams whose early work China Gates was written for and championed by his fellow classmate at the San Francisco Conservatory, Sarah Cahill. The younger Adams’ contribution here is called Shade Studies.
The eclectic Christine Southworth also seems to embody the (perhaps loosely defined) West Coast style. Her interests in electronics and world music describe this superficially but her sound is a welcome one here as well. Keeril Makan earned his PhD. in music at Berkeley which doubtless has left a stamp on his style. His composition “Before C” makes reference to what is doubtless Terry Riley’s best known work, the oft performed, “In C”. Elena Ruehr is a composer whose connection is not as clear as some of the others here but her work, “In C too” demonstrates her understanding of and her respect for Riley’s work. Last on this disc of tributes is Dylan Mattingly. He is a Berkeley native and can frequently be seen/heard performing in various venues in the Bay Area. His contribution YEAR demonstrates both his individual style and his connection to the West Coast Style mentioned earlier.
The liner notes by Sarah Cahill are part of the tribute and a good description of the various influences behind the man of the hour, Terry Riley. Credit is properly given to the artistic influences that inspired Mr. Riley and a brief description of what must have been an intimidating but loving project. It is likely that there are even more connections involved in this undertaking but that must be left to future musicological and historical research.
The Kronos Quartet has long ago championed Riley’s work for that medium and new versions of his classic, “In C” continue to come on the scene. One can only hope that the energy embodied here will inspire recordings of some of Riley’s lesser known work with orchestra which richly deserves hearings. But regardless there is much to celebrate here and best holiday wishes go out to Mr. Riley and his talented progeny. Happy listening, all.
Terry Riley (1935- ) turned 80 on June 24, 2015 and happily we are still celebrating this treasure of American music. His iconic work “In C” (1964) is one of the defining works of the minimalist movement and Riley’s trippy album, “Rainbow in Curved Air” (1969) has also endured well. But these works typify his early style and his work has evolved though his primary influences continue to be jazz and Hindustani music for the most part to a very personal style.
His discography boasts at least 30 albums and his compositions range from various chamber music pieces, solo and duo piano music, orchestral music, concertos and even music drama. His influence on musicians is wide ranging and even includes that familiar intro to Baba O’Riley by the The Who (the title is actually an homage to Meher Baba and Terry Riley and that intro derives from Riley’s first Keyboard Study). In recent years he has achieved much deserved success in collaboration with his son Gyan Riley who is a composer in his own right and an extraordinary guitarist. Their collaborations have been a true highlight in both musicians’ careers.
This disc is a production from the truly wonderful Sono Luminus label whose recordings continue to set a high bar for production and excellence in sound as well as in intelligent programming.
Three works are presented here. The first is Dark Queen Mantra (2015) for electric guitar and string quartet. It is obviously the centerpiece and it is a fine work commissioned in honor of Riley’s 80th and written for the forces who perform it here. The amazing and versatile Del Sol Quartet and Gyan Riley seem a natural pairing. These California based musicians seem to pour the whole of their artistic hearts and souls into this performance and Gyan Riley, a fine musician in his own right, always seems to be at his very best in his collaborations with his dad. (Indeed anyone who had the pleasure of seeing their live sets can testify as to their beautiful musical intimacy.)
So it is we have a definitive recording of yet another fine piece from this beloved composer. The choice to follow it with Mas Lugares (2003) by the late Stefano Scodanibbio (1956-2012) is an inspired and very appropriate choice (Riley was fond of this composer and helped promote his work). Scodanibbio collaborated with Riley and recorded two albums with him (Lazy Afternoon Among the Crocodiles, 1997 and Diamond Fiddle Language, 2005). This work for string quartet is dedicated to Luciano Berio and is a sort of deconstruction via the lens of the composer’s vision of madrigals by the early baroque master Claudio Monteverdi. It is truly a joy to hear more of this composer’s music and this serves as a loving homage by the Del Sol and, by association, with Riley.
The concluding music is again by Terry Riley and it comes from the rich period of his collaboration with another set of fine California based musicians, the Kronos Quartet. They Wheel and the Mythic Birds Waltz (1983) first appeared on a Gramavision disc and this is a welcome reprise. It is via his writing for the Kronos that Riley produced most of his string quartet writing and it is a fine repository for his compositional talents.
For its sound and its compositional and performance content this is one of the finest discs to come across this reviewer’s desk and it is a beautiful homage to Riley (father and son), the Del Sol Quartet, the Kronos Quartet and to the late Stefano Scodanibbio. This is a gorgeous and deeply satisfying album. Kudos to all.
