This EP released by UK label Fatcat Records managed to traverse the World Wide Web to my sympathetic ears last week. This is my first experience reviewing a release solely on the SoundCloud platform. No EPK, sparse liner notes, never heard of the artist or label. I have no idea why I decided to check this one out but I’m glad I did.
These five tracks which can be described as new music, ambient, drone, perhaps even the edges of spectral. The tracks reminded this listener of the late, great, and still under appreciated New York based artist Elodie Lauten. Shahabi, described as a Swedish-Iranian pianist and composer joins with her friend, cellist Linnea Olsson to create some very compelling post minimalist/ambient/drone new music that compels attention in a manner similar to Lauten’s early independent releases on her Cat Collectors label (what is it with this cat theme?
Here are the liner notes:
A wonderfully immersive suite of five stunning new tracks, ‘Shifts’ expands upon Swedish-Iranian pianist / composer Shida Shahabi’s debut album and confirms her as a genuine new force in contemporary piano music.
Without radically departing from the ‘Homes’ blueprint, this time around her pallette is expanded, with the opening three tracks seeing the prominent addition of cello, intertwining with piano to provide a powerfully emotive sweep and drone. These parts were provided by Linnea Olsson, who Shida calls “an old musician friend of mine and without a doubt the best cellist I know in Sweden.”
Recorded by Shida and Elias Krantz, the record was mixed by Hampus Norén and mastered at Calyx by Francesco Donadello (Jóhann Jóhannsson, Modeselektor & Thom Yorke, A winged Victory for the Sullen, Dustin O’Halloran, Lubomyr Melnyk, Hauchka, etc).
In an attempt to get ahead of the inundation of my review requests I’m presenting this curiosity briefly and will leave curious listeners to do their own research into the origins, training, etc of this composer/performer. I will, however, keep an ear/eye out for this composer, these artists, and this delightfully odd little label. You should too. Brava, Ms. Shahabi. Keep up the good work. Continue reading →
For this reviewer, my relationship with the music of Giya Kancheli (1935- ) began with the symphonies (I think there’s seven now) with the character of some outrageous dynamic contrasts such that they spawned warning levels on the package containing the CD. It was only after that, when ECM began to release the “holy minimalist” type works, that I first heard those.
Now comes Canadian violinist Frederic Bednarz who, along with pianist Natsuki Hiratsuka and bandoneon player Jonathan Goldman have recorded some incredibly lovely chamber music which has not been previously released or widely distributed.
Well its hard to say why these have not been widely heard because they are just beautiful. These are miniatures, all clock in at less than 4 minutes but all have a certain charm that relies neither on the dynamic range or the “holy minimalist” meme. These are simply delightful neo-romantic pieces that could not fail to charm a recital audience.
Bednarz clearly knows and loves these little gems. His playing is both sincere and, I think, definitive. In this album he shows this lesser known aspect of the composer’s work. Certainly there have been releases of Kancheli’s chamber orchestra pieces and a string quartet but this is the first recording this reviewer has heard of the violin and piano (and bandoneon) music.
Doubtless there are musical and musicological aspects to this music which escape the average listener (this one included) so no attempt will be made here to analyze these works. Bednarz provides concise but useful liner notes in the gatefold cover to the CD.
Once again our neighbors to the north have scaled the metaphorical art barrier between our adjacent countries to bring this delightful music to light. It is a welcome addition to the Kancheli discography and a delight in your CD player. Whether as calm background or for intense listening this disc is a gem.
N.B. As of this writing the physical disc does not appear to be available from Amazon but it is available through the usual streaming services. If you can get the physical disc it is worth it for the notes though.
I first encountered the composer William Susman (1960- ) when one of his works appeared on a program which included a solo cello and electronics piece by Vivian Fung. This solo electroacoustic piece, the work I was initially asked to review, was nestled in the middle of an interesting program by the San Jose Chamber Orchestra. I chose to review the entire concert which was a fascinating selection of new music. William Susman’s “In a State of Patterns” (2018) struck me immediately as interesting post-minimalist work.
