The End of the Beginning: Sarah Cahill’s “The Future is Female” Trilogy Completed

This release completes Sarah Cahill’s monumental survey of piano music written by women which saw its first two CD volumes last year.last year. This, the third volume titled “At Play”, follows the first two as seen below. This trilogy is not, of course, the last word, the end on the subject of piano works by women. There can be no last word but these selections are a reflection of Cahill’s perspective as a performer but also a producer/programmer whose scholarship and advocacy are well known and respected worldwide. These releases speak to women, certainly. But they also speak to audiences in general, producers, and fellow musicians. They comprise a careful sampling of some three hundred years of music which effectively demonstrates that “there’s gold in them thar hills” (after all Cahill is a Californian). Here’s hoping that this survey will help start a metaphorical gold rush to unearth the gold that can be found in this neglected music.

The first two volumes (both previously reviewed in this blog).

I recall my fascination with Cahill’s earlier commissioning project which resulted in her CD “A Sweeter Music” (2013). I recall attending a very preliminary recital at Mills College where she did brief run through of some of the compositions and spoke about the project. She later toured the music (sometimes with John Sanborn’s wonderful accompanying visuals, sometimes without). Little did Cahill know that she hit upon a genre of classical music dear to this listener’s heart, that of politically inflected classical music. As a result, my interest in her artistry and choices of repertoire escalated tremendously (I heard two of her Bay Area recitals of this music and reviewed the recording in the early incarnation of this very blog). So another project, this time supporting female composers, with even greater dimension than that earlier project has similarly grabbed my attention in this landmark collection of music by women composers which has largely been neglected by mainstream artists, producers, and programmers.

This trilogy of recordings hardly solves the egregious neglect of this music but it does contribute rather authoritatively to the canon (there is one now) of music by non-male composers. Cahill is not the first artist to do this, and there are multiple ongoing projects exploring the work of female composers, but this project deserves top billing as it casts a mighty wide net with its three volumes covering about 300 years (of neglect). These recordings of some 30 pieces are but a fraction of music by women composers in this pianist’s repertoire. But, more than simply righting wrongs, this is about celebrating a legacy of artists getting their due recognition. (The “bad idea” Biblical metaphor of hiding a lamp beneath a basket comes to mind). Just look, er, listen at/to what’s been under that basket!

Cahill playing at the Chapel of the Chimes Solstice Concerts in 2013, a major annual Bay Area event created and managed by her. (Photo by Allan Cronin Creative Commons License)

This now completed trilogy doubtless will not mark the end of Cahill’s advocacy but it will stand as a major manifesto of sorts and will hopefully bring more performers and producers to be open to performing and recording them. Simply hearing these recordings exposes the listener to music of stunning substance selected by an artist whose curatorial radar is finely tuned and whose choices will speak definitively to listeners (and likely fellow performing artists) for years to come. (N.B. Listeners would do well to check out Cahill’s YouTube channel where one can find a gold mine of music which reflects the scope of her performances and advocacy, not just for women composers, but for an amazing range of artists.)

This third volume is entitled, “At Play”. Like the previously released volumes, this collection gets a collective title that vaguely hints at the character of the music herein. The sequencing of the music is, like the previous two volumes, pretty much chronological. The essential program notes by Ms. Cahill (in all three volumes) provide just enough background to provide useful contexts for the listener. And you have to love the “Cahill and friends” photo galleries (on each volume) reflecting the deeply personal nature of this undertaking. That may sound hyperbolic but just listen to this music and feel the love, the passion, the connections, the sincerity, and the incisive playing. (Should I throw in a “Pied Piper” metaphor?) Listen and you’ll likely get hooked.

There are 16 tracks comprising nine works by nine female composers over nearly three centuries. Four of the nine works receive here receive their first (or first commercial) recordings. As noted earlier, the track sequence is chronological. (N.B. That makes 30 + works over the 3 CDs), a little less than half of the total commissions.

We begin with the last of 9 sonatas by Hélène de Montgeroult (1764-1836). Her lifespan covers the classical to the early romantic eras in western musical history but recordings of her music didn’t begin to appear until about 2006 when Jérôme Dorival published a biography of her. Listeners will likely find this music similar to that of Mozart, Haydn, and early Beethoven but with a level of virtuosic writing that anticipates Chopin and Liszt. This three movement sonata was published in 1811. This is apparently the second recording of this work as another new music champion, Nicolas Horvath, released a recording of all nine of these in 2021, further testament that time has come for this composer (and perhaps women composers in general).

Next is the Thème varié, Op. 98 (1895) by Cécile CHAMINADE (1857–1944). This late romantic composer is probably the only name with which most listeners may be acquainted. A recording of her Concertino for flute and orchestra (1902) continues to receive attention by classical broadcasters but most of her work remains very little known. Cahill makes a strong case for this music with her interpretation of this virtuosic early romantic styled work. She is far better known in her native France. It is time we see what the French have been hiding.

Grażyna BACEWICZ (1909–1969), represented here by her Scherzo (1934), has gotten recognition in her native Poland but has only fairly recently become known internationally. This early work, less modernist than her later work, has apparently been recorded before but is new to this reviewer’s ears. Bacewicz was a prolific composer and this fine piece, a virtuosic showpiece, is likely to encourage listeners to further explore her extensive catalog which includes Symphonies, Concertos for violin, viola, cello, and for piano, 7 string quartets, symphonies, operas, songs, and much more.

Now Cahill brings us into present time, featuring living composers, beginning with the music of Chinese-American composer Chen YI (b. 1953). Guessing (1989) is a small piano piece which incorporates a Chinese folk song in a set of variations.

This is the first commercial recording of this music. To be honest, I am not familiar with much of this composer’s work (nor most of them here) save for Oliveros and Wong) but this piece as with all the selections here are sufficiently intriguing to prompt listeners to explore further. That is the point of an anthology such as this, to spark curiosity, suggest another path for the journey. Mission accomplished.

Franghiz ALI-ZADEH (b. 1947), born in Azerbaijan, incorporates elements from her ethnic heritage into modern classical idioms. Music for Piano (1989/1997) utilizes Cagean-like preparations, in this case a glass beaded necklace laid across the strings. The resulting sound, evoking Alan Hovhaness and/or Henry Cowell at times, is intended to evoke that of the traditional Azerbaijani string instrument called “tar” (not a reference to the recent film). The composers use of different scales also seems to derive from folk models. The piece is in several sections delineated by dynamics and by register in which is, I believe, an ingenious use of register used to control when to allow for those prepared strings to sound. The piece is by a composer with a wide expressive pallete and the ability to use those methods judiciously toward her unique creative ends.