This is the ninth CD and the fourth Sony release by harpist Lavinia Meijer (1983- ). This South Korean born artist was raised and educated in the Netherlands by her adoptive parents. Her musical talent has earned her Cum Laude Bachelor’s and Master’s degrees in music and she has successfully pursued a career as both a soloist and an orchestral musician. She appears to have a thorough grounding in both classical and contemporary harp repertoire and a passion for music.
In this double CD she presents her own transcriptions of ten of Philip Glass’ piano etudes and a second disc of music inspired in part by Glass’ style. The Herculean tasks of transcribing and learning these etudes elicited collaboration with the affable composer and any Glass fan will want to hear her take on these pieces.
Meijer has chosen ten (of the now twenty) piano etudes for this album. Now the harp is very close to the piano in many ways. I believe it has basically the same pitch range and it does rely on strings and a sounding board. However the playing of the instrument and the range of possibilities playable by two trained hands differs quite a bit. There are problems on transcribing piano music for the harp. It is not clear that all twenty can ever be successfully transcribed and played on Meijer’s instrument but this reviewer is truly grateful to hear the ten she has done and holds hope for the future that the remaining ten may find their way to a future release. Her interpretation of these works help to provide the listener with insight to their complexities both technically and in their interpretation.
The sassy neo-punk haircut on the album cover conjures comparisons in this reviewer’s mind of the hipness in both dress and presentation that characterized the wonderful Kronos Quartet, especially in their early days. Indeed she does seem to be following a similar trajectory and Sony no doubt has hopes that she will establish a similar marketing niche doing for her instrument what the Kronos did (and continues to do) for the string quartet. It certainly appears to be a safe bet.
One need only look to the second of the two discs to find Meijer championing some recent works written in contemporary styles that owe something to Glass’ compositional style. The disc which includes Meijer’s take on portions of Glass’ Koyaanisqatsi score along with compositions by five other composers is definitely a lighter even more pop-inflected experience at times. That is not to say that this disc is lesser in any way but that it does seem to be reaching perhaps for a younger audience less versed in the classical harp repertoire. Classical music needs to embrace other genres as the very concept of genre becomes more divisive than useful. Another Strategy reminiscent of the Kronos.
Whether or not this album manages to attract a wider audience to the charms of her instrument it does serve to showcase the range of this artist’s technical skills and the delightfully broad reach of her repertoire. This rapidly rising star seems poised to be writing a bright new chapter in the life of the concert harp, a truly exciting prospect.
As someone who grew up attending Polish weddings and hearing more than his share of polka music I was fascinated at the unusual role of the accordion as I began to get interested in new music. People like Pauline Oliveros and Guy Klucevsek completely upended my notions of what this instrument is and what it can do. The accordion came into being in the early 19th century and was primarily associated with folk and popular musics until the early 20th century. It has been used by composers as diverse as Tchaikovsky and Paul Hindemith but the developments since the 1960s have taken this folk instrument into realms not even dreamed of by its creators.
Guy Klucevsek with some of his accordions
Guy Klucevsek (1947- ) brought the accordion to the burgeoning New York “downtown” new music scene in the 1970s. He began his accordion studies in 1955, holds a B.A. in theory and composition from Indiana University of Pennsylvania and an M.A. (also in theory and composition) from the University of Pittsburgh. He also did post graduate work at the California Institute of the Arts. His composition teachers have included Morton Subotnick, Gerald Shapiro and Robert Bernat. He draws creatively on his instrument’s past even as he blazes new trails expanding its possibilities. The accordion will never be the same.
Klucevsek has worked with most all of the major innovators in new music over the years including Laurie Anderson, Bang on a Can, Brave Combo, Anthony Braxton, Dave Douglas, Bill Frisell, Rahim al Haj, Robin Holcomb, Kepa Junkera, the Kronos Quartet, Natalie Merchant, Present Music, Relâche, Zeitgeist, and John Zorn (who also recorded him on his wonderful Tzadik label). He has released over 20 albums and maintains an active touring schedule. He recently completed a residency (April, 2016) at Sausalito’s Headlands Center for the Arts.
Starkland ST-225
Starkland ST-209
Starkland has released no fewer than three previous albums by this unusual artist (all of which found their way into my personal collection over the years) including a re-release of his Polka from the Fringe recordings from the early 1990s. This landmark set of new music commissions from some 28 composers helped to redefine the polka (as well as the accordion) in much the same way as Michael Sahl’s 1981 Tango and Robert Moran’s 1976 Waltz projects did for those dance genres.
Starkland ST-218
The present recording, Teetering on the Edge of Normalcy (scheduled for release on September 30, 2016), continues this composer/performer’s saga. His familiar humor and his unique experimentalism remain present but there is also a bittersweet aspect in that most of these compositions are homages and many of the dedicatees have passed from this world. Klucevsek himself will turn 70 in February of 2017 and it is fitting that he has chosen to release this compilation honoring his colleagues.