Mr. Susman read my review and rather promptly sent me this 2014 CD on his Belarca label. It contains four of his works from 1992-2010 and is a fine sampling of his work. All works are here performed by the Octet Ensemble which includes: Alan Ferber, trombone; Mike Gurfield, trumpet; Melissa Hughes, vocals; Elaine Kwon, piano; Eleonore Oppenheim, double bass; Demetrius Spaneas, saxophone; Greg Zuber, drums and percussion; and William Susman, electric piano.
There are four pieces on 12 tracks. The disc begins with Camille (2010), a very listenable post-minimal chamber work. It is followed by a melancholy song cycle, Scatter My Ashes (2009) on poems by the composer’s sister Sue Susman.
The third piece is a wonderful piano concerto. There are not a lot of convincing concertos in the minimalist genre but this one is a candidate for being a poster child. It is for piano with chamber ensemble. Here the composer goes not for the finger busting virtuosity that seems to be the current vogue but rather he evokes a latter day Mozart with more technically modest but highly entertaining music that communicates directly. Curiously (is this a carry over from the Steve Reich and/or The Philip Glass Ensemble?) he uses a wordless vocal (Hughes) as a part of the instrumental texture. Elaine Kwon handles the featured keyboard part. It works very well.
He ends with an arrangement for OCTET of Moving in to an Empty Space (1992, arr 2010), another setting of his sister’s lovely poetry. Again he evokes the somber but it is more in the nature of exorcising the demons of sadness much like the mission of the poet.
This is the second Harold Meltzer (1966- ) disc to come across my desk in the last two months or so. This time he is heard on the venerable Bridge label which produces a great deal of quality recordings of new and recent music. This one contains four works spread over 15 tracks and, like his previous CD, includes some vocal music alongside two chamber music pieces without voice.
Meltzer seems to be one of a generation of composers who have absorbed many of the vast styles and methods which flowered in the twentieth century. He is not easy to categorize except as a composer. There are in his music gestures and ideas that span neo-romanticism, minimalism, etc. but he has a distinctive and very affecting style.
Meltzer’s ability to write for the human voice and these songs put this reviewer in the mind of composers like Ned Rorem. I’m not saying he exactly sounds like Rorem, just that he is as effective in his writing. Stylistically there is at times an almost impressionist feel in these songs and, while the piano accompaniment is wonderful, they almost beg to be orchestrated.
There are two song cycles on this disc, the first setting poems of Ted Hughes (Bride of the Island, 2016) and the second setting poems by Ohio poet James Wright (Beautiful Ohio, 2010). Tenor Paul Appleby had his work cut out for him and he delivers wonderful performances with a voice that is well suited to lieder but clearly with operatic ability as well. Pianist Natalya Katyukova handles the intricate accompaniments with deceptive ease in these cycles.
There are two chamber works on this disc. The first is Aqua (2011-12) which is inspired by the architecture of the so-called Aqua building in Chicago by architect Jeanne Gang. In a city known for its fine architecture this 2007 building manages to stand out in its uniqueness. Need I say that his piece suggests impressionism. It’s string writing is complex with a vast mixture of effects that, under the interpretive skill of the Avalon String Quartet, suggest movement in much the way the building itself does. This is genius, the ability to mix all these string techniques into a coherent whole. It is a basically tonal work and it is seriously engaging but listener friendly in the end.
The second chamber work is a piece written for the 50th anniversary of the death of legendary violinist Fritz Kreisler. As it happens the Library of Congress, who commissioned the piece, owns Kreisler’s Guarneri violin and it is they who commissioned this work. Miranda Cuckson does the honors on violin ably accompanied by the trustworthy Blair McMillen. To be sure some of Kreisler’s style is used here but this work, “Kreisleriana” (2012) comes across as more than an homage, more a work informed by Kreisler. It’s a really entertaining piece too.
Thanks in particular to Bridge Records for releasing this. Bridge is one of those labels whose every release deserves at least a bit of attention. This time I think they’ve found a fascinating voice in Meltzer’s works. Now how about some orchestral work?