Next, in the briefest entry at just over 4 minutes, we get one piece from a set of commissions (all by women composers) Cahill made to honor the 100th birthday of American composer Ruth Crawford (1901-1953). Pauline OLIVEROS (1932–2016) submitted this work (her first notated composition since the 60s) which uses her own unique approach to indeterminate composition in Quintuplets Play Pen: Homage to Ruth Crawford (2001), here in its world premiere recording. Oliveros, who exerted a profound influence on a generation of composers, performers, and listeners via her work in electronic music and improvisation, but most powerfully via her “Deep Listening” concepts which effectively define the role of the listener as being a part of the compositional process.

A clearly happy Pauline Oliveros acknowledges the warm applause of the Other Minds 20 audience after her performance at the SF Jazz Center in 2015. Her gentle spirit and powerful intellect preside over this trilogy and continue to influence all who knew her and her work. She would have loved these recordings. (Photo by Allan Cronin Creative Commons license)

I’m claiming fair use in publishing this lovely photo ad for an expensive perfume inspired by the same poem. Kinda Freudian, no?

Hannah KENDALL (b. 1984) is a black British composer whose three movement “On the Chequer’d Field Array’d” (2013) is based on the 1763 poem Caissa by Sir William Jones and depicts the three sections
of a game of chess. The lengthy Elizabethan styled poem can easily be read as protofeminist given that the female chess piece heroically wins. Read it if you don’t believe me. And there are musical metaphors as well. It is these: mindplay, middlegame, and coda into which the work is divided. The music, like the poem is an intimate perspective which invites the reader (or hearer of the music) to create their own meanings here.

Aida SHIRAZI (b. 1987), an Iranian born composer, takes the performer inside the piano. Her blandly titled, “Albumblatt” (2017) belies her deep understanding of the piano and its possibilities. This is arguably the most avant garde (or modernist if you prefer) composition of the trilogy. Cahill’s choices reflect her eclectic approach to music programming.

In addition to a chronological approach, this trilogy is stylistically diverse. This music borrows from forbears such as John Cage and Morton Feldman as well as Henry Cowell. This meditative music only reveals itself fully to the focused listener. This is like an etude comprised of sounds you rarely hear (intentionally) from a piano. Played much of the time inside the piano but also at the keyboard more conventionally, the piece also demands close attention to dynamics (down to silence). Here is where the recordist’s art shines through. The subtleties of dynamics and the ability to capture the variety of harmonics evoked. Of course said performer had to accomplish rather large postural changes and do so silently if the performance adheres to the score, lol. And both are accomplished here in what sounds like a single take. This is a pretty great listen.

Regina HARRIS BAIOCCHI (b. 1956), a native Chicagoan poet and composer is given the last word with her, “Piano Poems” (2020). Last but not least by any means is a testament to Cahill’s singular but relevant choices as well as her advocacy of young composers as their stars begin to rise. This artist is new on my radar but one that will remain there. As both poet and composer, this young artist, commissioned by Cahill with a request that the music be about poetry, specifically by fellow (adopted) Chicagoans Gwendoline Brooks (one of this formerly Chicagoan reviewer’s personal faves) and Richard Wright.

The response was these 4 meditations on Brooks, Wright, and on the composer’s own poetical musings. The language here seemingly derives, appropriately, from 30s to 40s jazz of Ellington and Basie and a seemingly latter day version of that in the last two pieces describing the composer’s own literary utterances. Both virtuosic and apparently written by a composer very familiar with the instrument, a fitting and hopeful glimpse to the future.

Each of these discs contains at least one piece that reflects a deeper than average commitment by the performer. Cahill’s collaborative wok (with Dr. John DesMarteau) in the Agi Jambor sonata in volume I, her advocacy of Teresa Wong premiering the first performance of (She dances Naked…),the justly celebrated bay area artist’s selection on volume II. And her reaching out to Regina HARRIS BAIOCCHI for a commission (in volume III) all reflect another valued aspect of this performer.

The recording by Matt Carr is very listener friendly demonstrating serious skills at times in dealing with the many sonic challenges. This album and its two predecessors belong in any serious collector’s library. If the future is indeed female, then this is a fine soundtrack. Listeners, performers, Brava!!

Perspectives: Spectacular World Premiere Recordings from Third Coast Percussion

Apr13

There were no percussion ensembles in Western music until the early twentieth century, at least not anything close to the size and instrumental diversity we see now, but since then there have been a variety of percussion ensembles which have popped up. some touring, some recording, but all investigating the possibilities of this collection of pitched and unpitched instruments. Notable examples from this writer’s memory include the Paul Price Percussion Ensemble, the Donald Knaack Percussion Ensemble, Amadinda, and the Canadian group, “Nexus”. Each of these ensembles (the list is not comprehensive) has put their own stamp on the flexibly nebulous group subsumed under the title, “Percussion Ensemble”.

All of these groups have chosen which instruments to include in their group, which to exclude, and they have done their own curation of music to expand their respective repertoires and the percussion group repertoire as a whole. And the present recording presents yet another Third Coast Percussion CD on Cedille Records for this busy Chicago based group. The relationship between this energetic ensemble and the equally energetic Cedille Records has been a mutually beneficial one artistically. this release is the fifth release for that label. They have at least nine other albums as a group and have collaborated on many more recordings.

As noted on the album this disc contains all world premiere recordings that reflect varying degrees of collaboration. One of the unifying threads of this CD is the variety of compositional approaches. The Elfman piece being perhaps the most traditionally notated and structured. The others involve different compositional methods which are not exactly traditional in classical music. It is the exploration of such non-traditional methods and the expansion of the definition of composition that is a characteristic of this always interesting classically trained group of musicians.

Let me just start by saying WOW!!!

The first work on the album is by Danny Elfman (1953- ) is best known for his work in movies and television as the composer of “The Simpsons” theme and similarly energetic scores for Tim Burton’s films among others. His roots were in his work with the unusual pop band “Oingo Boingo” whose manic style is still present in much of Elfman’s work. And this is not his first appearance in this new music blog either. His Violin Concerto was reviewed here. He manages to succeed in pop, film, and the concert hall, a feat that few can match.

Elfman’s rather blandly named, Percussion Quartet (2019) is appropriately described in the liner notes as the most conventional work here in terms of how it was written. It is fully notated in in traditional notation and consists of four movements ranging in length from about 4 minutes to about 6 and a half. The work resembles traditional sonata forms with Elfman’s energetic and sometimes quirky melodies that successfully draw the listener through the composer’s journey. That bland title is almost ironic as it belies the really entertaining qualities of this piece. Third Coast’s realization is definitive as one would hope for a world premiere recording.

The second composition is a transcription by Third Coast of a popular Philip Glass piano work, “Metamorphosis No. 1.” But this is a transcription influenced by another transcription, that of the Brazilian group, “Uakti”. So this can be said to be tantamount to a collaboration with another performing ensemble. Clocking in at nearly ten minutes this track is a familiar interlude that cleanses the aural pallet for what is to come.