On first hearing, many of Klucevsek’s compositions sound simple and straightforward but the complexities lie just beneath the surface. What sounds like a simple accordion tune is written in complex meters and sometimes maniacal speed. To be sure there are conservative elements melodically and harmonically but these belie the subversive nature of Klucevsek’s work which put this formerly lowly folk instrument in the forefront with the best of the “downtown” scene described by critics such as Tom Johnson and Kyle Gann. You might mistake yourself as hearing a traditional music only to find that you had in fact wandered into the universe next door.
Many favorite collaborators have been recruited for this recording. Most tracks feature the composer with other musicians. Four tracks feature solo accordion, two are for solo piano and the rest are little chamber groupings from duets to small combos with drum kit.
The first three tracks are duets with the fine violinist Todd Reynolds. Klucevsek’s playful titles are more evocative than indicative and suggest a framework with which to appreciate the music. There follows two solo piano tracks ably handled by Alan Bern. Bern (who has collaborated on several albums) and Klucevsek follow on the next track with a duet between them.
Song of Remembrance is one of the more extended pieces on the album featuring the beautiful voice of Kamala Sankaram along with Todd Reynolds and Peggy Kampmeier on piano. No accordion on this evocative song which had this listener wanting to hear more of Sankaram’s beautiful voice.
The brief but affecting post minimalist Shimmer (In Memory of William Duckworth) for solo accordion is then followed by the longer but equally touching Bob Flath Waltzes with the Angels. William Duckworth (1943-2012) is generally seen as the inventor of the post-minimalist ethic (with his 1977-8 Time Curve Preludes) and he was, by all reports, a wonderful teacher, writer and composer. Bob Flath (1928-2014) was philanthropist and supporter of new music who apparently worked closely with Klucevsek.
Tracks 10-12 feature small combos with drum kit. The first two include (in addition to Klucevsek) Michael Lowenstern on mellifluous bass clarinet with Peter Donovan on bass and Barbara Merjan on drums. Lowenstern who almost threatens to play klezmer tunes at times sits out on the last of these tracks. Little Big Top is in memory of film composer Nino Rota and Three Quarter Moon in memory of German theater composer Kurt Weill. These pieces would not be out of place in that bar in Star Wars with their pithy humor that swings. They also evoke a sort of nostalgia for the downtown music scene of the 70s and 80s and the likes of Peter Gordon and even the Lounge Lizards.
The impressionistic Ice Flowers for solo accordion, inspired by ice crystals outside the composer’s window during a particularly harsh winter, is then followed by four more wonderful duets with Todd Reynolds (The Asphalt Orchid is in memory of composer Astor Piazolla) and then the brief, touching For Lars, Again (in memory of Lars Hollmer) to bring this collection to a very satisfying end. Hollmer (1948-2008) was a Swedish accordionist and composer who died of cancer.
As somber as all of this may sound the recording is actually a pretty upbeat experience with some definitely danceable tracks and some beautiful impressionistic ones. Like Klucevsek’s previous albums this is a fairly eclectic mix of ideas imbued as much with humor and clever invention as with sorrow and nostalgia. This is not a retrospective, though that would be another good idea for a release, but it is a nice collection of pieces not previously heard which hold a special significance for the artists involved. Happily I think we can expect even more from this unique artist in the future.
Guy Klucevsek, looking back but also forward.
The informative gatefold notes by the great Bay Area pianist/producer/radio host Sarah Cahill also suggest the affinity of this east coast boy for the aesthetic of the west coast where he is gratefully embraced and which is never far from his heart (after all he did study at the California Institute of the Arts and has worked with various Bay Area artists). Booklet notes are by the composer and give some personal clues as to the meaning of some of the works herein. Recordings are by John Kilgore, George Wellington and Bryce Goggin. Mastering is by the wonderful Silas Brown. All of this, of course, overseen by Thomas Steenland, executive producer at Starkland.
Fans of new music, Guy Klucevsek, accordions, great sound…you will want this disc.
OK, bear with me here for just a moment. The proliferation of string quartets (and by that I mean the grouping of musicians as a performing entity) has been positively dizzying over the last 30 years. For those who grew up with the standard Julliard Quartet, Guarneri Quartet, etc. there were just a few outstanding names in this genre. However since the advent of the new quartets like Kronos and then Turtle Island, Arditti,etc. the field has expanded rather prolifically. Couple this with a boom in string quartet writing notably Elliot Sharp, John Zorn, Wolfgang Rihm. Elliot Carter, Peter Maxwell-Davies, Ben Johnston among many others and I was filled with some trepidation upon receiving this disc for review. I mean, how many things can you do with a string quartet?
