This is another entry in an ongoing series of music for piano trio by the tried and true Lincoln Trio. In this fine release they play a delightful collection of five works (three are world premiere recordings) by living composers. This is their eighth Cedille release by my count. It is the second recording of piano trios from Chicago based composers, a follow up to their previous survey of early to mid-twentieth century piano trios, Trios from the City of Big Shoulders.
The five works presented here are but a sampling of the available repertoire from Chicago based composers. That said it is a fine sampling of the current state of the art and one would do well to explore more of the music of all these composers.
The first selection is the three movement, “city beautiful” (2021) by the American composer of Nigerian/American Heritage, Shawn E. Okpebholo (1981- ), a world premiere recording. The title is taken from that of the 19th century initiative that helped build the now familiar skyline which had been ravaged by the 1871 Chicago Fire.
Okpebholo is no stranger to this blog. His fine album of spiritual arrangements Steal Away (2016), and his contributions to Will Liverman’s album, “Dreams of a New Day” (2021) revealed his interest in and expertise with spirituals and art song. “city beautiful” by contrast is essentially three tone poems inspired by Chicago architecture, perhaps one of the city’s finest distinctions. The three movements, aqua, prairie, and burnham are effectively homages to architects Jeanne Gang (whose Aqua Tower is a most recent major addition to the famous skyline), Frank Lloyd Wright (whose Robie House is a classic example of the “prairie school” design), and Daniel Burnham (whose 19th century designs define the famously beautiful lakefront and the iconic Union Station).
Opkebholo’s idiom is basically tonal and could be characterized as post romantic. But regardless of how you categorize it the music is eminently listener friendly and a fine vehicle for the estimable Lincoln Trio. This is the work of a rapidly emerging composer with both substance and style. Keep his name on your radar. I expect to hear much more from this talented and prolific composer who currently holds a professorship at Wheaton College in that western suburb of Chicago.
Next is a two movement work by Augusta Read Thomas (1964- ) entitled, “…a circle around the sun” (2021). This work was a commission by the Children’s Memorial Foundation for the Amelia Piano Trio in honor of George D. Kennedy. Thomas has long been a fixture in Chicago’s music life where she was a composer in residence with the Chicago Symphony from 1997-2006. She is currently professor of music at the University of Chicago and a former professor at Northwestern University. Her work also tends toward the tonal idiom and this rather brief two movement work is a fine example of her writing for chamber ensemble.
“Soliloquy” (2003) by the truly fine, if still too little known, Shulamit Ran (1949- ), an Israeli born American composer. She was a student of the esteemed Ralph Shapey (1921-2002) to whom she dedicated her Pulitzer Prize winning Symphony (1990). The composer states in her liner notes that the origins of this work come from her opera “Dybbuk”. It is a pleasant piece perhaps less complex and more lyrical in sound than some of her larger works. Ran was professor of music at the University of Chicago from 1973 to her retirement in 2015.
Mischa Zupko (1971- ) contributes the briefest work to this collection. Clocking in at just under three minutes, “Fanfare 80” (2010) was written in celebration of the 80th anniversary of the Music Institute of Chicago. The brevity here belies the complexities within this ear catching piece.
The album concludes with a substantial two movement work (just over 23 minutes), “Sanctuary” by Stacy Garrop (1969- ) is the work of another prolific composer whose work is, happily, getting much deserved recognition. The 2016 recording of her wonderful orchestral work was reviewed in these pages. Garrop’s work is invariably kinetic and deeply felt with a dramatic flair. Garrop was on the composition faculty of Roosevelt University in Chicago from 2000 to 2016 and is now a freelance composer.
The usual audiophile production (Bill Maylone, engineer) which characterizes Cedille releases is evident here. This is a fine sampling of music which is roughly representative of the musical riches producer James Ginsburg has mined from the “city beautiful”.
Who? and Who? American composer Alvin Curran (1938- ) returns to his roots…well, some of his roots, in this streaming composition, a tribute to German dramaturge Achim Freyer (1934- ). Curran’s composition, a tribute to the dramatist/costume designer/stage director, is presented in streaming format via Deutschlandradio. and is available at the following link:
I mention the link to allow my readers to access the program stream so as to be able to hear the work (obviously) but also because Maestro Curran has been at the forefront of adopting social media as both a medium for access and distribution for his compositions but also as a part of the the work (at least in the Mc Luhan-esque sense, “the medium is the message”). More details on Curran’s work can be found on his excellent website.
His Kristallnacht memorial work, “Crystal Psalms”, used multiple radio stations with performers in each location throughout northern Europe which Curran mixed live for the broadcast, the final mix released on CD format is a classic of the genre and a powerful sociopolitical statement. The point is that Curran continues to be at the forefront of integrating current technology in his art. His distinctly personal use of synthesizers, sampling keyboards, and other electronics continues to characterize his creative process.
Achim Freyer became known to me when I saw Michael Blackwood‘s film, “A Composer’s Notes…” (1985) which documented two simultaneous staging of Philip Glass’ opera “Akhnaten” by the geographically distant opera companies who co-commissioned the work. The Houston Opera production was designed by David Freeman, and the Stuttgart production by Achim Freyer. Freeman cast the work in a realistic historical tableau in ancient Egypt whereas Freyer’s designs evoked a sort of hallucinatory, dreamlike, mythical set of images. Both are beautiful and quite viable productions but they are very different visions. It is that very different vision that characterizes Freyer’s work and gets him the accolades that drive the commissioning of Curran’s tribute. This musical tribute now is added to the metaphorical mantle where Freyer’s accolades reside. You can also download an audio MP3 here.
When you listen to the streaming version or the conveniently downloadable MP3 you will be greeted by about 5 minutes of German language narration followed by approximately 35 minutes of Curran’s sound collage work incorporating the composer’s unique approach to the inclusion of digital sampling technologies along with his extensive knowledge of electronic sound production and manipulation.
Like any great work of art this work will have varying impacts and leave a variety of impressions. Beginning with the playful title it is doubtless full of referential quotes that probably rival Elgar’s “Enigma Variations” (1899) or the panoply of quotations in Luciano Berio’s “Sinfonia” (1968-9). Don’t get me wrong, this streamed work is very different than either of these predecessors. Rather it appears to be a sonic portrait using concrete sounds alongside musical sounds to create an impressionistic tableau of Herr Freyer. The composition is reflective of Curran’s “New Common Practice” concept in which the composer is free to use whatever sounds and techniques he or she chooses to complete a musical piece.
Even a cursory look at Alvin Curran’s oeuvre reveals the incredible diversity of his compositional sound sources. From conversations, to creaking doors, footsteps, musical snippets, and the sound of the ethnic/mythic shofar (the ram’s horn has become a signature sound for the composer). They are all mixed carefully (this sounds like a carefully crafted collage) to create a non-linear narrative or sonic poem in tribute to an artist and a mutually beneficial friendship between Curran and Freyer. Please forgive my admittedly clumsy appropriation of Friedrich Schiller (in turn via Beethoven) when I say, in my limited German, a phrase which can be said to characterize both the composer’s work and that of its subject Achim Freyer: The final embrace, the feeling at the end of Beethoven’s 9th symphony as the chorus sings: “Diese Kunst umfasst die ganze Welt” (This Art embraces the entire World).
This is John Pitts‘ second incursion into adapting non-western music for the conventional piano. In doing so he follows a long tradition of fascination with non-western musics by western composers. Listeners will likely be familiar with Beethoven or Mozart who imitated Turkish music to add an exotic dimension to their compositions (Beethoven with his Turkish March sequence in the finale of the 9th Symphony; Mozart imitating Turkish music to add the exotic sound to enhance the geographic setting of his opera, The Abduction from the Seraglio). This fascination gained traction over the years as the great romantics such as Rimsky-Korsakov, Stravinsky, Debussy (whose encounter with gamelan music at the Paris World Fair was formative), and their successors took on similarly exotic interests in their music.
Serious study of non-western music with attention to tunings and rhythms is virtually unknown in the western canon before the twentieth century. Colin McPhee, the Canadian-American composer did his landmark study of Balinese Gamelan music in the 1920s and 1930s (some of which is influenced Benjamin Britten’s ballet, The Prince of the Pagodas) which was the first of a series of such explorations done subsequently by the likes of Lou Harrison, Terry Riley, La Monte Young, Alan Hovhaness, David Fanshawe, and others of Balinese, Javanese, Chinese, Japanese, Korean, and other cultures. Unlike their forebears, this new generation studied tunings, instrument construction, rhythmic construction, performance practice, compositional methods, etc. instead of basically just fitting the music to the mold of the western paradigm.
The present volume is, as mentioned, the second such effort by British composer/musicologist John Pitts. His first effort detailed suggestions for playing Hindustani Ragas (raags in the British spelling) and was reviewed here on this blog. In that study, as in this one, Pitts takes the fixed tuning of the piano that is familiar to western ears as a given, without getting into the complex issues of tuning (that is a subject unto itself). Neither Hindustani Ragas nor Javanese composition can be played on pianos tuned to the current western standard of twelve tone equal temperament but there are riches to be had in understanding compositional techniques other than tuning and harmony. Pitts uses the piano as a starting point from which to learn about music of other cultures. This appears to have grown out of his own efforts as a western trained musician trying to learn what techniques can be incorporated into the creative processes of western music. Many of the author’s compositions appear to be in part the product of lessons learned from his study of various musical systems including gamelan (Javanese and Balinese), Hindustani raga, and balafon music from Burkina Faso.