And what does come next is a collaboratively composed seven movement work entitled, “Perspective”. This more poetic title is the source of the album’s title. This work by Jlin (Jerrilynn Patton 1987- ) was originally written by first recording multiple tracks or layers and then working with the musicians of Third Coast to transcribe these ideas into traditional notation and into a form playable by the quartet of percussionists. This, of course, resembles the methodology that brought forth the wonderful Devonte Hynes album (also on Cedille) reviewed here.

The music is arguably entirely composed by Jlin with the orchestration creatively realized by Third Coast Percussion (doubtless in direct discussion with Jlin). What results is a dizzying and energetic set of movements whose styles derive in part from minimalism and from the rhythmic complexities of African drumming and contemporary dance music. Jlin, who hails from Gary, Indiana, works from a perspective of a DJ spinning dance music. But this is hardly your typical DJ. This is a fascinating musical mind who just happened to have started with DJ equipment.

Another example of Third Coast Percussion’s creative collaborations has resulted in “Rubix”, a three movement work written (mostly) by Flutronix, a genre busting duo. Flutronix is Nathalie Joachim and Allison Loggins-Hull, both classically trained flautists who aren’t afraid to cross dated boundaries to create music that speaks their minds.

This is some high energy music which reflects a variety of styles but always demands much from all players involved. The duo, whose rendition of Steve Reich’s “Vermont Counterpoint” demonstrates their virtuosity and interpretive rigor. Rubix is essentially a chamber work for flutes and percussion but their defiance of categories seems to be as much a critical element of their music as is their virtuosity. Bottom line is that this is engaging, creative work that leaves the listener wanting more even as they may be unsure what they just heard. Kudos, all!

Steve Reich, Not Redefining the String Quartet

Apr5

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.

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.

Emanuele Arciuli plays Duckworth

Mar31

I had previously reviewed an Innova release by this fine Italian pianist whose compelling musical choices and interpretive skills make him one of the bright lights on the current musical scene. And his European perspective (and affinity for) American composers provide an extremely valuable perspective for both listeners and performers.

It comes as no surprise that that Innova album was produced during Philip Blackburn’s tenure and this release is another illuminating journey guided by Arciuli’s finely tuned curatorial and interpretive skills. The journey here focuses on the late post-minimalist William Duckworth (1943-2012).

The first 12 tracks comprise book I (of two) of Duckworth’s genre defining work, “The Time Curve Preludes” (1977-8). These have been recorded three times, first in 1983 by Neely Bruce (who premiered them in 1979 at Wesleyan). Bruce Brubaker recorded Book I in 2009 and R. Andrew Lee recorded the entire set in 2011.

In addition to Arciuli’s take on this composition (I expect a future release will contain Arciuli’s interpretation of Book II) we get a previously unrecorded set of songs for voice and piano, “Simple Songs About Sex and War” (1983-4) to texts by Hayden Carruth. Here Arciuli is joined by Costanza Savarese, a classical guitarist and vocalist, an artist new to this writer. Here she displays her vocal prowess in these pithy little songs reminiscent in some ways of Barber’s “Hermit Songs”.

Duckworth deserves more exposure and Arciuli’s work is always revelatory. So what Duckworth will be paired with the Book II recording? Delighted listeners want to know.

My 2022, Best of and Worst of…

Feb4

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.

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.

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.

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.

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.

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.

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.

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.

First Complete Recording of William Susman’s “Quiet Rhythms” Book I by Nicolas Horvath

Jun25

Who? What?

William Susman (1960- ) may not be a household name but, since my first encounter (purely by chance) with this man’s work I have heard, enjoyed, and reviewed several fascinating CDs of chamber music and film music which demonstrate a significant musical voice with some mighty substantial compositions. I don’t know how Mr. Susman feels about being called a “minimalist” but that is the most useful way I can convey with words his musical style. That much used word is a sort of catch all for what is in fact a plethora of compositional styles based in some basic, though hardly rigid, set of practices like static harmonies and repetition.

There are, as of this writing, four books of Quiet Rhythms (2010, 2010, 2012, 2013), each book contains 22 pieces further divided into 11 “Prologues” followed by 11 “Actions”. While I have only the vaguest idea of what processes the composer uses in these works (Book I at least) sounds to these ears like music which should share company with the likes of Terry Riley’s “Two Keyboard Studies” (1965), William Duckworth’s “Time Curve Preludes” (1977-78), Jeroen van Veen’s “Minimal Preludes” (four books1999-2013), Philip Glass’ “Etudes” (two volumes1994-2012). Spiritually they share a kinship with antecedents such as Bartok’s “Mikrokosmos” (six volumes1926-1939), and, ultimately I suppose, Bach’s “Well Tempered Clavier” (1722-1742). Yes, these are a diverse set of works for comparison, but to my ears they seem to share attempts to codify and/or experiment with their respective materials. They are the composers’ working out of their ideas.

And, in a delightful coincidence the pianist chosen to interpret these works is none other than Nicolas Horvath, a name that has graced these pages numerous times since our first online meeting in about 2014. Horvath has become a sort of pied piper for minimalist composers. He has performed solo recitals lasting up to 35 hours including Philip Glass’ complete piano music, a solo rendition of Erik Satie’s “Vexations” (1893-94), whose 840 repetitions were first performed by a tag team of pianists helmed by John Cage (of course) in 1963. He has also recently recorded all the piano music of little known French minimalist composer Jean Catoire (1923-2005) and numerous other projects including his own original compositions and sound/art installations.

Horvath was born to play this music and Mr. Susman kindly informed me that he will indeed record the remaining three books. This musician’s curatorial radar is as unique as it is accurate. That is, he knows good music when he sees/hears it and he searches far and wide. He delivers loving and authoritative performances here. It is, after all, his métier.

Susman’s etudes are experimental only in the sense of a composer exploring his inspiration, transcribing the dictation of his muses. The title “Quiet Rhythms” is quite apt as these are really kind of soothing in their harmony and meandering developments. And, more importantly, they have the weight of substance.

Three of these have been recorded before and I’m pleased to say that the remaining 8 compositions are equal in quality to the ones I’d already heard. Each numbered piece is actually two pieces, a prologue of 90-120 seconds followed by a more complex sounding work using similar methods. At first I had wanted to write about each of the pieces but I found myself enraptured by the music and insufficiently skilled in musicology to do a respectable analysis of these works.

So I’ve chosen to simply say that these are fascinating and engaging pieces whose structure is very much secondary to the quality of the musical content. These are truly post minimal works with a much wider harmonic palette than its minimalist predecessors. The sound is quite rich and the pieces engage the listener transporting them to a powerful emotional experience. The music echoes Steve Reich, Philip Glass, Terry Riley but they also are destined to share a place in the repertoire alongside similar works by William Duckworth, Jeroen van Veen, and Simeon ten Holt.