Apparently there is a great deal more to be explored in this genre. I am happy to say that these folks are up to the task as are the composers whose work they present. Serious Business is some seriously interesting music performed with serious skill by this new quartet, the Spektral Quartet. They are the string quartet in residence at the University of Chicago, itself a venerable place for new music.
We start here with a piece by Sky Macklay called Many Many Cadences (2014) a piece that seems to come from a similar place to that of the work of Conlon Nancarrow with intricate rhythms within a somewhat conservative tonal idiom. The title is suggestive of Gertrude Stein (Many, Many Women). It was commissioned for the Spektral Quartet by the Walden School. The piece is immediately engaging and ultimately satisfying.
The second piece, The Ancestral Mousetrap (2014) by David Reminick features a less common use of a string quartet in that there is a vocal component. This is not the vocalist component pioneered by Schoenberg in his second quartet. These vocalizations are performed by the quartet. This is no simple feat either because the vocal writing is itself a challenge in its rhythmic complexity. The piece resembles a little opera and indeed the text by poet Russell Edson is here called a libretto. This piece was commissioned by the Spektral Quartet.
The third piece here is an unusual choice (and the only one not commissioned for the Spektral Quartet) which is explored in the liner notes . Haydn’s Quartet Op. 33 No. 2, subtitled “The Joke” is one of the relatively few examples of attempts at program music (vs absolute music) to be found in the classical era. First, no one will buy this disc just for the Haydn. Second, many collectors will already have this Haydn piece in their collection. But with that said this is a lovely performance of one of the emblematic pieces of music that created the need for the performing ensemble known as the string quartet and it is a lovely performance as well. I will leave it to other listeners to read the program notes and get into the rationale about its inclusion here.
The final piece, Hack (2015) by Chris Fisher-Lochead is perhaps the most unusual of the lot in that the composer uses vocal inflections by a collection of comedians (yes, comedians) as the source for his rhythmic and melodic contours and creates 22 separate pieces about 16 comedians (some get more than one piece). This piece requires more concentration by the listener but, like any well-written piece, it reveals more of itself with repeated listenings. The Barlow Endowment at Brigham Young University commissioned this piece for the Spektral Quartet.
The Spektral Quartet is Clara Lyon, violin; Austin Wulliman, violin; Doyle Armbrust, viola; Russell Rollen, cello. The recording, as with every Sono Luminus release I’ve heard is glorious and lucid.
Kronos Quartet with Paul Hillier in Malmö fall 2005 (Photo credit: Wikipedia)
Looking back at the history of music since 1945 one can clearly see the musicians who took on the newly developing repertoire with all its difficulties both in performance and in selling it to an audience. These are the performers who introduced these new pieces to unsuspecting audiences and lovingly nurtured them to the place they now hold in the canon of musical masterpieces.
I’m speaking here of people like David Tudor, champion of the New York School (Cage, Feldman, Brown and Wolff) as well as a composer in his own right. I’m speaking of ensembles like the Kronos Quartet and the Arditti Quartet, champions of innovators in music for string quartet. I’m also speaking of conductors including Serge Koussevitzky, Leopold Stokowski, Leonard Bernstein and a host of others who daringly programmed new music and even sometimes endeared their audiences in so doing.
Cover of Arditti String Quartet
Date of photo not recorded. (Photo credit: Wikipedia)
These are the people who brought that fascinating repertoire to my ears and those of many over the years They are the people who also taught me why this music needs to be heard, whose enthusiasm communicated the depth in the scores they lovingly rehearsed and performed.
These musicians are part of a tradition, that of championing new music. They widen and deepen the repertory by their selection, interpretation and performances of music that is new or not yet well-known. They are the high priests and priestesses of the religion of sonic culture. And as they fade into history they leave a vacuum which must be filled.
Portrait of Serge Koussevitzky from the Library of Congress’s George Grantham Bain Collection (Photo credit: Wikipedia)
My intention here is to identify some of the musicians I have discovered who seem to be taking up residence in that vacuum. I am starting a series of articles in which I intend to share what I believe to be important cultural finds both in the musicianship and the emerging repertory.
As always I am open to any and all suggestions for inclusion here. I would like to know who is going to introduce me to my next favorite musical discovery.
Leonard Bernstein (Photo credit: Wikipedia)
My first article, currently in preparation, will be on the French pianist Nicolas Horvath. His significant presence in social media makes him almost hard to miss and relatively easy to research. Please stay tuned.
New Music Buff 