For the present volume Pitts consulted with western gamelan masters including Jody Diamond and other members of the international gamelan community. He did his homework well and one of the strengths of this book is in its remarkably lucid exposition of javanese music in a way that is understandable by anyone with a reasonable grasp of western music theory. Here is where the use of the piano serves as a springboard from which one might grasp this musical system in part via the differences in the two. It is this pedagogical aspect to which I refer in my parody in the title of this article. As one with a largely self driven learning of music this volume presents an opportunity to expand my knowledge of gamelan music. It is a friendly approach which makes me no longer “afraid to ask” or afraid to learn.
In the space of approximately 50 pages the author provides a marvelous distillation of the essentials of gamelan music including terminology, descriptions of the various traditional instruments commonly used, and, most crucially, descriptions of some of the processes of composition, melody, and performance practice. There seems to be more data here than one would reasonably expect to fit in those pages. It is a concise reference which many listeners and musicians will want to keep close at hand. These pages alone are worth the price of the book.
What follows is about seventy pages of transcriptions by the author of a traditional javanese composition playable by one or more pianists. Don’t get me wrong, this doesn’t simplify the learning of these processes. Rather it clarifies the material so that these concepts are learnable by motivated individuals. The transcriptions are the musical description, if you will, of the processes outlined in the preceding chapters. These are basically teaching etudes in lucidly engraved western notation. Even if the reader lacks sufficient skill at the keyboard (as is the case with your humble reviewer) to actually play these works, the illustration of the concepts described verbally can be understood more completely when one sees them in western notation.
As a listener to a wide variety of music I personally find it useful to be able to learn about music which had previously been just a bit out of reach due to my perception of its impenetrable nature and the lack of easily accessible guides such as this. While it has taken me a while to grasp some of the concepts so as to be able to write a reasonably coherent review of the book I’m gaining insights that are aiding my understanding of gamelan music. The book requires some work to understand largely due to the unusual nature of this music but grasping more as I continue to read and re-read, I find it both compelling and rewarding.
Mr. Pitts concludes with a comprehensive and insightful description of his justification of using the ubiquitous piano as his starting point. He compares it briefly with the common nineteenth century practice of imitating various asian musics with western instruments as noted at the beginning of this review and goes on to enumerate other benefits to be had by using the piano as a learning tool in the study of this music. The book concludes with a very useful bibliography and links to internet resources for those who want to go further in gamelan studies. Far from the dreaded “cultural appropriation”, Pitts’ work is more of a respectful anthropological exploration which acknowledges the value of this music and looks to learn from it. That is celebration and it is invaluable.
Jacob Greenberg will be a name familiar to many primarily for his essential role as the keyboard artist in ICE, one of those fine New York based new music ensembles that can play just about anything. At one time composers were forming their own ensembles to play the strange and difficult music they were writing (Steve Reich, Philip Glass, Michael Nyman, Steve Martland to name a few). Now ensembles like ICE are ready made, able to provide a flexible instrumentation and, with each musician, a stunning level of technical competence and a true affinity for the music of now.
Mr. Greenberg here is one of those multitasking, technically refined artists whose curatorial ear makes him an artist you need to have on your radar. In an earlier blog post I reviewed his solo (mostly) piano release Hanging Gardens in which he created an insightful contextualization by the choices of repertoire he made for the album. In response to this review he sent me a copy of this, the latest of his solo piano (mostly) projects.
The context of this album is of compositions all commissioned by Greenberg and written for him over the span of 2013-2019. It is a marvelously diverse collection which speaks to the wide scope of his interests and skills as well as the range of personal relationships he cultivates with other musicians.
The disc begins with music by probably the best known composer on this release, Japanese composer Dai Fujikura (1977- ). White Rainbow (2016) is a sort of tone poem for harmonium evoking the visual atmospheric phenomenon of a “fogbow” or “white rainbow”. It has an impressionistic feel much like Debussy. This is followed by the more experimental “Bright Codes” (2015-2018) for piano, four pieces which can be played in any order, but with the caveat that they be played without pause.
The next 5 tracks are dedicated to the 2018 “Funf Worte” (Five Words) by Amy Williams, five miniatures, each exploring a single German word. The piece is for harmonium and voice and the voice is the wonderful new music soprano, Tony Arnold. This is followed by a much larger piece for solo piano, “Cineshape 4” (2016) developed after the structure of the film “Run, Lola, Run” (1998). this virtuosic piece starts three times, each time developing differently analogously to said film.
“The Memory of Now” (2021) by IONE. This is a work for harmonium and voice. This time the voice is of the composer IONE, poet, dramatist, musician, playwright, and life partner of the late, great Pauline Oliveros. The piece has improvisational, indeterminate elements which require the performer(s) to listen to internal and external sounds.
The album ends with two large and powerful pieces by Nathan Davis. “Ghostlight” (2013) and “Seedling” (2019). Ghostlight is for “lightly prepared piano” and evokes the ambiance of those small single lights that shines on a darkened stage when the theater is closed. The preparations hep produce the ghostly microtones and gong-like sounds.
This sampling of some of the latest in contemporary composition reflects the use of extended instrumental and vocal techniques. It also makes use of experimental compositional techniques that demand deep involvement of the musicians in the execution of the music in ways that diverge from the conventional classical music paradigm. And it is the expansion of old paradigms that are ultimately what makes Greenberg and his ICE colleagues so compelling.
Listeners of a certain age and those versed in recent classical music history will recall another fine pair of Armenian American musicians (also sisters) whose performances and recordings introduced many to the work of Armenian American composer Alan Hovhaness (1911-2001) as well as John Cage, Aram Khachaturian, and others. I am speaking of pianist Maro Ajemian (1921-1978) and her sister, violinist Anahid Ajemian (1924-2016). And these fine musicians (pianist Marta Aznavoorian and cellist Ani Aznavoorian) carry on some generations later along a similar path, honoring their heritage and promoting its art.
The disc under consideration is this beautiful sampling of Armenian composers of the past 100 years (or so) beginning with Komitas Vartabed (1869-1935), a monk, composer, historian, and ethnomusicologist. Armenian music enters modernism and the twentieth century via Komitas. This is followed by music of four Soviet era composers and three contemporary era composers.
The liner notes are by local historian and producer Gary Peter Rejebian and the Aznavoorian sisters. In this ,their debut album, they speak of their connectedness to Armenian culture personally and musically. In fact Ani’s cello was made in Chicago by her father Peter Aznavoorian. This album is an auspicious debut and an homage to this rich culture.
They begin with five pieces by Soghomon Soghomonian (1869-1935), better known as Komitas Vartabed, the name bestowed upon him after his ordination as a priest in 1894. These are lyrical and beautiful folksong arrangements that grasp the listener immediately. These five pieces ranging in duration from about 1 1/2 minutes to about 4 minutes. These five pieces, four for cello and piano are punctuated by a sad lament for solo piano played as the third track. Komitas, after witnessing 1915 the Armenian genocide, composed no more and, in fact, spent his remaining years in a sanitarium until he died in 1935.
The next two pieces are by one of the best known Armenian composers of the twentieth century, Aram Khachaturian. Though long subsumed into the Soviet straightjacket his individual voice produced many substantial works and his work has done much to preserve and rejuvenate his Armenian culture. These two pieces are not among his best known work but demonstrate his ability to write in smaller forms and, at least in these brief pieces, display his personal style and his love for his native culture.
These are followed by three pieces of another Soviet era composer whose voice is less well known in the United States, Arno Babajanian. Elegy (among the composer’s last works, written in homage after the passing of Aram Khachaturian) is one of two tracks for solo piano on the album and it is followed by Babajanian’s “Aria and Dance” for Cello and Piano. Certainly this is a composer whose works deserve a proper hearing and evaluation. These pieces suggest a composer with a strong voice, another to come out from the Stalinist/Soviet oversight to be heard now with new ears.
Avet Terterian is another Soviet era name whose work is virtually unknown in the west, another whose work deserves at least a second listen. His large three movement sonata for cello and piano (1956) is a major work both in duration and in content. The style is a friendly mid-twentieth century post romantic one that very well may become a regular repertoire item after hearing the powerful and convincing performance documented here.
With the next track we hear the first of the “recent” works on this recording, Serj Kradjian’s transcription of a traditional song, “Sari Siroun Yar”.
The all too brief experience of this small work by another major Soviet era composer, Alexander Arutiunian, this charming Impromptu (1948, one of his earliest compositions) is a beautiful piece but it is a mere appetizer to lead a listener to hear more from this composer who has produced work in pretty much all genres big and small. Arutiunian’s work deserves some new attention. Best known for his 1950 Trumpet Concerto, his output was large and he composed in large and small forms that demand the attention of post Soviet ears.
Back to the 21 st century with this next track, Vache Sharafyan’s Petrified Dance (2017). Sharafyan was a student of Terterian and this work was adapted from a film score.
The Aznavoorians end with the world premiere recording of “Mount Ararat”, a paean to the Holy Mountain that dominates the landscape in the Armenian capitol city of Yerevan. It is the mountain upon which Noah’s Ark was said to have come to rest after the flood. Like Mount Fuji to the Japanese, Mount Everest to the Tibetans, and “Tahoma”, (better known now as Mount Rainier) to the Puyallup and other Native American tribes of the Pacific Northwest, Mount Ararat is considered a holy mountain.
Peter Boyer‘s “Mount Ararat” (2021) was written for the Aznavoorian Duo. Boyer is the only non-Armenian represented here but his composition embraces the spirit of Armenian music and this is a dramatic and heartfelt love song both to the holy mountain and these musicians whose performance provides an ecstatic and virtuosic finale to this fine disc.