Horvath is truly in his element here and his performances are hypnotically engaging. I can’t imagine these works being done better but, that said, they are attractive concert pieces for adventuresome pianists to program. Above all these are listener friendly despite the feel that they are almost a sort of textbook or manifesto by the composer which describes in music his vision of minimalism/post-minimalism.

If you’re a fan of minimal/post-minimal music this is a must have. but beware and remember to budget for the forthcoming 3 discs. You will want them all.

Available on Bandcamp and other streaming sites..

A Tale of Ice and Fire: Dan Lippel’s “Mirrored Spaces”

Jun4

lippel

This double album by guitarist, composer, producer, etc. Dan Lippel is sort of his Yellow Brick Road, an album which listeners of a certain age know well. Elton John’s album was more about dropping the shackles of adolescence and conformity but Mirrored Spaces is more about setting aside the shackles of Lippel’s very busy life with ICE (The International Contemporary Ensemble), Flexible Music, and the daunting task of producing for (the also very busy and wonderful) New Focus Records. Here he presents a virtual manifesto of works for solo guitar with electronics which, if only by proximity of release date, suggests a comparison with Jennifer Koh’s Limitless.

Promo photo from the artist’s web site

The present disc is at once a virtual CV of his interests as performer and composer as well as a forward looking compilation by which future new chamber music with guitar will be compared. It is a collection which looks like he culled the best of his current working repertoire to present a sort of photograph of his vision.

The two discs are actually an overwhelming listening experience of new material. Here are the tracks:

01	Amorphose 2	Amorphose 2 Karin Wetzel (b. 1981)	Daniel Lippel, guitar, Philip White, live electronics	7:13
02	Aphorisms: Whom the Gods…	Aphorisms: Whom the Gods… Kyle Bartlett (b. 1971)	Daniel Lippel, guitar	0:52
		Mirrored Spaces Orianna Webb (b. 1974)/Daniel Lippel (b. 1976)
		Daniel Lippel, guitar
03	I. Refracted	I. Refracted		4:41
04	II. Sturdy	II. Sturdy		4:03
05	III. Cadences	III. Cadences		4:17
06	IV. Reflected	IV. Reflected		2:00
07	V. Rondo	V. Rondo		4:20
08	VI. Song	VI. Song		4:58
09	Aphorisms: When Music Itself…	Aphorisms: When Music Itself… Kyle Bartlett (b. 1971)	Daniel Lippel, guitar	0:57
10	Descent	Descent Ryan Streber (b. 1979)	Daniel Lippel, guitar	10:34
11	Aphorisms: Solon the Lawmaker…	Aphorisms: Solon the Lawmaker… Kyle Bartlett (b. 1971)	Daniel Lippel, guitar	0:45
12	Primo cum lumine solis	Primo cum lumine solis Dalia Raudonikytė With (1970-2018)	Daniel Lippel, guitar	3:43
13	Aphorisms: It Needs a Body…	Aphorisms: It Needs a Body… Kyle Bartlett (b. 1971)	Daniel Lippel, guitar	1:01
14	Like Minds	Like Minds John Link (b. 1962)	Daniel Lippel, guitar	11:48
15	From Scratch	From Scratch Sergio Kafejian (b. 1967)	Daniel Lippel, guitar, Sergio Kafejian, electronics	11:18
16	Aphorisms: Whosoever is Delighted…	Aphorisms: Whosoever is Delighted… Kyle Bartlett (b. 1971)	Daniel Lippel, guitar	1:23
17	Detroit Rain Song Graffiti	Detroit Rain Song Graffiti Sidney Corbett (b. 1960)	Daniel Lippel, guitar	6:02
18	Aphorisms: We Seek Destruction…	Aphorisms: We Seek Destruction… Kyle Bartlett (b. 1971)	Daniel Lippel, guitar	1:11
		Partita Douglas Boyce (b. 1970)
		Daniel Lippel, guitar
19	I. Cumiliform	I. Cumiliform		2:50
20	II. Galante	II. Galante		1:37
21	III. Empfindsamer (offstage)	III. Empfindsamer (offstage)		3:10
22	IV: Air de cour	IV: Air de cour		3:15
23	V. Brise	V. Brise		2:32
24	Aphorisms: There is No Excellent Beauty…	Aphorisms: There is No Excellent Beauty… Kyle Bartlett (b. 1971)	Daniel Lippel, guitar	1:56
25	Joie Divisions	Joie Divisions Ethan Wickman (b. 1973)	Daniel Lippel, guitar	6:54
26	Aphorisms: Man Comes into the World…	Aphorisms: Man Comes into the World… Kyle Bartlett (b. 1971)	Daniel Lippel, guitar	1:19
27	Arc of Infinity	Arc of Infinity Christopher Bailey (b. 1973)	Daniel Lippel, guitar, Christopher Bailey, electronics	16:27
28	Aphorisms: Love is Necessarily…	Aphorisms: Love is Necessarily… Kyle Bartlett (b. 1971)	Daniel Lippel, guitar	1:43
29	Scaffold (live)	Scaffold (live) Daniel Lippel (b. 1976)	Daniel Lippel, guitar	7:00

Its easy to see the richness and complexity of this release from the track listing alone. Having already demonstrated his facility with minimalist classics like his wonderful recording of Steve Reich’s Electric Counterpoint he presents selections from what appears to be his current active repertoire. It is a joy to see the diversity of composers he has chosen. Clearly he confronts the new and technically challenging works with the same zeal with which he approaches his various other responsibilities as performer and producer. We even get to hear some of his chops as a composer in the live recording of Scaffold as well as his collaborative work with Oriana Webb on the eponymous Mirrored Spaces. These are unusual works, not the “usual suspects” nor the latest rage but new and interesting music. Even the presentation of Kyle Bartlett’s pithy Aphorisms are scattered among the other tracks like pepper on your salad at a restaurant (personally my obsessive nature wants to re-order these tracks in sequence) demonstrating a sensitivity to alternate ways to present music.

I have at best a passing knowledge of most of these composers having heard some of the work of Douglas Boyce and some of Kyle Bartlett. I know Ryan Streber via his work as a recording engineer. the rest of the names are new to these ears. And that is exactly the point of this wonderful collection. I really can’t say much useful about the individual pieces except to say that they are compelling listening. The liner notes included in the CD release are useful and informative. (Now last I looked the CD version is not available on Amazon so you will have to go to Bandcamp to order it but I highly recommend it for the notes alone.) Many of these pieces will have a significant performance life and you heard them here first. Much as Jennifer Koh defines new collaborative adventures in Limitless with her trusty violin, Lippel brings his axe down on some challenging but substantive music in this forward looking collection.

