Other Minds 24 Revives the Quartets of Ivan Wyschnegradsky in San Francisco


I admit to some trepidation as I proceeded to the beautiful War Memorial Opera House in downtown San Francisco.  While I had heard of this composer, Ivan Wyschnegradsky (1893-1979), it was only through one work which was contained on a disc with other microtonal works by John Cage and Harry Partch performed variously by Joshua Pierce, Dorothy Jonas, and Johnny Reinhard (among others).  And microtonal music can be tedious in some hands.

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This helpful sign in the elevator directed concert goers to the 4th floor recital room known as the Dianne and Tad Taube Atrium Theater

Adding to the sense of obscurity, the concert was in a small chamber music hall on the fourth floor.  Other events ran concurrently on this night.  The hall was nearly filled to its capacity of just under 300 people most of whom I would guess have never heard of this composer.  But they likely had heard of the Arditti Quartet and clearly put their trust in the amazing ear and mind of executive and artistic director Charles Amirkhanian to deliver a satisfying musical experience which he does most reliably.  This concert was no exception.

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The stage awaits the performers with that OM logo projected on the floor.

The Arditti Quartet was formed in 1974 and quickly became known as one of the finest interpreters of contemporary string quartet music.  Their repertoire is vast and they do not shy away from technical difficulty or other artistic challenges.  In fact they had recorded the Wyschnegradsky Quartets but, sadly, that recording is out of print.  Even more interesting is the fact that tonight’s performance constitutes U.S. premieres for all the works on this concert except for the Haas Quartet (included at the suggestion of Mr. Arditti to fill out the program).  Another astonishing fact shared by Amirkhanian is that this is the only time that the quartet has been asked to play this music in concert.  There are plans to release those recordings in the near future pending negotiations with record companies.

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Amirkhanian reminded the audience to silence those pesky cell phones.

Mention needs to be made of the talents of OM’s graphic designer (and stage manager among other duties), Mark Abramson.  His work on this and last year’s program booklets take things to a new level of excellence.  The program notes by Charles Amirkhanian, Randall Wong, and Blaine Todd are both lucid and comprehensive (a very necessary thing in dealing with new and obscure music).  And the photos of the composer and the performers along with some of the composer’s own art work make this another true collector’s item.  Previous programs were certainly well done but this is a step up.

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The Arditti Quartet

I chose to just listen and to read the notes later rather than get caught up in details.  Indeed that was a good choice.  Wyschnegradsky’s approach to the use of microtones seems more focused on the possibilities of extending melodic language than the harmonic and my understanding of complex harmony is admittedly limited anyway.  Of course the harmony is necessarily different than the western models of the 18th and 19th centuries but the music, at least in the hands of such talented interpreter’s such as the Arditti speaks rather directly to the listener.

The music was presented chronologically in order of the years these pieces were composed (String Quartet No.1, 1923-4, rev. 1953-4), (String Quartet No. 2, 1930-1), (String Quartet No. 3, 1945, rev. 1958-9), and (Composition for string quartet, 1960, rev. 1966-70) completed the first half of the program.  There was surprisingly little in the way of dissonance and the quartet played with a palpable intensity and concentration creating very convincing performances.

 

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Blaine Todd holds the OM bag (a Carol Law design) as Amirkhanian picks two raffle winners after intermission.

The second half began with Wyschnegradsky’s last composition, a String Trio (1978-9).  Incomplete at the time of his death the trio was revised completed by Claude Ballif.  Again what one hears is not what you might expect from microtonality.  The composer has realized a uniquely effective way to use microtones.  Hearing this survey makes the composer’s vision clear and places him in the company of such as Alois Hába (1893-1973), Harry Partch (1901-1974), and Ben Johnston (1926- ) to name a few.  

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The Arditti Quartet sans second violin Asot Sarkissjian on stage to play the Wyschnegradsky Trio

The revelation for this listener was hearing a good sampling of the composer’s vision and a creative way to use microtones unlike any other composer really.  And it became clear too why Charles chose to revive this unique voice in the musical world.  This is beautiful music.

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As mentioned earlier Mr. Arditti had remarked that the Wyschnegradsky Quartet and Trio music would not quite fill an evening and he suggested they play the Second String Quartet (of about 6 now I believe) by Austrian born composer Georg Friedrich Haas (1953- ).  It was the only work which was not a U.S. premiere.

Arditti’s ear for programming was finely as tuned as ever and this quartet provided a very satisfying finale to the evening filled with wonderful discoveries.  While this particular quartet uses some microtones the style is denser and more dissonant overall than the preceding music.  This is not to say that it was not entertaining, rather it is illustrative of the rich possibilities of microtonal composition.  The Arditti again shows itself to be at the forefront of the finest interpreters of the modern string quartet and clearly Haas is a name worth knowing as well.  Bravo!

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The musicians acknowledge the standing ovation and warm applause

Save the dates June 15 and 16 for the last two concerts in this year’s Other Minds 24 program.

My 2018 in the Arts


One of the Theater Organs at House on the Rock, Spring Green, WI, a really fun place to visit.


I’m skeptical about year end lists but I have enough people asking me that it would be impertinent to skip this task. I make no claims to having even listened to enough to make any definitive statements about the “best” but I have my own quirky criteria which I hope at least stirs interest. Here goes.

Let’s start with the most read reviews. Without a doubt the prize here goes to Tim Brady’s “Music for Large Ensemble”. This reviewer was enthralled by this recording by this Canadian musician whose work needs to be better known.

This little gem was sent to me by a producer friend and I liked it immediately. I knew none of these composers but I enjoyed the album tremendously. Don’t let the unusual name “Twiolins” stop you. This is some seriously good music making. It is my sleeper of the year.

