San Jose Chamber Orchestra‘s music director and regular conductor Barbara Day Turner. A quick look at the orchestra’s web site or the repertoire of tonight’s conductor will dazzle and intrigue any fan of new music. This modest ensemble of approximately 20 musicians (give or take) consists of professional musicians who clearly take their work seriously. No spoilers here in saying that they turned in some seriously powerful and polished performances.It was a pleasant spring day in San Jose where, in this modest hall, there was to be a concert of mostly contemporary music with one exception. The concert was billed as “A Touch of Tech” due to its use in some pieces of electronics and, in one case, slide projections. However the overall sense of the experience left this writer with a strong sense of the romantic, hence the title of this review. The concert was to be led by the
This writer was initially asked to review this performance on behalf of the management agents of composer Vivian Fung (1975- ), a Canadian-American composer whose star is rising rapidly. In preparation for the evening’s performance it was wonderful to find some of her work on You Tube. It was a rewarding experience to hear some of her range of compositions. The featured composition of hers for this evening was Humanoid (2017) for cello and electronics. It was third in the programming sequence for the evening.First up though was a composition which initially seemed anachronistic in context. It was Dvorak’s Silent Woods (1833) for cello and orchestra in a transcription for cello and strings by Kerry Lewis. This piece of unabashed high romanticism in fact seemed to contextualize what was to follow. The soloist Coleman Itzkoff gave a wonderful display of his romantic chops in his interpretation of this somewhat lesser known bon bon of Dvorak’s. The audience responded most appreciatively to a lush and lovely performance. Second up was Green (2008-16) by Scottish-American composer Thea Musgrave (1928- ). This work was being played in honor of her 90th year. Mr. Musgrave was reportedly unable attend this evening, not due to infirmity but rather to industry. She is reportedly hard at work adding to her already prolific catalog of works. (This version was a string orchestra version prepared by Martyn Brabbins.) Nonetheless her presence was strongly felt in this recent ecologically themed piece for string orchestra (sans electronics). The tonalities in the work seemed to almost be echoes from the first work. Despite a few string effects, pizzicati, glissandi, there was an overall feeling of romantic gestures here in a discursive development that included a disturbing motif from the double basses and rather romantic and lyrical responses from solo violin and viola embedded in the lush orchestral textures (it is astonishing to hear what a master composer can do with a small string orchestra). The conductor and ensemble displayed an intensity of concentration which resulted in a really spectacular performance which was very much appreciated by the audience. (Curious side note: I later learned that an elderly gentleman who sat in front of me and listened with obvious concentration and appreciation throughout the program was in fact a relative of Ms. Musgrave so, at least by that proxy she was there in yet another capacity.) The stage was then set for the west coast premiere of Vivian Fung’s Humanoid for cello and electronics. Here I had the advantage of being able to speak with the evening’s engineer (and electronic co-conspirator) Tom Johnson. This gentleman advised me of his roles in the three pieces which involved technology. Apparently the Fung piece required the most attention and coordination involving a click track. The Shatin piece basically played the electronics in parallel to the orchestra with the coordination largely left (presumably) to the conductor. And the last piece involved projections whose synchronization were not as minutely critical as the other two pieces. Said gentleman was also the recording engineer for this concert.
For this writer the term “electroacoustic” indicates that one should approach such a work with caution. Indeed the success of the integration of electronics and acoustic instruments varies a great deal. Perhaps the best known of such efforts are the pioneering “Synchronisms” of Mario Davidovsky in which various instruments are paired with an electronic track. And these days one must ask if the electronics interacts with or alters the sound of the acoustic instrument or if it exists in parallel. Electroacoustic music has been and remains a huge compositional challenge and no small challenge for the listener.
In the case of Fung’s piece the electronics exist in parallel but carefully synchronized (the soloist does listen to a click track) to the cello score. No alteration of the cello’s sound is done by anyone other than the cellist. So we are then hearing basically a duo between two musical streams, one live, the other on a digital stream of largely concrete sounds and, at one point, a drum kit. Such technical issues can be tiring but the sound of the music was not. According to the composer the piece is in three parts. The cello and the electronics are both equally present in all. In fact the cello seems to be creating sounds that are analogous to the electronic sounds at times and the cellist is given a lot of large romantic sounding gestures which in many ways were not entirely different emotionally than the gestures of the Dvorak. Fung’s work seems, appropriately here in Silicon Valley, to be challenging the human vs. the machine, an increasingly intriguing dichotomy.
It was clearly a challenging piece for the cellist requiring a plethora of techniques and a great deal of virtuosity. Itzkoff handled his role with stern concentration and demonstrated a strong command of both his instrument and the score. He was rewarded with a standing ovation and two curtain calls for his efforts which he gratefully accepted. The program notes indicated that this was Fung’s first major foray into the use of electronics and one hopes not the last.Following intermission was the premiere performance of the work of another established citizen of American music. It was Judith Shatin‘s Ice Becomes Water (2018) commissioned by Barbara Day Turner and the San Jose Chamber Orchestra and is dedicated to them. Shatin is a sound artist as well as a composer meaning that she has mastered the incorporation of a variety of sounds into her compositional palette. In this case she utilized sound samples gathered by glaciologist Oscar Glowacki.