Bass Clarinet Goes Rogue: Alicia Lee’s “Conversations with Myself”

May26

OK, I admit that using the term “rogue” is a stretch. But titles of reviews should help draw the reader to it. And “clickbait” is the new “catchy”. But, in another sense one doesn’t generally think of the bass clarinet as a standalone recital instrument, even with electronics. Increasingly, it seems, new music purveyors are liberating instruments once unthinkable outside an orchestra or chamber ensemble. Jazz players have long used the bass clarinet as a solo instrument alongside the ubiquitous family of saxophones and the flute as the woodwinds that comprise most jazz ensembles,

Classical music has been slow to accept the bass clarinet until relatively recently. I don’t know when the first use of a bass clarinet either as a standalone solo or as part of a chamber ensemble occurred but certainly post 1950. Without getting in to the “whys” of this one can simply embrace the increasing presence of this instrument and its fascinating players.

Here, we get another of the subgenre of “COVID Isolation music”, itself a category worth further exploration.

There are five selections with composition dates ranging from 1983 to 2020 and composers from the still underappreciated Isang Yun to a new name, Hidiaki Aomori, a composer and friend of the soloist. And the remainder are risen and rising stars including the late conductor/composer Pierre Boulez, Grawmeyer Award winner Unsuk Chin, and the prolific Japanese composer Dai Fujikura.

The Fujikura work opens this isolated recital with a melancholy piece which appears to be a set of variations and has the character of a cadenza calling upon both technical and interpretive skills of the performer. And do I hear a nod to minimalism at the end? “Contour” (2020) is a fine opener where Lee displays her technical skills and insight to the composer’s vision.

Then its back to 1985 with one of the technical peaks of Boulez’ work at IRCAM, “Dialogue de L’Ombre Double” for bass clarinet with inscrutably complex electronics. This once leading edge example of the avant garde in its day actually sounds a bit dated but the soloist here seems to humanize the piece with her warm interpretation. And, despite what you may hear in the other tracks here, it is the only one using electronics on this disc.

Isang Yun (1917-1995), the late prolific Korean master is beginning to get more of a reckoning, and this 1983 piece, “Monolog for Bass Clarinet” is a fine entry to the expanding recorded oeuvre of this mid/late-twentieth century embattled and neglected genius. This piece speaks deeply of alone-ness.

Unsuk Chin (1961- ), a rising star and Grawmeyer Award winner is represented by a bass clarinet solo from her much lauded opera “Alice in Wonderland”. This stand alone solo, titled “Advice from a Caterpillar” is a maze of hallucinatory nods to Gershwin, Carl Stalling, and perhaps Prokofiev (in a “Peter and the Wolf” sense) using multiphonics and seems to expand the possibilities of this instrument to limits which might only be transcended with electronic assistance.

Hideaki Aomori‘s “Split” is a rather personal addition, a submission from one friend to another, a gift from one alone to another alone. It is another fine solo work which sits stylistically somewhere between the technical extremes of Boulez and Unsuk Chin and the more melodic work of Fujikura and Yun.

This is a very personal disc on many levels and it is a fine calling card by which to introduce listeners to this fine musician.

The Jack Quartet Plays Cenk Ergün

Aug10

Who? Cenk Ergün (1978- ) is a Turkish born, New York based composer and improvisor. His distinctly ethnic Turkish sounding name will trigger fond memories in “listeners of a certain age” of the profoundly significant work of Ahmet and Nesuhi Ertegün, the Turkish/American brothers whose Atlantic Records label helped define jazz, pop, and rock throughout the 50s, 60s, 70s, and 80s. Lesser known is one of Atlantic’s spinoff labels, Finnadar helmed by fellow Turkish/American Ilhan Mimaroglu, himself a composer as well as producer. It was here that one saw the producers’ radar turned to the classical avant garde. And Ergün fits rather comfortably in this category.

A quick Google search reveals Mr. Ergün to have released at least six albums both solo projects and collaborations with composer Alvin Curran, cellist Mariel Roberts, and unclassifiable iconoclastic guitarist Fred Frith. His bio does not document his education but those collaborations show him to be in sympathy with what one might consider the current leading edge of the avant garde.

This disc consisting of two works for string quartet entitled, respectively, “Sonare” and “Celare”. Whether these are separate works or, as this listener perceived them, two parts of a whole, they are engaging works utilizing a variety of extended techniques and tunings. The album lacks liner notes but the works, though complex and unconventional, are rather transparent (at least to ears accustomed to some of the innovations of the last 50 years or so of new classical music).

Sonare is far more rhythmically active than its partner on this disc. Its use of unusual tunings and spectra as well as its apparent micropolyphonies suggest a variety of predecessors including George Crumb (think Black Angels) and some hard to delineate minimalist ideas. Celare, which follows it brings the listener to more of a drone minimalism aesthetic which also suggested Luigi Nono’s “Stille An Diotima” at times. These two pieces (or movements?) collectively clock in at just over 30 minutes which I guess makes this a sort of “CD single”. There is no apparent program other than the music itself and the music suffers from neither understatement nor overstatement and is ultimately a very satisfying experience in the very capable hands of the venerable Jack Quartet.

Put Mr. Ergün on your radar alerts. This is a voice that this listener hopes to hear more from in the near future.

Robert Moran: Points of Departure

Mar23

This is another in this first volley of new releases from Neuma. Philip Blackburn did fine service by reissuing the out of print the wonderful Argo recordings of Moran’s works and released two new collections from this all too little heard American composers as well as the gorgeous Trintity Requiem (2011) on Innova Records. He now continues his advocacy of this composer in the release on Neuma of two new Moran recordings, The second, Buddha goes to Bayreuth (2015) will get its own review shortly.

The present disc consists of five works, only one of which (Points of Departure) has been recorded before. Composition dates range from 1973 to 2017. Moran’s work is widely eclectic reflecting his early study with Second Viennese composer Eric Apostel, his M.A. studies at (the now lamentably defunct) Mills College where he studied with Luciano Berio and Darius Milhaud. HIs work ranges from graphic scores to post minimalist and post modern/neo-romantic styles doubtless influence at least in part by the various places he has lived (Vienna, Milan, Berlin, Portland, San Francisco, and Philadelphia where he now makes his home).

All of the works on this album are of the very listenable and sometimes unabashedly beautiful category. But these compositions belie the processes that underlie their structures and methods. What is most fascinating is Moran’s ability to use quasi aleatoric procedures (as in Star Charts and Travel Plans I) and produce results so gentle on the ear. This is a beautiful disc.

The all new recordings presented here begin with the titular Points of Departure (1993). It is a work for large orchestra which, according to Philip Gentry’s fine liner notes, is excerpted from a larger dance work. It is a rhythmic and exciting piece which demonstrates the composer’s mastery of the orchestra. One can easily imagine this accompanying choreography but it stands alone successfully as a concert piece.