Running close behind the Twiolins is the lovely album of post minimalist miniatures by the wonderful Anne Akiko Meyers. Frequently these named soloist albums of miniatures are targeted at a “light music” crowd. Well this isn’t light music but it is quite listenable and entertaining.


The creative programming and dedicated playing made this a popular review to New Music Buff readers. Definitely want to hear more from the Telegraph Quartet.

Another disc sent by my friend Joshua. This one is a DVD/CD combo of music by a composer whose existence was only revealed to me a couple of years ago. Marin includes a clever animated video which accompanies the title track.

I was fortunate enough to have been able to hear Terry Riley and Gloria Cheng in an all Terry Riley program at the Yerba Buena Center for the Arts. Both were in spectacular form and the audience was quite pleased.

I would be remiss if I didn’t include the fabulous 6 night series of concerts produced by Other Minds. This is why I am a rabid advocate of OM programs. More on that soon with OM 24 coming up.

And lastly I want to tell you about two more composers who are happily on my radar.

One of the joys of reviewing CDs is the discovery of new artists to follow. Harold Meltzer is now in that group for me. This basically tonal composer has a real feel for writing for the voice and has turned out some seriously interesting chamber music.

Another composer unknown to these ears. I bristle at the term “electroacoustic” because it sometimes means experimental or bad music. Not so here. Moe is fascinating. Definitely worth your time.

OK, gonna can the objectivity here to say that this is possibly the most underappreciated album I’ve heard this year. Combining a recording of the Debussy Preludes along with Schoenberg’s rarely heard “Hanging Gardens”, Webern’s Variations, and Berg’s Piano Sonata creates a picture of a moment in history when music moved from impressionism to expressionism. Jacob Greenberg is very much up to the task. Buy this one and listen, please. It’s wonderful.

Also beyond objectivity is this fascinating major opus by Kyle Gann. It didn’t get much recognition on my blog but it’s a major work that deserves your attention if you like modern music.

Well this is one of my favorite reviews in terms of the quality of my writing. The work is most wonderful as well. Though this review was actually published on December 31st I’m still including it in my 2018.

This is definitely cheating on my part but after that concert at Yerba Buena I can’t resist making folks aware of this wonderful set on the independent label, “Irritable Hedgehog”. Trust me, if you like Riley, you need this set.

I review relatively few books on this site but by far the most intriguing and important book that has made it across my desk to this blog is Gay Guerilla. The efforts of Mary Jane Leach, Renee Levine Packer, Luciano Chessa, and others are now helping to establish an understanding of this composer who died too young. Here’s looking forward to next year.

I know I have left out a great deal in this quirky year end selection but I hope that I have not offended anyone. Peace and music to all.

Mechanical and Microtonal: Kyle Gann’s “Hyperchromatica”


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Kyle Gann‘s interest in the microtonal has been evident at least since his opera Custer and Sitting Bull (1997-99).  Many will be familiar with his justly famed monograph on Conlon Nancarrow’s player piano works.  Given that history this release seems almost inevitable, a series of works (or perhaps it is one big work) written for 3 computer controlled pianos tuned to his 33 note scale based on the harmonics of the E flat scale.

This is also hardly Gann’s first foray into the world of the player piano (as it was called in a different age).  His 2005 Nude Rolling Down an Escalator album contains some of his etudes for this computer controlled instrument which is the modern equivalent of the player piano.  And in addition to his fascination with alternate tunings and scales it should be noted that Gann is also somewhat of an expert as regards the player piano itself.  Gann authored one of the finest books on that composer’s music, “The Music of Conlon Nancarrow” (1995).  So it appears intuitive that he would write a magnum opus for the modern equivalent of the player piano, the disklavier, a computer controlled piano.

Gann refers to this work as being the longest composition for a keyboard in alternate tuning.  Indeed this would appear to be the case but a listener could easily hear these as  individual works with poetic titles like one encounters in Debussy’s Preludes.  Like those works one can listen to them individually or as a complete set.  But regardless of how you may choose to file these in your head this is an intriguing and engaging work (or set of works).

A work of  this dimension will necessarily invite comparisons to The Well Tempered Clavier, The Art of Fugue, and similar works because it effectively demonstrates the scales and the various musical possibilities unlocked by the different tuning much as Bach did nearly 300 years ago with well tempered tuning (or, in the latter example, the possibilities of counterpoint).  This work is like a major thesis on alternate tunings and the effects it has on melody and harmony.  Some listeners will be familiar with the interesting but less comprehensive Microtonal Music (1996) CD by Easley Blackwood.  Using a synthesizer Blackwood explores tonal and melodic relationships of various different tunings achieving some of the same goals as Gann.

The titles the composer uses reflect his ongoing fascination with things cosmic as he did with his, “The Planets” (1994-2008).  In this respect we hear Gann, the romantic, writing little tone poems.  Now these tone poems put the listener into a different universe but they fit the same logical category as tone poems written in a more familiar tuning system and hence have the more romantic quality of representational (as opposed to absolute) music.  Of course the composer’s intention of exploring this tuning system keeps this work also in the category of absolute music meaning that it is in large part about the tuning system.  Unlike the Blackwood experiments which were about finding functional harmonies (at least in the commonly understood western music definition) Gann’s work is about expression, motives, melodies.  It is, if you will, a logical step for one who has worked intensely with the complex rhythms endemic to Nancarrow and the fascination with alternate tuning systems gleaned from both western music history and world musics.

Since the end of the Baroque era western music adopted well tempered tuning as a standard and the result is that hearing these alternate tunings sounds wrong to most ears.  One of the things Gann is doing here is to make a foray into what will likely be a more common practice, that being the use of alternate tunings.  They are quite approachable and listenable in this context.