Ritorna vincitor! I paraphrase from Verdi’s Aida but Charles Amirkhanian introduced this concert telling us that Other Minds held its first concert here 25 years ago. Indeed this was a victorious return (though the first visit was also victorious) featuring, as Amirkhanian correctly emphasized, musicians with a decidedly west coast aesthetic. In fact Mr. Riley was on the board of the nascent Other Minds organization founded under the loving and watchful eyes of Jim Newman (now president emeritus) and Charles Amirkhanian, executive and artistic director.
Gloria Cheng is a California native and is now professor of contemporary performance at UCLA’s Herb Alpert School of Music. She is a Grammy winning artist and has, for many years now, been a champion of Terry Riley’s music among many others.
Terry Riley (1935- ) is also born and educated in the Golden State and is a world renowned composer and performer. His 1964 piece, “In C” pretty much represents the beginning of the “minimalist” style and remains his most performed work.
This was your reviewer’s first time hearing Ms. Cheng live and it is an experience not to be missed. Cheng’s command of the piano and of the wide range of musical styles she demonstrated on this night was nothing short of stunning. In particular her command of the varying styles that are Terry Riley including ragtime, barrel house, jazz, classical, modernism, virtuosic romanticism, etc. In addition to that she demonstrated a truly profound command of the keyboard which left the audience so deeply enthralled that they (we) almost forgot to applaud.
The concert began with Ms. Cheng’s performance of Riley’s early Two Pieces for Piano (1958-59). Here she seemed to be channeling Pierre Boulez and that whole school of post-Darmstadt pointillism with an ever present sense of trying to maintain equality for each of the twelve tones used in these pieces.
The uninitiated might have been put off by these early pre-minimalist works that are not generally the sound image conjured by the composer’s name. Rather they represent Riley’s grasp of and subsequent working through of this material that preceded the compositional insights that characterize his mature style. As a serious fan of Stanley Kubrick’s 2001: A Space Odyssey, it is a useful source for a metaphor. On this 50th anniversary of that film’s debut it seems that Riley, like astronaut David Bowman, steps through the star gate and is transformed beyond even his own wild and creative imagination.
By all appearances this audience seemed to be well-prepared and, as the young man who won the little drawing at intermission stated (I’m paraphrasing), Terry Riley’s concerts are always a good bet. While there may have been people who knew less it is clear that no one was less than entertained and many, this writer included, were positively delighted.
The next work, “The Walrus In Memoriam” (1991 rev. 1994) was originally commissioned for Aki Takahashi, one of several pieces based on Beatles tunes, this one a sort of elegy for John Lennon (1940-1980). The CD is well worth seeking for its creative music and Takahashi is always worth hearing.
As if building to a climax, Cheng really put her performance into high gear with the next set of pieces from 1994 entitled, “The Heaven Ladder Book Seven”. Don’t get me wrong, she was focused and in fine form for those first three pieces but when she sat down to perform the Heaven Ladder pieces one could feel an intensity such that the audience seemed hypnotized, paying attention to Cheng’s every gesture. Despite a few stifled coughs (no doubt residue from our recent awful fires here) the audience was laser focused on this performer as she made Riley’s charming pieces come alive.
Intermission was an opportunity to stretch our legs and breathe again knowing that when we returned we would be hearing both Cheng and Riley. It was a gathering of like minds for the most part and many people validated some of my perceptions that Cheng had transfixed the audience.
During intermission there was more talk about the upcoming Other Minds 24 with programs scheduled on March 23rd and June 15 and 16. More on that in future blogs. And now on to the second half of the concert.
Terry Riley’s energy belies his age. Riley will turn 84 in June and continues to compose, perform and travel extensively. And when he sits down at the piano he is magical.
Riley opened with “Simply M” (2007) written in honor of the late Margaret Lyon, a longtime chair of the Mills College Music Department and one of the people who brought Terry Riley there to teach composition. She had previously presided over teaching tenures by Luciano Berio and Darius Milhaud.