The second track is Angels of Silence (1973) is seemingly anachronistic given it’s composition date when Moran’s output was arguably at it’s most experimental. Written during Moran’s time in San Francisco, it is one of a trilogy of works (between Messages from 1970 and Emblems of Passage from 1974). This trilogy followed on the heels of such grand experimental pieces as Thirty Nine Minutes for Thirty Nine Autos (1969) and Hallelujah (1971) for the city of Bethlehem, PA.

Here, despite the modernist use of chord charts for soloist and orchestra, we hear a very consonant piece which has an ethereal, gentle quality. To my ears it has much in common with the sound world of Stimmen Des Letzten Siegels (Voices of the Last Seal) (2001). The viola soloist, the Romanian-American Maria Rusu, handles her role beautifully with the university of Delaware Symphony Orchestra under the guidance of conductor James Allen Anderson. This writer’s fingers are crossed in the hopes of hearing the remaining two pieces of this trilogy in the near future.

Next up is the five movement Frammenti di un’ opera barocca perduta (2017). The title translates to something like “fragments of a lost baroque opera” and reflects Moran’s deep interest in early opera. The composer mentioned in an email exchange with this writer some years ago that he greatly enjoys listening to early baroque operas and this influence is in evidence here (in fact the texts he sets are texts from operas of this era). Scored for large orchestra with countertenor, a vocal artistry nearly extinct in the 20th and 21st centuries save for Philip Glass’ (with whom Moran collaborated in the fine fairy tale opera, The Juniper Tree) casting of the lead in his opera Akhnaten.

This gloriously lyrical suite can be sung by a soprano (and on first listen done before consulting program notes my guess was soprano) but it is sung as written by a truly fine vocal artist, Daniel Bubeck. The orchestral intro is followed by three arias (fast slow fast) followed by a brief orchestral epilogue. The piece is in some ways Moran’s Pulcinella, an homage to the past in the garb of the 21st century.

Star Charts and Travel Plans I (2016-17) is yet another example of the composer’s remarkable ability to use non-traditional notation to achieve his compositional goals. This rather meditative piece is very much in keeping with the overall sound of this fine release.

The disc ends with another vocal piece, Yahrzeit (2002-18), described by the composer as a “memory piece”. It has much in common emotionally with his wonderful Trinity Requiem (2011). Yahrzeit is a Jewish custom practiced on the annual celebration of the memory of the honored deceased. It is in memory of AIDS victim Michael Neal Sitzer whose life partner, poet James Skofield, wrote the beautiful text. Commissioned by friends of the couple, it was originally scored for male chorus and orchestra. It is presented here in a version for basso profundo, sung most movingly by Zachary James .

This is another major addition to the still too small discography of this great American composer. It is beautifully performed and recorded, a joy for fans of Moran’s work and a gift to listeners.

Shida Shahabi, a Fresh New Voice

Nov3

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 →

Heavenly Violin and Piano Music by Giya Kancheli

May11

kanchelisun

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.

Frederic Bednarz

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.

William Susman’s Scatter My Ashes

Apr3

susmanscatter

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.

Susman_at_piano

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.

Harold Meltzer: Wonderful New Chamber Music on Bridge

Dec11

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?

Gloria Cheng and Terry Riley Rock the Yerba Buena Center for the Arts

Dec10

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.

Charles Amirkhanian, 25 years later and going strong with Other Minds.

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.

Terry Riley at 84 still going strong as both composer and performer.

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.

Composer Terry Riley warmly greets fellow pianist Gloria Cheng at the end of a wonderful evening of Riley’s piano music from the last 50 years.

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!

Harold Meltzer New Chamber Music

Nov21

Open G Records

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 Cream The 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.

Anne Akiko Meyers’ Romantic Post Minimalism Enthralls

Aug31

Avie AV 2386

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!

The Twiolins: Secret Places

Aug8

Hännsler PHI 7002

Wow! What a discovery. This album was kindly sent to me by a friend, one of his most recent discoveries. And from the moment I put this in the CD player I was entranced. Despite the appearance of yet another cute musical duo these are two amazingly talented musicians playing some of the best post-minimal pieces this writer has heard in years.

Twiolins is are violinists with a wide range of interests (their repertoire as reported on their web site is impressive) but with a clear love for post-minimalist music. In fact they are brother and sister, Marie-Luise Dingler and Christopher Dingler. Unlike acts that seem to be designed to reach an audience with mediocre pop-inflected classical music Twiolins here presents 13 works by composers completely unfamiliar to this writer but astoundingly fresh and inventive.

My first impression reminded me of the music of the late great violinist and composer Michael Galasso. There is a remarkable similarity in styles between the composers represented here but all seem to fall basically into a post-minimalist category. The difference is that this music went right to my head (so to speak) and I found this music invaded my nervous system in the same delightful way that my first encounters with minimalism did. My linear thinking was impaired and I found myself carried away, willing to follow wherever the music led me. It was a curious mix of nostalgia and revelation.

There are 13 relatively brief tracks (ranging from 2:13 to 6:46) representing 13 compositions. Once I put the disc in the CD player I just had to hear the whole thing. No pause allowed. There is a consistency of styles with these pieces and the ordering on the disc promotes a nice flow from faster to slower pieces, then faster ones again. And adding to the basic quality of the compositions is a clear sense that these musicians are able to bring out details in the phrasing of their playing that make these compositions shine in ways that would flatter any composer.

Tracklist:

Rebecca Czech, Germany: Ich glaub´, es gibt Regen

András Derecskei, Hungary: Balkanoid

Benjamin Heim, Australia: Trance No.1

Edmund Jolliffe, UK: Waltz Diabolique

Jens Hubert, Germany: Rock you vs. Ballerina

Johannes Meyerhöfer, Germany: Atem • Licht

Nils Frahm, Germany: Hammers

Aleksander Gonobolin, Ukraine: Metamorphosis

Dawid Lubowicz, Poland: Carpathian

Vladimir Torchinsky, Russia: Eight Strings

Benedikt Brydern, USA: Schillers Nachtflug

Andreas Håkestad, Norway: Three Moods, I

Levent Altuntas, Germany: Chasma^2

This is apparently their third album (their first was released in 2011 and another in 2014). It was released in late 2017. I picked these up at Amazon as digital downloads for comparison. It would appear that these musicians have been carefully cultivating their sound and selecting their repertoire.