Yolanda Kondonassis‘ name is practically synonymous with her instrument, the classical concert harp. Her discography (via discogs) numbers over 50 albums, most of which demonstrate her interest and dedication to music of our time. She has played both as soloist and as orchestral musician with many major orchestras and has had many works written for her. If you collect new music recordings you probably have one or more of her recordings (I certainly do).
So this album continues her ongoing legacy promoting new music for her instrument. But it also demonstrates her interest in ecology with these 15 compositions written for her, at her instigation, on the theme of Earth in many of its guises as chosen by the composer. The project begun in 2020 features compositions written over the last two years in response to her request.
The project, by her description, has grown beyond its original plans and has included videos, live performances of these works, publication of these pieces as well as a collection of works for younger musicians. Each time one of these pieces is reported as having been performed a donation is made via the Kondonassis’ charity organization Earth at Heart to various ecological organizations.
These 15 composers are a delightfully diverse group, some well known, some rising stars. All reportedly responded quickly with 15 similarly diverse compositions (2-8 minutes in duration) inspired by the theme of the commission, all with the composers’ unique perspectives on the subject. This writer hopes that more composers will participate in this worthy project which promotes ecology, the harp, and expands the repertoire for her instrument. No electronics, no other instruments. Just the lone harp in all its glory.
This beautiful and thoughtful production includes useful liner notes (which enhance the listener’s perspective on the music) from Ms. Kondonassis and brief biographies of each of the composers (with more notes available on her website). Technical analysis of this music is beyond this writers expertise so let me just say that each of these works are compelling additions to the solo harp repertory and are concise, carefully conceived pieces that benefit from repeated hearings. You might be challenged but you won’t be bored. Here’s hoping that this disc gets many hearings and furthers the artist’s goals for the instrument and the planet upon which she plays it. Brava!
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.
It is thanks to the ever industrious Guitarist/composer/producer (et al) John Schneider for doing the research and navigating legal quagmires to obtain permission to release this marvelous private recording of a lecture/demonstration of Harry Partch’s musical theories in a sort of lecture/recital given on November 3, 1942 in Kilbourn Hall at the Eastman School of Music. This (apparently stereo) direct to disc recording languished in an archive and has now been liberated and released to Partch historians, fans and friends of new music..
First let me say that the physical product here is both his both a valuable historic artifact and a “fetish level” collectible. And by that I mean it is a hardcover book measuring 6 x 8 inches with boards and spine covered tastefully with images and text. Save for the heavy stock end papers the pages are glossy satin coated pages. They contain the liner notes, relevant texts as well as historical photographs and some fascinating historical material that helps put this sonic document in its proper context. It is a beautifully conceived and executed release on the ever adventurous MicroFest Records. (Of course you can get the excellent recording and the texts, learned liner notes, and historical photos on a pdf file, the recording on a digital file, but collectors will long cherish this museum quality document. Suffice it to say that some of my Christmas shopping is done now.)
This is in effect a sort of appendix to the Bridge Records Volume I, (“Bitter Music” released in 2011) of their visionary complete Partch recording project. Both “Bitter music” and “Harry Partch, 1942” are basically variations on Partch’s work with “speech music”.
Partch’s work here seems to be anchored not only to ancient Greek antecedents for the tunings and the performance practices of poetry but also in the genre of “sound poetry” as practiced in the early twentieth century and even perhaps forward to later incarnations of this genre like Charles Dodge’s pioneering 1980s “Speech Songs” using computerized vocal synthesis algorithms. All are plays on the intertwining of speech and music, the artistic territory that exists between music, poetry, and spoken word.
Partch is connected to sound poetry via his explorations of early Greek culture which had a tradition of performing poetry with music. He is a contemporary of Thomas Wolfe, Jack Kerouac, Allen Ginsberg (maybe even Bob Dylan), and can be said to be in the lineage of beatniks, folk singers, street theater, sound poets, and an exponent of music theater. And Partch’s work on tunings precedes and informs the later work of Ben Johnston (who played in Partch’s own ensemble) as well as La Monte Young. This hour with the master sheds light on his theories, his art, and his genius which will thrill fans of his work. This is one exciting release.
That “Bitter Music” of the Bridge release (Bridge 9349A) is a contemporary performance version, a faithful realization of a written diary but the present document is a chance to hear the mid-career Partch (the Bitter Music journal dates from 1935-7) showing and telling his audience how its done. Partch did some speaking in a lot of the CRI discs which contained digitally remastered transcriptions of the 78 rpm discs released on the composer’s Gate 5 label but these were largely brief, scripted, and informational comments preceding the recorded performances. By contrast Partch, 1942 is a lucidly informative lecture demonstration with an (mostly) unscripted Partch speaking in his own voice, a professor presenting his research. Partch’s exposition of his theories is well constructed and his musical performances are heartfelt and, well, definitive.
The disc (which sits neatly in a pocket on the inside of the back cover) clocks in at about an hour and, for reasons likely lost to history, the recording begins with the introduction “already in progress”. This single CD contains the material on the four original direct to disc live recordings. The sound is surprisingly good.
So whether you just want to hear the performance or want to own this objet d’art in all its glory this is a fine way to introduce yourself or a friend to this unique American genius.
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:
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.
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.
I thought I knew this music. After falling in love with György Ligeti’s (1923-2006) work having heard it so aptly used in Stanley Kubrick’s, “2001: A Space Odyssey” I eagerly purchased both of the complete works surveys on Sony and Telefunken but these fresh, insightful performances by the Danish National Vocal Ensemble under conductor Marcus Creed have made me fall in love again. And, while I have some familiarity with Zoltán Kodály’s (1882-1967) music (he is underappreciated) I did not know his unaccompanied choral works. So this encounter was an absolute revelation.
This release succeeds on several levels. First, it is one of the always reliably fine productions from Lars Hannibal’s OUR Recordings. So, from the physical design to and the the choices of repertoire and performers as well as the sound of the recording, this is a thoroughly enjoyable experience for the listener.
But what brings this release from competent to outstanding is the interpretive skillset of conductor Marcus Creed and the disciplined Danish National Vocal Ensemble. These are fresh, insightful readings that shed new light on these masterful composers and their work. Looking at Creed’s extensive discography it is clear that he commands a wide range of repertoire with a penchant for the twentieth century and beyond. His reading of Ernst Krenek’s massive 12 tone contrapuntal a capella masterpiece from 1941-2, “Lamentatio Jeremiae Prophetae” Op. 93 remains perhaps this challenging work’s finest interpretation in the 1995 Harmonia Mundi recording and a personal favorite of this reviewer. So it should come as no surprise that he is able to breathe new life into these works.
The opening work is probably the most familiar here. Ligeti’s “Lux Aeterna” (1966) was first thrust into the spotlight via its (unpermitted at the time) inclusion is the Kubrick film. This is mid-career Ligeti and one of the most effective uses of his “micropolyphony” and cluster chord harmonies. It is first heard in the Clavius Moonbase scene fairly early in the film. It accompanies the otherwise silent animation of a sort of space shuttle bus as it glides along the lunar surface. Along with the Kyrie of Ligeti’s 1965 Requiem and his orchestral “Atmospheres” (1961) work beautifully in telling the story in this film with its well known paucity of dialogue.
This opening track grabbed my attention immediately. The text, which appears in the traditional Catholic Mass and Requiem Mass is a communion hymn with the following words:
May light eternal shine upon them, O Lord, with Thy Saints for evermore: for Thou art gracious. Eternal rest give to them, O Lord, and let perpetual light shine upon them: With Thy Saints for evermore, for Thou art gracious.
But the experience of this music is positively otherworldly. Its wall of sound ambiance belies a rather complex construction which has become a landmark in the development of compositional practice. And it is vitally that this music, now nearly synonymous with the film, be heard as originally intended. It exists in both worlds now and this reading helps reaffirm it as the masterpiece it is.
The next six tracks are by Ligeti but this is the Ligeti still composing under the powerful spell of Bela Bartok. All date from 1955 but are a quantum leap back from the sound world of the first track. The two brief a capella choruses (the second includes solos for bass and soprano voices) are settings of words by Hungarian poet Sándor Weöres (1913-1989). These settings are ostensibly influenced by the composer’s early encounter with modern music in Vienna (Ligeti ultimately relocated from the artistically and socially oppressive Hungary to Austria). The second of these choruses had to wait until 1968 for a performance which provides some notion of how oppressive the Hungarian regime had been.
Those brief choruses are followed by four folksong settings which take the listener back into the sound world of Bartok and Kodaly with their respective folksong transcriptions. These are very enjoyable travels into Ligeti’s excellent but markedly more conservative beginnings.
Next is another Ligeti work but one from his later years demonstrating that he never stopped evolving as a composer. The “Three Fantasies after Friederich Holderlin” (1982) are themselves a quantum leap stylistically from the 1966 Lux Aeterna. These are also more complex settings and, suffice it to say, they are a powerful experience. What was micropolyphony in the earlier work is replaced by a more traditional style of polyphonic writing but one that could not exist were it not for those earlier efforts.
And then we come further back again to early and mid-career Kodaly in three a capella works, “Evening Song” (1938), “Evening” (1904), and “Matra Pictures” (1931). I say at the beginning of this review that I believe Kodaly’s music to be underappreciated. Indeed but I find myself with no excuse given the easy availability of so much music on You Tube and other online sources. And this is why the inclusion of this fascinating selection of the composer’s significant cache of a capella choral music is so very welcome.
Like, I suppose, many listeners I mostly know Kodaly’s work via his Peacock Variations and excerpts from his opera, “Hary Janos”. Of course I had also been aware of Kodaly’s pedagogy and his methods for learning music (and I was aware even before I saw it in “Close Encounters).