The music had a quasi-improvisational feel (like much of Riley’s music) but channeled classical composers along with ragtime, jazz, ragas, and Riley’s usual eclectic mix of styles. It was a free flowing piece going through abrupt changes in character at different points but the piece seems to rely on some basic classical composition techniques which function as a sort of scaffolding or mold into which the composer pours his creative ideas. The piece was highly virtuosic but gave off a charming hypnotic flow.
He acknowledged the appreciative applause and moved right into the second piece on this half, “Requiem for Wally” (1997). This piece is written as a memorial for Riley’s ragtime piano mentor, Wally Rose. In the very useful notes, Riley states that he combines elements of ragtime with the Hindustani Raga Nat Bhairav. In this piece we got to hear Riley’s distinctive tenor trained in raga singing by the late Pandit Pran Nath. It is this ability to combine and synthesize various musics into a coherent style which this audience clearly knows well, Terry Riley.
Following these performances Riley left the stage and came back joined by Gloria Cheng again for the newest music of this evening, “Cheng Tiger Growl Roar” (2018). It is, by the composer’s description, a four movement suite. Like much of Riley’s music, it involves both notated and improvised material.
Riley’s musical training has always involved a great deal of improvisation and that is true in this work. Cheng, a classically trained pianist, mentions feeling challenged by Riley’s music as it asks her to move out of her comfort zone as an artist. Well, except for Cheng mentioning this in her notes, there was no evidence of discomfort on the part of either artist. They played as though they had always played together and their playing was ecstatic suggesting the depth of both artists’ grasp of the material and the affection they shared performing this piece for piano four hands.
The audience, with their laser focus still intact, came out of their trance to share their warm applause. What a transcendent evening! What amazing artists!
I was delighted to receive this disc directly from the composer. I had not been familiar with Harold Meltzer‘s (1966- ) work so this would be my introduction. The disc contains two works, a Piano Quartet (2016) and a song cycle, Variations on a Summer Day (2012-2016). Both are functional titles which tell the listener little about what to expect in terms of style. I was even more delighted when he kindly sent me some PDF scores of these pieces.
The Piano Quartet might be described as post minimal I suppose but the salient characteristic of this piece is that it is exciting and quite listenable. It is also quite a workout for the musicians. In fact this piece seems to embody a variety of styles which give it a friendly romantic gloss at times. This is a fine addition to the Piano Quartet repertoire.
The musicians that do such justice to this composition are: Boston Chamber Music Society: Harumi Rhodes, violin, Dimitri Murrath, viola, Ramen Ramakrishnan, violoncello, and Max Levinson, piano. All are kept quite busy and seems to be enjoying themselves. I can’t imagine this not playing well to the average chamber music audience.
The song cycle, “Variations on a Summer Day” sets poetry by Wallace Stevens and Meltzer’s compositional style seems to be a good fit for Stevens’ poetic style. This work is stylistically very similar to the Piano Quartet with hints of minimalism within a larger somewhat romantic style. It is scored for chamber orchestra with soprano solo. Actually the orchestra is Ensemble Sequitur, a group founded in part by the composer and clearly dedicated to the performance of new music. The members of this group include: Abigail Fischer, soprano, Jayce Ogren, conductor, Tara O’Connor and Barry Crawford, flutes, Alan Kay and Vicente Alexim, clarinets, Margaret Kampmeier, piano, Miranda Cuckson and Andrea Schultz, violins, Daniel Panner, viola, Greg Hesselink, violoncello.
The poem is by the sometimes obtuse American poet Wallace Stevens. Maybe “obtuse” is the wrong word but Stevens is not the easiest read. What is interesting is how well this composer’s style fits this poetic utterance. This is a lovely song cycle that puts this writer in the mind of Copland’s Dickinson Songs and Barber’s Hermit Songs and perhaps his Knoxville Summer of 1915. There is an air of romantic nostalgia in this tonal and passionate setting.