Granted there is a slightly populist feel here but none of these composers are known to this reviewer so it’s difficult to say if this is typical of their work. These are strong, well-wrought pieces that will delight and move the listener. The term “populist” here is not intended to imply simplicity or lower quality, just a nod to the fact that it will likely have an immediate appeal to listeners. The composers are a nationally diverse set and doubtless have other compositions of interest in their catalogs. Listeners can doubtless anticipate more tasty little miniatures as well as (hopefully) selections from their repertoire of concerti and the like.

This is not a mind bending or taxing album but neither is it negligible. The liner notes give little info about the pieces but that doesn’t really matter because they’re relatively brief and you will either like them or not but this writer is betting on “like”.

The Heresy and the Ecstasy: Brooklyn Raga Massive Does “In C”

Dec31

brminc

This is heresy. It is not, strictly speaking, faithful to the 1964 score and it is a sort of cultural appropriation which is actually the very basis of Brooklyn Raga Massive, a sort of latter day “Oregon” (to those who recall that band) which takes on all sorts of music and filters it through the unique lens of this flexibly populated group of musicians whose backgrounds range primarily from Hindustani and Carnatic traditions (though hardly in the most classical sense) but also from western classical and jazz. Their “heresy” comes from their choices. The root of heresy is the Greek word, “hairesis” which means choice. There is a lovely selection of their musical heresies on their You Tube Channel.

No this is not purely heresy and it is certainly not blasphemy. Quite the opposite actually. And I would prefer to think of this effort as cultural integration. The choices made here instead lead to some mighty ecstatic music making which pays honor to Terry Riley who turned 80 in 2015 and provides a unique perspective on this classic work.

“In C” (1964) is without doubt Riley’s best known work by far and the one which pretty much defined what would later become known for better or worse as “minimalism”. It is an open score meaning that no instruments are specified for performance making this music heretical in nature as well. In addition there is no conductor’s score as such. Rather there are 53 melodic cells numbered 1 to 53 and the ensemble is held together by the expression of an 8th note pulse played by at least one of the musicians involved. The defining reference on the intricacies of this work is composer/musicologist Robert Carl’s masterful book entitled simply, “In C”. He describes the wide variety of potential choices which can be made in performance and the different results which can be achieved.

There are a great deal of recordings available of this work from the first (released 1968) on Columbia’s “Music of Our Time” series curated by the insightful David Behrman to versions involving a wide variety of instrumental combinations of varying sizes. The first “world music” version this writer has heard is the version for mostly percussion instruments by Africa Express titled, “In C Mali” (released in 2014).

Not surprisingly BRM, as they are known, have chosen a largely Hindustani/Carnatic take on this music. The unprepared listener might easily mistake this for a traditional Indian music recording with the introduction which incorporates a raga scale and adheres to the traditional slow free rhythm improvisation of the introductory “alap” section common to such traditional or classical performances.

The familiar sound of these (largely) South Asian instruments with their rich harmonics sets the tone gently. This writer has at best a perfunctory working knowledge of these complex and beautiful musical traditions but one must surmise that the choice of Raga Bihag may have some intended meaning. Indeed such music is by definition integrated into the larger cosmology of Hinduism, the Vedas, the Gita, the Sanskrit language, and, no doubt other references. This is not discussed in the brief liner notes but is worthy perhaps as a future interview question.

It appears that many of the musical decisions were made by sitarist Neel Murgai though it becomes clear as the performance develops that individual soloists are allowed wonderful improvisational freedoms at various points. The recording is intelligently divided to let the listener know which set of melodic cells is being expressed at a given time.

The alap gives way to the sound of the tablas which initiate the pulse mentioned earlier. The structure of this piece produces a range of musical experiences from a sort of didactic beginning to the swirling psychedelic waves of sound which stereotypically define much of the music born in the mid 1960s in this country. In fact Terry Riley’s deep study of South Asian musics (most famously under vocalist Pandit Pran Nath) did not occur until later in his career. Nonetheless there seems to have always been some affinity between Riley’s vision and the sort of music whose popularity was driven in the United States most famously by the efforts such as Pandit Ravi Shankar and Ustad Alla Rakha in the 1970s.

What follows is a riot of musical ecstasy involving some inspired improvisational riffs and some stunning vocalizations as well giving us a fascinating take on this music which was written well before these musicians came into the world. We have a later generation paying homage to the beloved American composer and to the beautiful traditions of their own eclectic ethnic heritage.

The set concludes in this live and lively recording with a traditional fast paced Jhalla, the traditional ending to classical Indian musical performances. This will likely become known as the “Indian” recording of “In C” but it is so much more than that. It is an homage. It is a look back from the view of at least a couple of generations of artists. And it is heresy in the best sense of that word, choices made judiciously to achieve higher artistic goals. Not all art is heresy and not all heresy is art but the heresies perpetrated here definitely deserve our ears.

The heretics are: Neel Murgai, Sitar and Vocal; Arun Ramamurthy, Violin; Andrew Shantz, Vocal; Josh Geisler, Bansuri; Sameer Gupta, Tabla; Roshni Samlal, Tabla; Eric Fraser, Bansuri; Timothy Hill, vocal; Trina Basu, Violin; Ken Shoji, Violin; Kane Mathis, Oud; Adam Malouf, Cello; Michael Gam, Bass; Lauren Crump, Cajon; David Ellenbogen, Guitar; Max ZT, Hammered Dulcimer; Vin Scialla, Riq and Frame Drum; Aaron Shragge, Dragon Mouth Trumpet.

Namaste, folks.

Sarah Cahill et al: By and for Terry Riley

Dec21

Sarah Cahill - Eighty Trips Around the Sun- Music by and for Terry Riley - cover.png

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.

Howard Hersh’s Chamber Music: Dancing at the Pink House

Oct16

hersh pink

This latest release by Howard Hersh reveals more of his range as a composer. His previous release focused on one large concerted work for piano and chamber orchestra as well as some virtuosic writing for piano and for harpsichord. This disc (worth a listen if only for the return engagement of the pianism of Brenda Tom) focuses on some smaller chamber ensembles and a look at the composer’s more impressionistic moods.

This writer is left with the notion that each piece seems to be an intimate telling of a story. Though the stories are not explicit, each piece has a distinct narrative character. Mary Rowell handles the multi-track violin parts on Madam’s Tavern (2014). The piece has an almost symphonic character evoking a variety of styles and meandering most pleasantly through a musical narrative whose details are not as important as the fact that the piece engages very successfully on a purely musical level. It is written for solo violin with a chorus of some 15 tracks of violin accompanying.

Loop (2006) is a sort of cyclic quasi-minimalist work featuring Jonah Kim on cello, Brenda Tom (gently) on piano, and Patricia Niemi on vibraphone. It is a dream-like, perhaps even impressionistic piece whose structure and compositional techniques serve the end goal of being a charming aural object.