But my encounter with these fine choral works revealed to me the depth of the composer’s skills. This is marvelously written music by a composer intimately familiar with this medium and it has already sent me to exploring more of this composer’s work in all genres. It is not difficult to see Kodaly’s work as a logical predecessor to that of Ligeti. he same skill and invention the same ability to convincingly set text to music. This is a terrific release, highly recommended to lovers of choral music in general and, of course, of these two composers.
The new singing sensation here is a Julliard trained soprano whose debut at the Met in 1991 has resulted in several return engagements. In addition to grand opera she apparently has experience with zarzuela and flamenco as well. The show, titled, “Y Volveré” (“And I’ll be back” in English) will also feature flamenco artists. They highlight the inclusion of song settings of Federico Garcia Lorca suggesting a program of some political conscience.
The opportunity to see this rising diva in a smaller setting singing a variety of vocal works, some from her background may make this one of those “I was there” moments. Below is the press release. And though this artist is a rising world star on the big stage it is delightful to see her other interests and talents featured.
Your humble reviewer/blogger is unable to travel to this one I eagerly await the reviews.
OPERA HISPÁNICA PRESENTS FAMED OPERA STAR
IN Y VOLVERÉ AT EL TEATRO OF EL MUSEO DEL BARRIO
ON APRIL 7, 2022
Performing with Verónica Villarroel are ‘Zarzuela King’ Pablo Zinger and Flamenco sensations Sonia Olla and Ismael Fernández
Opera Hispánica is proud to present the great Chilean soprano Verónica Villarroel in a romantic recitaltitled Y Volveré at El Teatro of El Museo del Barrio on April 7th at 7:30 PM, 1230 Fifth Avenue along Museum Mile. The performance will feature popular boleros, tangos and songs from Spain and Latin America along with selections from the Canciones Españolas Antiguas by Federico Garcia Lorca.
This special recital will feature songs including Violeta Parra’s Gracias a la Vida, Armando Manzanero’s Cuando estoy contigo, Maria Grever’s Muñequita linda, and Garcia Lorca’s Las morillas de Jaén. The widely respected music director/pianist Pablo Zinger will lead an instrumental ensemble, with guest appearances by star Flamenco dancer Sonia Olla (who choreographed Madonna’s Rebel Heart Tour Flamenco numbers), and cantaor
This special recital will feature songs including Violeta Parra’s Gracias a la Vida, Armando Manzanero’s Cuando estoy contigo, Maria Grever’s Muñequita linda, and Garcia Lorca’s Las morillas de Jaén. The widely respected music director/pianist Pablo Zinger will lead an instrumental ensemble, with guest appearances by star Flamenco dancer Sonia Olla (who choreographed Madonna’s Rebel Heart Tour Flamenco numbers), and cantaor Ismael Fernández.
Y Volveré is part of Opera Hispánica’s star-studded 2021/2022 season featuring new opera productions, an America premiere, several recitals, traditional and new repertoire, internationally renowned opera stars, fresh young artists, important collaborations and exciting venues.
Verónica Villarroel, arguably the most successful South American soprano of recent times, is regarded as one of the finest singing actresses of our day. She brings passionate intensity to the stage and “her big, forward tone has a Callas-style drama.” (The Guardian, London) Ms. Villarroel has been the recipient of the Plácido Domingo Award as the most important lyrical artist in Latin America (2002), the Medal of Women (2007), the Bicentennial Art Critics Circle Award (2011), and recognition as one of the top 100 women leaders in Chile (2010), among many others.
About Pablo Zinger
Uruguayan-born New Yorker Pablo Zinger is widely acclaimed as a conductor, pianist, composer, arranger, writer, lecturer and narrator, specializing in Astor Piazzolla, tango, Spanish zarzuela, and Latin American music. He accompanied Plácido Domingo at Washington’s Constitution Hall, conducted for Paquito D’Rivera’s Carnegie Hall 50th Anniversary Concert and the Moscow première of Piazzolla’s María de Buenos Aires, and accompanied legendary Spanish diva Sarita Montiel in NYC. He has been called “The King of Zarzuela” by Opera News magazine, and his La verbena de la Paloma (El Paso, ’96) was seen nationwide on PBS. For more information please visit https://en.wikipedia.org/wiki/Pablo_Zinger
About Sonia Olla and Ismael Fernández
Hailed by The New York Times as “a furnace of earthy sensuality”, bailaora of international prestige, director and choreographer of her own shows, Sonia currently resides in New York, where she combines teaching with her performance and choreography career. Described by The Washington Post as the “most charismatic performer”, Ismael Fernández grew up performing in flamenco festivals throughout the world with his internationally renowned family, La Familia Fernández. Sonia and Ismael collaborated with the pop-icon Madonna for her Rebel Heart Tour and worked with Ricky Martin providing Flamenco choreography and vocals for his show All In! For more information please visist http://www.sonia-ismael.com/en/sonia-ismael
About El Teatro of El Museo del Barrio
Originally called The Heckscher Children’s Theater, El Teatro was built in 1921 by the architectural firm of Maynick and Franke as part of an orphanage. A proscenium arch stage with seating for 599, it has been acknowledged as a Landmark Quality Interior venue for its remarkable series of 30-foot murals and stained-glass roundels. Today, the murals and Art Deco interior give El Teatro special status as a Landmark Quality Venue by the Municipal Arts Society and the City of New York Arts Commission. The theatre was the site for a special tribute to Tito Puente as part of the 39th Annual GRAMMY awards. It is now part of New York City’s Historic Music Trail.
About Opera Hispánica
Opera Hispánica is the premier opera company in the United States exclusively to celebrate and to promote opera and vocal works centered around the Latin American and Spanish experience. Opera Hispánica’s mission is to empower Latin artists and develop our communities through groundbreaking cultural productions and musical content. Its goal is to facilitate the development, creation and performance of socially relevant content from the operatic and lyric repertoire to allow opera companies and performing arts organizations to present diverse programming and to reach traditionally underrepresented audiences.
Highlights of Opera Hispánica’s 21/22 season include Cuando el Fuego Abrasa, a double bill featuring Oblivion -a series of tangos by Piazzolla- and El Amor Brujo by Manuel de Falla, with Spanish opera superstar Nancy Fabiola Herrera, in collaboration with Teatro Grattacielo and the support of the Consulate of Spain in New York; Buenos Aires, Then and Now, a tribute to the diverse musical culture of Buenos Aires, in collaboration with New York Festival of Songs; a recital of South-American boleros and canciones by the great Chilean soprano Verónica Villarroel at El Museo del Barrio; and the American premiere of Ñomongeta, the first Guarani opera, in collaboration with the Americas Society and the Smithsonian National Museum of American Indian (this last event has been postponed to the Fall due to COVID concerns.)
A wonderful trend was begun by London/Decca in the early 1990s with the release of their “Entartete Musik” series. It featured music by composers whose work had been suppressed by the dictates of the Nazi regime. It brought to light a great deal of wonderful music by mostly but not entirely Jewish composers many of whom died in concentration camps or were forced to live in exile. These recordings sparked a trend which continues today and this time the Chandos label hosts the efforts of the Toronto based ARC Ensemble whose scholarship and performance skills bring this, the fifth album in this important series. It is saddening to see the sheer volume of these oppressed works evidenced by the seemingly endless flow of new releases in this genre but there is some joy to be had in the fact that this music is slowly getting performances and recognition.
Previous releases featured premiere recordings by Jerzy Fitelberg, Szymon Laks, Walter Kaufmann, and Paul Ben-Haim. Haven’t heard these names? Well, maybe you’ve heard of Paul Ben-Haim, the Jewish/German composer who changed his name (Paul Frankenberger) when he emigrated to Palestine in 1933. The importance of projects like this one is to bring to light the art of composers lost to history and unknown in concert halls due to political oppression and/or outright murder.
This release features music by Jewish/Ukrainian composer Dmitri Klebanov (1907-1987), a composer whose work displeased the Stalinist regime. He wasn’t put in a concentration camp, he wasn’t killed, he wasn’t even sent into exile in the Gulag. Rather he was forced into a sort of intellectual exile in which he produced music which pleased the regime. But he had been cast as a sort of “whipping boy” by the regime and used as an example in the hopes of preventing others from straying to more liberal and outspoken paths such as those of Prokofiev and Shostakovich.Fortunately he outlived Stalin and was able to return to his own personal style of composition. It is this music which is presented here.
The three works from 1946, 1958, and 1965 respectively seem to have been chosen to reflect three fairly distinct eras in Klebanov’s artistic development. Whether these are ultimately representative of those chosen eras seems beside the point which is, I believe, to present a representative sampling of his work to give listeners a taste of his work and to help guide interesting performers and record companies to decide what to record next.
These works will serve to represent this neglected composer for now. There do exist some recordings of this music but these are mostly on small labels and very difficult to find. The hope for this recording and for a project like this is to provide good recordings with authoritative performances which may inspire musicians to explore the remainder of the composer’s work and, hopefully, bring these gems to audiences.
The disc begins with the nearly classical sounding fourth quartet from 1946. Cast in the classical four movements it’s difficult, in 2021, to imagine how this very accessible music could offend Soviet leaders but that is another issue entirely. All music ultimately exists within a variety of contexts but it is only possible to hear this music as it is today, listening with ears that did not exist at the time the music was written. Suffice it to say that this is eminently listenable music played with insight and dedication by the wonderful ARC Ensemble (Erika Raum, violin; Marie Berard, violin; Steven Dann, viola; Thomas Wiebe, cello; and Kevin Ahfat, piano).