This piece continued the basically pastoral/ecological themes suggested by the earlier works. Again too there was lyricism though the sound images here were, appropriately, colder and more stark than those in some of the other compositions. In fact this composition seemed to have some affinities to the sound world of Musgrave’s work at times but perhaps a bit harsher. What sustained interest here, in addition to the sonic inventiveness of the string writing, was the seamless integration of the sounds into the overall texture. Here the electronics seemed to augment Penderecki like sound mass effects and gave way to gentler clicking sounds (or were they pizzicati?). It was another very intense but very satisfying musical experience for this writer and, by the sound of the applause, the rest of the audience as well. Happily Shatin was there to enjoy the success of this performance and the appreciation of her artistry.To end the program there was a multimedia work by William Susman (1960- ) The work of this composer is new to this reviewer’s ears but not apparently to the music world at large. A quick perusal of Susman’s web page reveals a prolific composer who maintains a busy schedule of composing and performing (including a performance of his recent opera, Fordlandia at the Forth Worth Opera Frontiers Showcase) coming up in May.
The work was a piece entitled, In a State of Patterns (2018) which received its premiere on this night. The work is a series of six movements which are designed to respond (or maybe create musical analogs) to 6 art works created by Santa Clara University mathematician Frank Farris (1955- ).The movements (performed without pause) are: 1. California, the Golden State, 2. The Sierra Nevada, 3. At Home in San Jose, 4. Sierra Tree Death, 5. Spiral Vortex, and 6. The Stars Come Out to Comfort Us.
The photos and mathematical abstractions were projected stage left and more or less synced to the music. This writer is not well schooled in mathematics but the appearance of the images were reminiscent of those never ending fractal drawings which eternally reproduce themselves. Farris apparently extracts the images and colors from photographs. Now whether the music creates successful analogies is probably more relevant to the level of satisfaction that each of the artists feels with their work but the effect in performance was quite satisfying. One can safely say (I think) that the music and the art work both have sufficient merit to stand successfully on their own but the combination was at least intriguing.
Susman’s music draws on some very pleasant minimalist type structures that nonetheless managed to take on almost Wagnerian grandiosity at times. Again the combination of ecology and a sort of high romanticism combined to create a very successful and enjoyable work. The abrupt ending reminiscent of the ensemble performances of Philip Glass provided a stunning coda waking the audience from the beautiful dreams evoked by the six movements. Again we witnessed a powerful and dedicated premiere performance of a wonderful piece of music which appeared to leave the audience quite satisfied. Susman was there to take a much deserved bow.
This was some brilliant programming and excellent musicianship. What an evening!!!
I admit to some trepidation when I received this 2 disc set of piano music by an unfamiliar composer. Even in the best of circumstances the “double album” concept can be a trying thing even to fans of a given artist. I think I recall some similar trepidation confronting the newly released Elton John Yellow Brick Road double album. I invoke some pop sensibility here in part for humor but also because that sensibility is one of the many threads that imbue this rather massive collection of pieces.
Christopher Bailey is a freelance composer who holds degrees from Eastman (BA, 1995) and Columbia University (MA, 1997 and PhD, 2002). This is the eighth disc to contain his music though only the second to be dedicated entirely to his works (and his first double album).
The first disc is a journey of styles ranging from electroacoustic music (like the opening track which resembles the work of Mario Davidovsky at times) to several whose inspiration seems to venture closer to that of Pierre Boulez and ends with a lengthy sort of post minimalist piece appropriately titled, Meditation. The composer says in his liner notes that this piece is his homage to “ambient music” and in particular, Harold Budd. The second track is a piece which is a sort of deconstruction of a Hall and Oates song, the pop sensibility to which I referred earlier. And, yes, there is some nod to microtonalism as well. Can you say eclectic?
The second disc contains the large Piano Sonata and a host of smaller works in various styles ranging from neo-classical to microtonal.
In the rambling liner notes the composer provides useful clues as to the genesis and intent of some of his ideas. One need not read the notes to appreciate the music but the clarity that they provide was useful to this listener. More notes would have been appreciated though. The composer’s and the pianists’ web sites are certainly useful but I doubt that the average listener will spend that much time researching these things and is then left with gaps in information and consequently in understanding.
The composition dates here range from 1994 to 2013 and embrace a wide swath of styles all with a strongly virtuosic aspect. The second disc starts with the brief Prelude-Fantasy on the So-Called Armageddon Chord (2011). The title is almost longer than the piece and, while it’s a fine work, the placement at the beginning of the disc preceding the major opus of his four movement Piano Sonata (1994/1996/2006) is a bit confusing.
I don’t mean to quibble with such things as track order and such but I was left with a sense of difficulty focusing. Here is a large collection of music which ranges through pretty much the entire gamut of the last 200 years of music and it is presented en masse. I think some re-ordering might have been helpful but that is one of the difficulties with multiple disc issues. I listened numerous times to these discs and find the sheer volume and diversity a bit overwhelming. It is as though this is too much for a single release.