I Love You Billy Danger (2012) was written for pianist Brenda Tom. Here she demonstrates her virtuosity and her dramatic and dynamic range in a piece which, though related to Liszt according to the liner notes, seems to evoke the rather Lisztian master Frederic Rzewski as well. Tom is at her fines with this challenging work and she conveys the narrative well.

Night (2013) seems related to the earlier Loop by virtue of being a percussion piece but also by its gentle evocation of a shimmering musical narrative punctuated with a clarinet part that alternately hides within the percussive sounds and comes wailing out in jazzy/bluesy moments. This writer was left with the notion of Gershwin haunting the score (but maybe that is because this review is being written in the Halloween season). José González Granero is on clarinet, Patricia Niemi on marimba, and Nick Matthiessen on percussion.

Dancing at the Pink House (2006) is a musical narrative for clarinet and piano that Hersh has featured as a teaser on his website. It was written for Patricia Shands, clarinet and is accompanied by James Winn on piano. Shands is the owner of said Pink House and she seems to be having a lot of fun with this playful but substantial piece. Both of these musicians appeared on Hersh’s 2007 CD release, Pony Concerto (Albany Records).

Dancing at the Pink House is a valuable addition to Hersh’s discography and reveals more of his range as a composer. This is a highly entertaining recording and leaves the listener wanting more.

Femenine, a Lost Julius Eastman Recording, a Major Treasure

Sep21

This is an epic minimalist masterpiece that has the same sort of almost full orchestral impact that one hears in works like Reich’s ‘Music for 18 Musicians’, Riley’s ‘InC’, and perhaps Glass’ ‘Music with Changing Parts’ or ‘Music in 12 Parts’. The point is that it is entrancing and engaging music that deserves to be heard.

Julius Eastman (1940-1990) was an American singer, performer and composer whose work was little known until after his untimely death. It was the efforts of composer Mary Jane Leach who performed a labor of love essentially saving Eastman’s work from obscurity when she called upon her fellow musicians and artists to help her gather all the extant recordings and scores many of which were lost after Eastman was evicted from his apartment not long before he died. Her Julius Eastman page is a valuable reference and her work has inspired further research and performances of Eastman’s music.

Leach’s substantive initial efforts resulted in the release of the 3 CD set, Unjust Malaise which made available all of the then known serviceable recordings of this composer’s music. Since then this recording became available and it may be the finest that Eastman did.

This is a live recording of a performance from 1974 which is quite lucid and listenable. It starts slowly but quickly finds its rhythm and pace and provides an uninterrupted 70 minutes of consonant, even romantic sounds. It’s relation to femininity or any gender issues is not clear, perhaps not even the point. This piece also seems to have had a companion (called masculine) which is sadly now lost.

Anyone interested and entertained by the minimalist works already cited will find this work very inviting. Hopefully the release of this recording will encourage a revival of this work and it will be performed again soon. We as consumers are blessed to have this major work by this major composer available for listening and study. Eastman deserves recognition as a composer and this disc certainly is a strong support for that.

Lavinia Meijer, New Superstar of the Harp Takes on Philip Glass

Mar24

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.

Oh, No! Not Another Minimalist! John McGuire

Mar21

When I posted my introductory article to the “Not Another Minimalist!” series I got the suggestion on Facebook from composer/writer Walter Zimmerman that I do a piece on John McGuire. Many will remember Zimmerman for his important book of interviews called Desert Plants (1976) in which he interviewed a series of 23 American composers in the early to mid-1970s. His choices virtually defined an era much like Robert Ashley’s Music with Roots in the Ether would later do. He is also a fine composer in his own right and will be featured in a future essay on this blog. I am honored to receive a challenge from him and I also thought it was a fine selection of a minimalist-type composer whose work deserves wider dissemination so I am using McGuire as my first article in the series.

Unfortunately there is precious little to be found on this American composer. In Zimmerman’s book he gets only one page so I am essentially updating his earlier efforts. However, even 38 years later, McGuire does not appear to have a web page and I have been able to find reference to only a few recordings of his music.

Cover image from one of McGuire’s recordings.

John McGuire (1942- ) studied with Robert Gross at Occidental College in Los Angeles, where he earned his BA in 1964, with Ingolf Dahl at the University of Southern California in Los Angeles and with Seymour Shifrin at the University of California, Berkeley, where he earned his MA in 1970. He also studied composition privately with Karl Kohn, composition and orchestration with Krzysztof Penderecki at the Folkwang Universität der Künste in Essen from 1966–68 and composition with Karlheinz Stockhausen at the Ferienkurse in Darmstadt in 1967–68. He then studied computer composition with Gottfried Michael Koenig at the Instituut voor Sonologie of the Universiteit Utrecht in 1970–71 and electronic music with Hans Ulrich Humpert at the Hochschule für Musik und Tanz in Cologne from 1975–77.

I came to know the work of John McGuire when I found a remaindered copy of a Largo CD containing his 48 variations for two pianos in the great though now sadly gone Rose Records store in Chicago in the 1980s. It was a gamble as I had never even heard of this composer but the album somehow spoke to me from the CD bin.

Variations for 2 pianos CD

My gamble paid off because I had found in that piece a new take on minimalism and pattern music. It seemed to be closer to classical variation form than to strict process-oriented patterns but clearly there were rhythmic cells being subjected to development. It clocks in at about 48 minutes and is a tour de force.

As it turns out McGuire makes use of minimalism as only one of his compositional techniques and has a distinctly different take on it which appears to be informed by the various techniques gleaned from his teachers. After finding and bonding with this CD I began to look for more of this man’s music.

The intelligent vigilance of Richard Friedman and the Other Minds organization broadcast McGuire’s 1974 Frieze for 4 pianos and his 1985 Cadence Music for 21 Instruments in a RadiOM program dedicated to the composer’s music. Both recordings were broadcast from a 2 CD release on the RZ label. Again the unmistakable sound of minimalism in a very unique approach.

The east coast equivalent of RadiOM is WNYC’s New Sounds hosted by John Schaefer. The program of November 12, 2013 included McGuire’s Pulse Music III from 1978. This is a great example at the composer’s facility with electronics. This piece realized on tape was apparently originally for a multiple speaker installation but is mesmerizing even in the stereo presentation which was broadcast. Another inspired new music show, Kalvos and Damian did a program on the genesis of this music which remains available as streaming content.

McGuire spent 25 years living and working in Germany returning to the United States in 1998. He then worked for Carl Fischer music as an editor and was a visiting adjunct professor at Columbia from 2000-2002.

I’m not sure I’ve been able to do much more than Walter Zimmerman did in his book but it is my hope that this article may spark interest in musicians, producers and broadcasters to keep this fascinating composer in mind for future projects and performances.

New Music Buff

Random perspectives from an informed new music fan.

Tag Archives: minimalism

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Oh, No! Not Another Minimalist! John McGuire

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Mirrored Spaces

Partita

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