The second selection is the Second Piano Trio of 1958. It is cast in three movements, some of which will remind listeners of Shostakovich whose fame and mastery loomed brightly at this time. But neither the rather conservative classical form of a piano trio nor the basically tonal idiom is likely to have charmed Kremlin leaders of the time. This is intelligent music that show the composer at the height of his powers and this, generally speaking, was not appreciated by the powers that be at the time of the work’s genesis.
The last work on the disc is the composer’s fifth string quartet from 1965. Like the two works that precede it in this recording this is music of both substance and charm. It is as listenable as the other two works and would doubtless entertain the average concert goer. It bears comparisons to Shostakovich, yes, but also to Haydn, Mozart, and Beethoven.
Completists, such as your reviewer here, will wonder at the music not included on this disc: the first three string quartets, the first piano trio, the other chamber music, nine symphonies, and various concerti along with five operas and two ballets. It is both fitting and sad that this overdue review be published at at this moment in history when, as I write, the Russian army advances into the Ukraine leaving death and destruction in their wake. There is doubtless much more music yet to be uncovered/discovered, rescued from oblivion but the sad fact is that the forces which suppressed this Ukrainian composer’s works continue to oppress artists today.
Having chosen a debut album featuring solo cello without electronics or accompaniment the Sono Luminus label virtually guarantees that every one of the subtleties of the performer’s skills will be heard in all their glory. And so we have an auspicious solo debut album by a skilled and talented artist with a unique and intelligent vision in her choice of repertoire for her instrument. Hannah Collins has a beautifully designed web page describing her background so I will focus only on the music on this release.
Even a brief glance makes it obvious that Collins’ radar captures a wide range of music which encompasses five centuries of compositional efforts by both a consciously curated selection of composers that reflect both racial and gender diversity and who themselves represent a substantive variety of styles and visions. She begins with a rather obscure baroque composer (I had never heard of him), Giuseppe Colombi (1635-1694). His Chiacona (1670) is apparently the first identified composition for solo cello (the famous solo cello suites by J.S. Bach wouldn’t come along until 1717-1723).
This arguably foundational work of the solo cello genre is then followed by the very fine Finnish composer Kaija Saariaho (1952- ) whose Dreaming Chaconne (2010) is in fact a variation on the Colombi piece.
The third track, “In manus tuas” (Into your hands) by the equally fine American composer, Carolyn Shaw (1982- ) was written for Ms. Collins, and is an aural peek inside the mind of the composer as she recalls a performance of a motet by 16th century English composer Thomas Tallis (1505-1585). Shaw evokes a sonic memory moment of hearing a performance of “In manus tuas Domine” in Christ Church in New Haven, Connecticut which made a strong impression on her. It is a work that appears to be destined to become a modern classic. It creates spectral harmonics that engulf the listener inside Shaw’s memory of the event. The composition’s title also function metaphorically as she offers her music into the hands of the artist and the minds of the listeners. It is a challenge both technically and interpretively and Collins rises to those challenges with seeming ease.
The next seven tracks are given to another Saariaho composition, “Sept Papillons” (2000). This earlier work from her extensive catalog is also given to extended instrumental techniques as she evokes the seven butterflies of the title. This set of pieces was written for the fine Finnish cellist, Anssi Karttunen. It was at the 2008 Creative Dialogue Workshop in Santa Fe, New Mexico (run by Karttunen) that Collins encountered this music and the extended techniques required for its performance. Saariaho’s sound world is like that of an incarnation of Debussy and his impressionist aesthetic. There is apparently no visual program here but the music recalls, in this listener’s mind, Saariaho’s earlier “Nymphea” (1987) for string quartet and electronics which was inspired by Monet’s famed “Water Lilies” of 1906.
This fine disc includes the first (of three) suites for solo cello by Benjamin Britten. All three of these (1964, 1967, 1971) had all been composed for the Russian virtuoso Mstislav Rostropovich. Like the the Saariaho and Shaw pieces these suites are inspired by earlier works, in this case the Bach suites of the early 18th century. Collins plays the first (Opus 72) of these and her performance makes this listener hope that she will later record the other two.
While modeled on earlier music, the Britten work utilizes techniques that would likely be unfamiliar to cellists before the 20th century. It is homage both to Bach and to Maestro Rostropovich. And Collins’ playing furthers this homage to both of these past masters.
The final track is a work by one Thomas Kotcheff (1988- ). Like the first track, this young composer is unfamiliar to this writer. His work, “Cadenza (with or without Haydn)” of 2020” carries on the theme of homage. In a nod to the late great Frederic Rzewski (1938-2021) whose “Cadenza with or without Beethoven” (2003) is an extended cadenza which can be played on its own or as part of the Beethoven 4th piano concerto.
Kotcheff’s work is a cadenza for Haydn’s C major cello concerto. Like the Rzewski, it can be performed with the concerto or as a solo work on its own. Also like the Rzewski, the more modern aspects of this “cadenza” might confuse audiences anticipating more conventional music that fits with the context of the concerto for which it was written and the music stands very strongly on its own.
Like a lot of solo artists are doing these days, Collins’ debut solo album is like her personal manifesto of music for her chosen instrument. It is a fine foundation anticipating what will likely be an enlightening as well as entertaining career.
Receiving this album for review the fact is I actually shed a tear when, upon opening my mail, I found the cover of this album cause my emotions to jump to regions of nostalgic memories deeply treasured.
Another fact is that, due to COVID 19, the virtual stoppage of all live concerts, and shifts in my scheduling priorities I had stopped following the career of Mr. Gibson (1940-2020) for the last few years and I wasn’t even aware that this disc had been released. I had heard that he had died in October, 2020. Gibson is a musician I first encountered, as most people had, via his omnipresence at concerts of the Philip Glass Ensemble where he was a founding member. Gibson’s performances of the saxophone solo in Glass’ “Facades”, which I first heard in 1980, are forever etched in my memory. And I caught pretty much every concert they did in or near Chicago from 1980 to perhaps 2000. So that little personal history gives you some idea as to why seeing this album was a “gut punch” of emotion to me.
I lifted this discography of Gibson’s releases from discogs.com and it does not include his work the Philip Glass Ensemble in which he was a member since 1968. It is probably not definitive but it provides some perspective on Gibson’s range of repertoire and his musical affiliations.
The Dance (CD, Album) Orange Mountain Music 70072013
Relative Calm (CD, Album)New World Records 80783-22016
Jon Gibson’s Visitations Otoroku2017
Violet Fire – An Opera About Nikola Tesla (2xCD, Album) Orange Mountain Music70182019
Songs & Melodies, 1973-1977 (2xLP, Album) Superior ViaductSV1732020
David Behrman with Jon Gibson & Werner Durand -Viewfinder / Hide & Seek (LP, Album, Ltd)Black Truffle BT08220211
Gibson’s brand of minimalism resembles Glass’ at times but Gibson’s eclecticism, his mix of styles bear the fingerprints of a style which will be easily recognized by listeners familiar with some of his previous albums.
This is an album’s worth of music written for a performance piece with choreography by the wonderful Lucinda Childs (who choreographed Philip Glass’ “Einstein on the Beach” and commissioned Gibson in 1981 for this piece). Relative Calm (1981) is in four sections (or movements) each with its own character.
1. Relative Calm (Rise) (1981) Composed By, Wind, Keyboards, Autoharp, Sounds [Field Recording] – Jon Gibson Keyboards – Joseph Kubera Percussion – David Van Tieghem
2. Q-Music (Race) (1981) Composed By, Keyboards – Jon Gibson Keyboards – Joseph Kubera
3. Extensions RC (Reach) (1981) Sopranino Saxophone, Composed By – Jon Gibson
4. Return (Return) (1981) Keyboards – Joseph Kubera Percussion – David Van Tieghem Saxophone, Composed By – Jon Gibson
Gibson’s fondness for jazz is evident here but the dominant style is the composer’s brand of minimalism. Relative Calm was commissioned and choreographed by Lucinda Childs with decor by Robert Wilson, it received its world premiere by the Lucinda Childs Dance Company at Théatre National de Strasbourg in Strasbourg, France on November 26, 1981. It’s wonderful and it is a blessing to have this recording available.
This was released in 2016 on New World Records and is now available for streaming on Bandcamp. The excellent liner notes are by Kyle Gann and Dean Suzuki tell you pretty much all you need to know and the album sounds great. Thanks, Mr. Gibson, RIP.
My review of Carpenter’s Sony Classical release Flash with Substance, Cameron Carpenter Takes on Rachmaninoff and Poulenc, in which he played his transcription for Organ and Orchestra of Rachmaninoff’s beautiful Paganini Rhapsody paired with his exciting rendition of the always welcome Poulenc Organ Concerto. It’s kind of a gutsy move to perform the Rachmaninoff with an organ instead of a piano, bordering on sacrilege for some. Given that programming though, the choices for this recording are a little less surprising as both further stretch the notion of what an organist is actually able to play and demonstrate the sheer breadth of this composer/performer’s musical vision.
Here’s the track list for his Decca Gold debut. Take a good look and meet me at the end of this list:
J.S. Bach – The Goldberg Variations, BWV 988 (1741)
Variatio 1. a 1 Clav.
Variatio 2. a 1 Clav.
Variatio 3. Canone all’Unisono. a 1 Clav.
Variatio 4. a 1 Clav.
Variatio 5. a 1 ô vero 2 Clav.
Variatio 6. Canone alla Seconda. a 1 Clav.
Variatio 7. a 1 ô vero 2 Clav. al tempo di Giga
Variatio 8. a 2 Clav.
Variatio 9. Canone alla Terza. a 1 Clav.
Variatio 10. Fughetta. a 1 Clav.
Variatio 11. a 2 Clav.