Bailey says that the sonata is an homage to Stravinsky and those neo-classical elements are certainly clear but this listener hears some ghosts of Charles Ives and the polystylism of Alfred Schnittke as well. The Sonata seems to be the highlight here. It is wonderfully complex, kaleidoscopic, loaded with quotation, even grandiose at times, but eminently listenable and it is a highly entertaining piece also because of it’s virtuosity which is ably handled by the performer.
There are apparently three pianists on this recording, Jacob Rhodebeck, Shiau-Uen Ding and Augustus Arnone. The problem is that it is not clear from the labeling or the notes who plays what. This is actually a fascinating and engaging collection, well played, but I was surprised to be unable to attribute the various virtuosities to the deserving performers.
The recording, mastered by Silas Brown, is as good as it gets. Overall quite a collection but one that left me with many questions as well. Perhaps that was, at least partly, the intent but it is my hope that these ambiguities will not distract the listener and that more releases will be forthcoming. This is very interesting music deserving of serious attention.
Michael Nicolas is the new cellist of Brooklyn Rider as well as member of the International Contemporary Ensemble and numerous other affiliations. This French Canadian/Taiwanese young man now residing in New York is definitely an emerging artist to watch and his debut album does much to demonstrate why he deserves serious attention.
This selection of mid/late twentieth and twenty first century cello pieces comprises an intelligent survey of this repertoire introducing new music and providing a younger performer’s take on some classics of solo cello with electronics as well some more recent works. As he says in his liner notes this survey is concerned with the dichotomy between the solo instrument and the attendant electronics in various guises (even the quasi-Max Headroom cover art seems to reflect this). Erin Baiano did the photography and Caleb Nei did the graphic design. If I have a criticism of this fine album it is perhaps that the liner notes provide less detail than this listener prefers so I have tried to provide a few details here.
Beginning with Mario Davidovsky‘s classic Synchronisms No. 3 (1964) for cello and electronic sounds (one of twelve such works for solo instrument with electronics) and continuing with Steve Reich‘s Cello Counterpoint (2003) Nicolas begins his survey with two relatively well-known pieces in this genre and he certainly does them justice. These pieces serve as Nicolas’ sort of homage to the past which he follows with some very current compositions.
He introduces some pieces unfamiliar to this writer. David Fulmer‘s Speak of the Spring (2015) is a piece for solo cello with electronics. Fulmer is a composer/performer apparently worth watching from a quick read of his web site. As I was unable to determine the date of composition I contacted the composer who graciously responded despite his busy travel schedule: “The work was written last year, in 2015 specifically for Michael Nicolas and this particular project (cello and electronics). Michael had asked me for a piece for his recording project, and having known him (we went to school together) for many years, and admiring his playing so much, I was very interested in writing this piece for him. As for perspective…as a string player, I always enjoy writing string works. I’m interested in the beautiful timbres that the strings have. Tuning is also an important concept for me; at the end of the work, the cello electronics (pre-recorded cello) is scordatura.All of the prerecorded lines are recorded by Michael. I see this as a work written for Michael, played by Michael, and many versions of Michael.”
Next are two pieces by Annie Gosfield for cello and sampler. Four Roses (1997) and “…and a Five Spot” (2015, commissioned by Nicolas as a companion to the former). Both pieces are basically lyrical with spectral effects, microtonal passages, extended techniques and the samples of course. The first piece is more assertive and direct while the second seems more introspective. Both appear to be typical of Gosfield’s fully developed style.
Next up is a piece by the Icelandic composer Anna Thorvaldsdottir whose album length “In the Light of Air” performed by ICE was reviewed here. Her piece on this disc for solo cello and electronics Transitions (2015) has a similarly ethereal character but one gets the impression that her approachable style belies complexities that underlie her work.
The last piece is flexura (2015) by Jaime E. Oliver La Rosa, a Peruvian born composer now working in New York. This piece functions almost like a bookend with the Davidovsky piece that opens this disc (Davidovsky also comes from South America having been born in Argentina). La Rosa holds a PhD. in computer music from the University of California San Diego and is developing open source software (and hardware) for live performance. His MANO controller can be seen in the video on his website. This last piece inhabits a similar sound world to that of the Davidovsky. It is thorny and modern sounding and works as a showcase for the cellist. Strictly speaking I suppose this piece is more of a duet in that there are two musicians required to perform it.
As always the impeccable production by Sono Luminus makes for a wonderful listening experience and this is quite an impressive debut for this interesting young musician. Kudos to producer Dan Mercurio recording technician David Angell and executive producer Collin J. Rae.
Perhaps I am premature in saying this but this release has the earmarks of a being classic survey of the current status of this genre. One of the joys of such a project is to hear new interpretations of established works and to hear an intelligent selection of new pieces. Definitely want to hear more from Mr. Nicolas as well as from the composers represented.