Stevens’ poetry has been inspiring American composers for some years. Works like Roger Reynolds’ “The Emperor of Ice CreamThe Emperor of Ice Cream“(1961-2) demonstrate an effective avant garde setting of another of his works. It is fascinating to hear how different composers utilize the poet’s work. The present cycle is a beautiful setting which presents a challenge to the musicians which is met quite successfully here.
Admittedly I am a sucker for nearly all things minimalist and post-minimalist. Such programming can lead to some potentially dull or cloying experiences. Not so with this lovely collection of miniatures though. While minimalists like Glass and Pärt make their appearances the concept here seems to reach for larger goals. We have a mix of relatively simple chamber compositions along with electroacoustic works, a revelatory take on Ravel’s Tzigane and and arrangement for violin and orchestra of a solemn choral piece by Morten Lauridsen.
This eclecticism seems to flow from the artist’s choices rather than choices imposed by a producer. In this respect she reminds this reviewer of pianist Lara Downes whose repertoire choices are similarly eclectic but born very personally from the artists’ experiences and preferences.
The opening Philip Glass Metamorphosis Two (1988) is presented in an arrangement by none other than Glass’ long time champion Michael Riesman. It is followed by two violin and piano pieces by Arvo Pärt, Fratres (1977) and Spiegel im Spiegel (1978). These lovely works serve to draw the listener in most pleasantly. Akira Eguchi is the fine pianist who plays on all but tracks 4, 7, and 8.
Next up is a piece of musical archaeology. Tzigane (1924) was originally written for violin and piano. It was later orchestrated and it is that version which is best known and probably most recorded. Well it turns out that Ravel had made a version for a now defunct instrument called a Luthéal which is an instrument invented in the early 20th century (patented 1919). It’s actually not so much an instrument as an add on. It modifies the sound of a piano. The device now exists in museums but that hasn’t stopped innovative producers from utilizing an electroacoustic version. Elizabeth Pridgen plays the keyboard to which the lutheal is virtually attached.
Apparently this version has been recorded before but this writer encountered it first in this release. It is a very different sound than the piano or orchestral versions and is a lovely take on the music. Many may buy the album for this track alone.
This is followed by a charming lullaby written for Meyers’ youngest daughter. John Corigliano has absorbed only a small bit of the minimalism bug (maybe his 1985 Fantasy on an Ostinato qualifies) but he is one of our finest living composers and he appears to infuse this violin and piano miniature, Lullaby for Natalie (2010) with a tender romanticism that is both sweet and touching. In the notes we learn that it did seem to put her daughter to sleep but I doubt it will do that to most listeners.
The next two tracks are works by one Jakub Ciupinski (1981- ) who also has a stage persona under the name Jakub Ζak under which he performs live electronic music. This Polish born composer is now based in New York and works with various forms of electronics including a theremin. Both “Edo Lullaby” (2018) and “Wreck of the Umbria” (2009) come from a similar place musically. Both use electronics in varying degrees to enhance and accompany the solo violin. Both are delightful little gems that give a nod to some minimalist roots but stand on their own merit and prompt this listener to keep an eye/ear out for more of this composer’s work.
The concluding piece is an arrangement by the composer Morten Lauridsen (1943- ). The performer states she pursued Lauridsen for a new piece and when he finally acquiesced he presented this lovely arrangement of his well known choral piece, “O Magnum Mysterium”. The arrangement is for string orchestra and violin and orchestra here given its world premiere performance. It should come as no surprise to new music fanciers that the Philharmonia Orchestra is conducted by none other than Kristjan Järvi, a fine conductor, composer, and avid new music advocate who can always be found near some interesting musical projects.
This album stands out in that the choices of the musical selections and the personal connections between the composers and the soloist are clearly collaborative and inspired. This is substance rather than fluff but it may appeal to a wider audience. This one can be said to have crossover hopes but it does not pander. This is a wonderful album and will likely prompt listeners who, like this writer, have yet to know this soloist to go and seek more of her recordings and live performances. Brava!