Variatio 12. a 1 Clav. Canone alla Quarta in moto contrario
Variatio 13. a 2 Clav.
Variatio 14. a 2 Clav.
Variatio 15. Canone alla Quinta. a 1 Clav.: Andante
Variatio 16. Ouverture. a 1 Clav.
Variatio 17. a 2 Clav.
Variatio 18. Canone alla Sesta. a 1 Clav.
Variatio 19. a 1 Clav.
Variatio 20. a 2 Clav.
Variatio 21. Canone alla Settima
Variatio 22. a 1 Clav. alla breve
Variatio 23. a 2 Clav.
Variatio 24. Canone all’Ottava. a 1 Clav.
Variatio 25. a 2 Clav.: Adagio
Variatio 26. a 2 Clav.
Variatio 27. Canone alla Nona. a 2 Clav.
Variatio 28. a 2 Clav.
Variatio 29. a 1 ô vero 2 Clav.
Variatio 30. a 1 Clav. Quodlibet
Aria da Capo
Howard Hanson (arr. Carpenter) – Symphony No. 2 in D-flat Major, Opus 30 “Romantic” (1930)
Andante con tenerezza
Allegro con brio
Yup, the Bach Goldberg variations played on the organ followed by Carpenter’s transcription of Howard Hanson’s (1896-1981) lovely Second Symphony, subtitled, “Romantic” (Trivia: the finale of this work is played over the end credits on the Ridley Scott film, Alien). But I’m willing to wager that neither Hanson aficionados (always among my faves) nor fans of Alien ever imagined hearing this piece played on an organ. But it works.
And that is Carpenter’s genius, or a portion of his genius. He is a man with a mission. He is a virtuoso of the highest order, he is a showman such that earns him a membership in my “glam classical” category, and he is a scholar with wide ranging tastes whose choices have challenged and charmed this humble listener and doubtless many others. My God, the man had a digital portable touring organ custom built for him! It is the instrument upon which he recorded this and the previously referenced disc.
He has antecedents such as Virgil Fox and Anthony Newman, musicians who eschew the stoic musician stereotype (nothing wrong with stoic, either) and engage the audience in their more theatrical manners. And it is the delicate balance between the musicianship and the stage presence that is worth the audience’s time. By my count this is his 8th album released. Check out his web page for more.
Watch any of his YouTube videos where his stage presence is as engaging as his virtuosity. Sure, he plays the “standard repertoire” authoritatively. His Bach is as engaging as his genial manner. This is one exciting composer/performer and it is a joy to watch him develop his brand. All sorts of ideas chase themselves in my mind when I ponder what he’ll do next. But I’d rather be surprised.
Were it not for the wishes of some of my valued readers I would not produce such a list. It has no more validity other than, “These are my personal choices”. But there is some joy to be had in contemplating these past 12 months as I have lived them on this blog. So here goes.
First I have to tell everyone that March, 2022 will mark the 10th anniversary of this blog, a venture which has been a rich and exciting one. Future blogs will soon include, in addition to album/concert reviews, some articles on subjects which I hope will be of interest to the select group of people who read this material and who share my interest in this music (which I know can be anywhere from difficult to repulsive to many ears). But I have deduced that my readers are my community, a community of kindred spirits freed from the boundaries of geography, a number rather larger than I had imagined was possible and one that I’ve come to cherish. Bravo to all of you out there.
COVID 19 has reduced the number of live performances worldwide and I have not attended a live performance since early 2020. But, happily, musicians have continued to produce some amazing work, some of which gets sent to me, and a portion of that gets to be subjected to the analytic scrutiny of my blog.
My lack of attention to any music should never be construed as deprecatory, rather it is simply a matter of limited time to listen. So if I have provided a modicum of understanding or even just alerted someone to something new I am pleased and if ever I have offended, I apologize. All this is my personal celebration of art which has enhanced my spirit and which I want to share with others. Look what Ive found!!!
So, to the task at hand (the “best of” part):
The formula I’ve developed to generate this “favorites retrospective” has been to utilize WordPress’ useful statistics and look at the top viewed posts. From these most visited (and presumably most read) articles I produce a list of ten or so of my greatest hits from there. Please note that there are posts which have had and continue to have a fairly large readership from previous years and they’re not necessarily the ones I might have expected but the stats demand their inclusion here.
Following that I then toss in a few which are my personal faves (please read them) to produce what I hope is a reasonably cogent and readable list. Following my own description of my guiding principles I endeavor to present the perspective of person whose day job and energies are spent in decidedly non-musical efforts but whose interest and passion for new music drives this blog where I share those interests.
As a largely self taught writer (and sometime composer) I qualify my opinions as being those of an educated listener whose allegiances are to what I perceive as pleasing and artistically ideal based on my personal perception of the composer’s/performer’s intent. I am not a voting member for the Grammys and I receive no compensation for favorable reviews. I have the hope/belief that my blogs will ultimately garner a few more listens or performances of art that I hope brings my readers at least some of the joy I feel.
New Music Buff’s Best of 2021
As of this writing I have published 37 blog posts in 2021. COVID, job and personal stressors have resulted in my failing to post at all in December, 2020, January, June, and July of 2021. And only one post in February, 2021. Surprisingly I have managed to get just over 9300 views so far this year (a little more views than last year actually) and it is my plan to publish 4-5 blogs per month going forward into my tenth year.
Not surprisingly, most of my readers are from the United States but I’m pleased to say that I’ve had hits from 192 countries at last count. Thanks to all my readers, apologies to the many countries who didn’t make the cut this year (you’re all welcome to try again in 2022). So, following the United States here are the subsequent top 25 countries who have viewed the blog:
Canada, United Kingdom, Germany, China, France, Netherlands, Spain, Australia, Ireland, India, Italy, Turkey, Nigeria, Japan, Brazil, South Korea, Denmark, Belgium, Sweden, Finland, Russia, Poland, Philippines, Ghana, Norway.
Top Ten Most Read of 2021
The following are the most seen articles of 2021. Some of these are articles whose popularity surprise me as they were written some time ago and are not necessarily, in my opinion, my best work. But readership is readership and I am grateful for that.
Top article, Linda Twine, a Musician You Should Know. Twine is a musician and composer who has worked for some years in New York theater. I chose to profile her and I guess she is well liked because this article from 2018 is one of my top performers. Kudos, Ms. Twine.
Next up is, The Three Black Countertenors, an article suggested by my friend Bill Doggett whose website is a must visit for anyone interested in black classical musicians. This one, from 2014, continues to find readers. It is about the first time three black countertenors appeared on the same stage. Countertenors are themselves a vocal minority when considered in the company of sopranos, baritones, tenors, contraltos, and basses. Being black adds another level of minority in the world of operatic voices so this was indeed historic.
Art and the Reclamation of History is the first of the articles written this year to make the top ten most read. It is about a fabulous album and I hope more people read about it. This Detroit based reed quintet is doing something truly innovative. You really need to hear this.
Number four is another from this past year, Kinga Augustyn Tackles the Moderns. This album, kindly sent to me by the artist is worth your time if you like modern music. This young Polish/American violinist has both technique and vision. She is definitely an artist to watch.
Number five is a truly fabulous album from Cedille records, David Schrader Plays Sowerby and Ferko. This double CD just fires on all cylinders, a fine artist, excellent recording, interesting and engaging repertoire, amazing photography, excellent liner notes, and love for all things Chicago. This one is a major classic release.
The Jack Quartet Plays Cenk Ergun was a pleasant surprise to this blogger. The Jack Quartet has chosen wisely in deciding to release this recording of new string quartet music by this young Turkish composer of serious substance. I’m glad that many folks read it.
Number seven on this years hit list among my readers is another album sent directly to me by the artist, one whose work I had reviewed before.
Catherine’s Oboe: Catherine Lee’s New Solo Album, “Alone Together” is among the best of the COVID lockdown inspired releases that flooded the market this year. It is also one of the finest examples of the emerging latest generation of “west coast” composers. Dr. Lee is a master of the oboe and related instruments and she has been nurtured on the artistic ideas/styles that seem to be endemic among composers on the west coast of the United States. She deserves to be heard.
Number Eight is an article from 2014, Classical Protest Music: Hans Werner Henze’s “Essay on Pigs” (Versuch uber Schweine). This 1968 noisy modernist setting of leftist political poetry combines incredible extended vocal techniques with the dissonant modernism of Hans Werner Henze’s work of that era. Also of note is that his use of a Hammond Organ and electric bass guitar was allegedly inspired by his having heard the Rolling Stones. It’s a classic but warn anyone within earshot lest they be terrified.
As it happens there is a three way tie for the number ten spot:
Black Composers Since 1964: Primous Fountain is one of a short series of articles I wrote in 2014. I used the date 1964, 50 years prior to the date of the blog post, because it was the year of the passing of the (still controversial) voting rights act. As a result of this and a few related articles I have found myself on occasion categorized as a sort of de facto expert on black music and musicians. I am no expert there but I have personally discovered a lot of really amazing music by black composers which is way too little known and deserves an audience.
I am pleased to tell you that this too little known composer (and fellow Chicagoan) is being recognized by no less than Michael Tilson Thomas who will conduct an entire program of his works in Miami next year. If my blog has helped in any way then I am pleased but the real honors go, of course, to Mr. Fountain and Mr. Thomas (who first conducted this composer’s music many years ago). Stay tuned.
And the third contender for my tenth most read of 2021 is, Kenneth Gaburo, the Avant-Garde in the Summer of Love. This is among the first volley of releases on the revived Neuma label with Philip Blackburn at the helm. Blackburn’s instincts guided Innova records to release many wonderful recordings of music rarely on the radar of larger record companies and this first volley was a harbinger of even more wonderful releases to come. Just do a Neuma search and see what I mean.
The Ones That Didn’t Make the Top Ten
I would be negligent and boringly formulaic to simply report on these top ten. This is not a democratic blog after all, lol. So here are my choices for the ones that many of my dear readers may have missed and should definitely check out. It is anything but objective. They are, in no particular order:
Dennis Weijers: Skill and Nostalgia in an Auspicious Debut Album is a sort of personal discovery for me. This reworking of Philip Glass’ “Glassworks” and Steve Reich’s “Variations for Winds, Strings, and Keyboards” scored for solo accordion and electronics pretty much knocked me over as soon as I heard it. Read the blog to see why but you have to hear this. This is NOT your granddaddy’s accordion.
Vision, Virtuosity, and Interpretive Skill: Igor Levit’s “On DSCH” is an album I just can’t stop listening to. I raved about his earlier set of piano variations by Bach, Beethoven, and the late Frederic Rzewski and I look forward to this man’s musical vision as he expands the concert repertoire with works you probably haven’t heard or at least haven’t heard much. You owe it to yourself to watch this artist.
Black Artists Matter: The Resurrection of the Harlem Arts Festival, 1969 is one of the relatively few times when I write about so called “pop” music. It is wholly unconscionable that these filmed performances from 1969 (many of which predated Woodstock) languished for 50 years in the filmmaker’s basement and were nearly lost. One of the recurring themes in this blog is the lament over unjustly neglected music and this is a glaring example. I was delighted to see that the filmmaker Questlove received an award at the Sundance Festival for his work on this essential documentary of American music.
Less “flashy” but sublimely beautiful is Modern Tuning Scholarship, Authentic Bach Performance: Daniel Lippel’s “Aufs Lautenwerk”. This is a masterpiece of scholarship and a gorgeous recording on a specially made Well-Tempered Guitar played with serious passion and interpretive genius by a man who is essential to the productions of New Focus recordings as well as being a fine musician himself. Read the review or the liner notes for details but just listen. This is another one that I can’t stop listening to.
Unheard Hovhaness, this Sahan Arzruni album really rocked my geeky world. Arzruni, a frequent collaborator with Hovhaness turns in definitive performances of these previously unheard gems from the late American composer. A gorgeous physical production and a lucid recording make this another disc that lives on my “frequently played” shelf.
New Music from Faroese Master Sunleif Rasmussen with soloist Michala Petri is an album of world premieres by this master composer from the Faroe Islands. It is also a tribute to the enduring artistry of Michala Petri. I had the honor and pleasure of meeting both of these artists some years ago in San Francisco and anything they do will demand my attention, they’re that good.
Last but not least, as they say, Robert Moran: Points of Departure is another triumph of Philip Blackburn’s curation on Neuma records. I have personally been a fan of Moran’s music since I first heard his work at the Chicago iteration of New Music America in 1982. Blackburn’s service to this composer’s work can be likened to similar service done by David Starobin at Bridge Records (who have embarked on complete works projects with several contemporary composers) and Tom Steenland’s work with Guy Klucevsek and Tod Dockstader at Starkland records. Blackburn had previously released the out of print Argo recordings of Moran’s work and now, at Neuma has released this and a few other new recordings of this major American composer’s work.
My apologies to the albums I’ve reviewed which didn’t make it to this year’s end blog but I have to draw a line somewhere. Peace, health, and music. And thank you for reading.
Kinga Augustyn is a new musician to these ears. She kindly sent me this wonderful very recent release for review. And she certainly found a reviewer sympathetic to new music here. A quick review of her releases reveals that she has been releasing recordings since at least 2010 and, in addition to many of the “usual suspects” or “warhorses” of the repertoire, she has demonstrated a keen interest in lesser known works as well as recently minted works hoping for a place in the repertoire.
Her album count by my reckoning is up to 13 now and her musical interests appear to range from the baroque with Telemann’s 12 violin fantasies (no, not a transcription of the better known solo flute works) to the very recent works presented on the present disc. Her choices of repertoire for recording are delightfully unusual as she ventures into the work of neglected composers such as Astor Piazolla (1921-1992) and Romuald Twardowski (1930- ). And she has chosen to release an album of Paganini’s 24 Caprices rather than the Bach solo violin works (though these may come later). The point is that she seems interested in bringing out performances of music which gets less attention than the standard repertoire. Indeed she appears to be attempting to influence and add to the canon of solo violin performance repertoire.
How often can one expect to find a solo violin disc where the only familiar piece is one of Luciano Berio’s Sequenzas? Well this is that disc. The earliest work here is Grazyna Bacewicz’s (1909-1969) Sonata No. 2 (1958). Berio’s Sequenza VIII (1976). Along with Isang Yun’s (1917-1995) Koenigliches Thema (1976) are also 20th century pieces. And though the four movements of Elliot Carter’s (1908-2012) Four Lauds begin in the late 20th century (Riconoscenza per Goffredo Petrassi, 1984 and Remembering Aaron, 1999) they end in the 21st century with Remembering Roger, 2000 and Rhapsodic Musings, 2001.
The brief, almost “Webernian” miniatures that comprise Carter’s “Four Lauds” each have an individual character, the first an homage to Aaron Copland (1900-1990) which doubtless represents the composer via a quotation or perhaps some more personal inside reference. The Riconoscenza per Goffredo Petrassi is the longest and seemingly most complex of the group (I don’t know Petrassi’s music as well as I would like so I’m not sure about the references here). The Rhapsodic Musings are not apparently directed to any musician or composer in particular and The Fantasy-Remembering Roger does seem to embody the sound of Roger Sessions’ style.
The Berio is one of a set of 14 pieces for solo instruments (depending on how you count them) and they are a sort of compositional manifesto utilizing extended techniques. Augustyn delivers a very convincing reading of this intentionally challenging work. It is the longest single work on this recording.
This Polish born, New York based violinist has done homage to the music of her homeland before with her Naxos album of miniatures that I doubt you will find elsewhere. On this album she does homage to Polish musical culture by her inclusion of the inexplicably too little known Grazyna Bacewicz and a world premiere of a solo violin work by the well documented Krzysztof Penderecki in his 2008 Capriccio. As one who fell in love with the avant-garde Penderecki of say 1958-1972 I have not paid as much attention to Penderecki’s later works. In a pleasant surprise these ears heard this very late Penderecki piece as almost a summation including tasty bits of avant-gardist techniques along with nicely lyrical passages. I am now convinced I need to do a reappraisal of my knowledge of this composer’s later work.
She follows this with a very significant work by a criminally neglected composer, Grazyna Bacewicz (1909-1969). Her Second Sonata for Solo Violin (1958) is an adventuresome work which challenges the violinist while holding the listener’s attention. It is definitely time for a major reassessment of this woman’s work and one hopes that Augustyn’s reading will help encourage more interest in Bacewicz’s work.
Augustyn next chooses another unjustly neglected composer, Isang Yun (1917-1995) whose biography including kidnapping by the South Korean intelligence officers and subsequent sequestration in a South Korean jail stirred artistic outrage which eventually resulted in his release. The piece played here, “Koniglisches Thema”(1976) brings us back to the beginning of solo violin composition by its quotation of a Bach theme. Not a theme from any of the solo violin music but rather the theme given to Bach by Frederick II of Prussia. The origin of the theme is not by Bach and its compositional origins are much debated but what is not debated is that fanciers of Bach know this theme instantly. Isang Yun writes, apparently, a set of variations on the theme, an offering of his own to the master.
This is a dream of an album for people who appreciate modernism, new music, and undiscovered gems but Augustyn’s readings of the unfamiliar Carter “Four Lauds” and, the most recent work on the disc, Debra Kaye‘s (1956- ) “Turning in Time” (2018) are, for this listener, worth the price of the disc by themselves. Carter is no easy task for listeners and certainly for performers but she manages to find the late post-romantic/post-modern lyricism in these pithy little works. And the Debra Kaye work is “hot off the presses” so to speak, having been written just before the second of the two recording sessions that produced this album. The Kaye work is the second longest on this recording and fits well as a concluding work on this ambitious and engaging program.
New music is in need of talented musicians willing to search for and learn their work and Augustyn happily seems to be willing to fill that bill. Her acumen in being able to know music of substance when she sees it and the ability to bring those scores to life bodes well for listeners interested in this repertoire. After all it’s hard not to notice that the Bacewicz Sonata is her second and completists will want to hear that first one. But, more seriously, I look forward to the upcoming releases by this artist who, when sighted on my radar again, will not be let go without a serious listen.
Ramón Sender Barayón at Arion Press in San Francisco (Photo Creative Commons 2011 by Allan J. Cronin)
This crowd sourced video opens with a sort of exposition of the various identities of its subject Ramón Sender Barayón (also known as Ramon Sender, Ramon Sender Morningstar, Ray Sender, and Ramon Sender Barayón). His father was the renowned Spanish novelist Ramón J. Sender whose work was unappreciated (to say the least) by the Franco regime resulting in his spending the last part of his life as an expatriate in the United States of America. His mother Amparo Barayón fared far less well. Her short life and her death at the hands of the Franco regime are memorialized in her son’s book, “A Death in Zamora“, an experience which has understandably informed his life. As a writer, in order to distinguish himself from his father, he adopted his mother’s maiden name appended to his given name. Happily this and some of his other works are making it to the kindle format.
The film unfortunately does not appear to be available in any commercial outlets at the time of this writing but one hopes that Amazon or some internet distributor will make it more widely available. One small critique is the use of sometimes English narration and sometimes Spanish narration with attendant translation subtitles in the opposite languages is a bit difficult to get used to but hardly an insurmountable issue.
Sender’s personal website continues to be a source of useful information. Links can be found here to many of his writings and other work as well as some discussion of his musical compositions.
In addition to being a writer he is an acknowledged pioneer in the area of experimental music. He, along with Morton Subotnick, Pauline Oliveros, Joseph Byrd, William Maginnis, Tony Martin, Joseph Byrd, and Terry Riley (among others) founded the San Francisco Tape Music Center in 1962. This later became the Mills College Center for Contemporary Music and remains in operation as of the date of this review. Barayon’s ” novelized history of this time in his life titled, “Naked Close Up” finally found itself in a Kindle release after having circulated in PDF format for years on the internet. (This history is also further documented in David Bernstein’s excellent, “The San Francisco Tape Music Center: 1960s Counterculture and the Avant-Garde“)
His curiosity and wide ranging interests saw him participating in alternative commune living situations (beginning in 1966) in northern California exploring spirituality and challenging established social norms through the exploration of viable alternatives. He writes most eloquently about this in his recently published “Home Free Home“, a large edited tome on the Morningstar Ranch and Wheeler’s Ahimsa Ranch which includes material by several other former residents. The book is as much compilation as it is historical writing and memoir. It is a fascinating read and is filled with historically significant recollections and commentary by many of those one time residents of these (now sadly defunct) communities.
This DVD is one of those increasingly popular crowd sourced productions (here is the Indiegogo link) which has allowed independent publication of countless books and CDs and countless other projects which stimulate little interest among traditional venues despite the significance of their content. The content here is of a profoundly important nature to fans of new music as well as fans of alternative living experiments and 60s counterculture and philosophy. It is contemporary history and biography.
Ramón is man possessed of both wisdom and humor as well as deep thought. This film is the first documentary to cover the diverse interest and involvement of this affable cultural polymath. It begins with an interview of Mr. Sender in the living room of his home in San Francisco. From there it traverses more or less chronologically among the dizzyingly diverse events which comprise his life thus far.
From his birth in Spain in 1934 to his present role as a sort of spiritual/intellectual guru running a lecture series called, “Odd Mondays” in San Francisco’s Noe Valley neighborhood which he and Judith Levy have managed for some 17 years with a variety of carefully chosen speakers. The film covers a variety of topics and while it leaves out details at times it is a cogent and balanced biographical documentary.
His early involvement in the establishment of the influential San Francisco Tape Music Center finds him connected with fellow luminaries such as Pauline Oliveros, Terry Riley, Morton Subotnick, William Maginnis, Steve Reich, Joseph Byrd, Tony Martin, and Donald Buchla. This institution, now relocated as the Center for Contemporary Music at Mills College, saw the creation of a great deal of musical technology and significant musical compositions (Terry Riley’s groundbreaking “In C” was first performed there in 1964).
Sender was one of the organizers of the Trips Festival in 1966 along with Stewart Brand (later of Whole Earth Catalog fame), Bill Graham, Ken Kesey with his Merry Pranksters. Following this he left San Francisco for Sonoma County in northern California.
He states at one point that he has not wanted to be identified with a single career (as his father was) so, following his experimental music work, he became among the first to experiment with communal living in the Morningstar Ranch and later in the Wheeler Ranch in Sonoma County, California. These are now well documented in his book, “Home Free Home” mentioned earlier.
Happily the film does a nice job of acknowledging the role that his wife Judith Levy has played in his life since their marriage in 1982. In particular her support in Sender’s research into his mother’s death at the hands of Franco’s thugs in Spain is both sweet and heartbreaking. The two appear to be constant companions in a mutually supportive relationship he sought for many years. They are frequently seen together.
A segment of his work which gets less attention here are his fiction and spiritual writings including Zero Weather, Being of the Sun (co-authored with Alicia Bay Laurel), Zero Summer, and Planetary Sojourn. He has a collection of unpublished manuscripts and is reportedly now working on his autobiography. Something which will doubtless be worth the wait.
Sender with unidentified man walking out of the Pauline Oliveros Memorial Concert at Oakland’s Chapel of the Chimes in December, 2016 (Photo Creative Commons 2016 by Allan J. Cronin)
Strictly speaking this is a recording a a film score suite and a cantata derived from a film score but these are perhaps among the finest examples of film score music. The earliest piece here is actually Prokofiev’s first commission, the 1934 Lieutenant Kije. This film (released in the US under the title of “The Czar Sleeps”) is a satire/comedy film based on a novella. The score is by itself very tuneful and entertaining and deserves to be heard more often.
The larger work here, Alexander Nevsky (1938), the cantata extracted one year later from the film score by the composer is of course the score to one of the early masterpieces of cinema. The film is the slightly fictionalized account of the reign and military prowess of one Alexander Nevsky (1200-1263). It is without doubt one of the most successful pairings of image and sound at its time. One need only listen to a snippet of John Williams’ score for the battle on the ice planet in the Star Wars series to hear the homage he gives to this score.
Both works here receive a very fine performance and recording by the Utah Symphony conducted by Thierry Fischer. He is assisted by the Utah Symphony Chorus, the University of Utah A Capella Choir, and the University of Utah Chamber Choir under the direction of Barlow Bradford as well as soloist, mezzo soprano Alisa Koslova. Fischer’s tenure would seem to be the surest and most successful since that of the much lauded and beloved Maurice Abravanel. In addition we have here a recording by the reliably high quality Reference Recordings label.
Many collectors will already have a recording of Alexander Nevsky but this performance and recording, along with the inclusion of the earlier film score make this a marvelous addition to any library. And if you have one of those fabulous sound systems you will hear the intricate detail of the recording and feel those bass drum thumps most viscerally. This is an exciting release of exceptional quality on all fronts.
Rachel Barton-Pine is one of the finest and most interesting performers working today. Her unique look at the performing repertoire for her instrument continues to be one of the most salient features of her artistry. Certainly her interpretive abilities are foremost but her choices of neglected repertoire make any release of her recordings a reason to pay close attention.
In the past she has recorded many a neglected piece based on her interest in the music. She has featured black composers from the baroque to the present and has managed to resurrect unjustly neglected concerti from composers of pretty much every racial and national description. Here she features two lovely seldom heard concertos. The Dvorak concerto from 1789 and the Khachaturian concerto from 1941. Both are major works and a challenge to the soloist and both fit pretty much into the late romantic genre (arguably that would be “post romantic” for the Khachaturian).
The present recording is released on the Avie label which is a progressive independent label which itself boasts an impressive selection of musical works in very fine performances. This disc is a fine example of the work they do and is a great selection for the listener’s library. These two concertos were popular in their day but have not seen inclusion in live performances or recordings as much as other romantic concertos. One could speculate endlessly on why this is so or one could simply celebrate the fact that we are getting to hear them in these fine and definitive recordings.
The Dvorak from 1879 is as tuneful and entertaining as any of its contemporaries (Bruch, Tchaikovsky, Brahms, etc) but for whatever reason has not received as much attention. Regardless of why this is so I would recommend just listening and drawing your own conclusions. This three movement work is as challenging technically and as entertaining a concerto as any currently in regular performance. This work is one of the finest examples of the high romanticism of the late 19th century and one hope this recording will help cement the piece into a more frequent visitor to both concert halls and recordings.
The Khachaturian (from 1940) began its life during the throes of the WWII under the oppressive political scrutiny of Josef Stalin and his regime. Khachaturian, who is now recognized quite properly as an Armenian composer, was then subsumed into the mix of the vast gaggle of countries and cultures under the rubric of the USSR. And while this is not particularly or obviously ethnic as other music from this region it is important to know that the composer’s identity was “Russian” by default and not by choice. Regardless of those considerations one must be grateful for the fact that the oppressive regime was able to recognize a quality work (also one in three movements) and give it the “Stalin prize”. Doubtless there are influences gleaned from the composer’s efforts to not offend the conservative tastes of the ruling elite but the bottom line here is that we have a true masterpiece of the concerto genre and one which deserves serious attention and continued performances.
The useful liner notes are by the soloist, a fact which spotlights her musicological interests and her ability to communicate with an audience verbally as well as musically. In fact a quick perusal of Rachel’s web site will lead the interested to some of her more pedagogical efforts featuring scores of some of these lesser known masterpieces.
And, oh yes, there are large orchestral duties here too. The wonderful Royal Scottish National Orchestra is led by the rising star conductor/composer Teddy Abrams who recently took over leadership of another supporter of new and/or neglected musics, the venerable Louisville Orchestra. Founded in 1937 they have carried the torch for new music and celebrated the inclusion of all genders and ethnicities in their musical vision, an embodiment of the very intent of the phrase, “E Pluribus Unum” especially in this musical context.
All in all a great disc which is unlikely to duplicate anything in your collection but one to which you will doubtless return for sheer entertainment and joy.
Philippe Manoury (1952- ) is a French composer who worked at IRCAM and is professor emeritus at UCSD. Knowing just these facts I must admit that I let this one languish a bit before giving it a good listen. I was just not ready for some obtuse Boulez-oriented complexity. But Manoury is nothing if not original and even if his music has complexities it does not fail to communicate very well to the listenter. My apologies to Third Coast Percussion and the ever interesting New Focus recordings for the delay now that I’ve put my fears to rest and given the music a chance.
There are two works on this disc, Le livre des claviers, Six pieces for 6 percussionists (1987) and Métal for sixxens sextett (1995). The first piece, which translates as, “Book of Keyboards” invites connotations of monolithic masterpieces such as Bach’s Well Tempered Clavier, Boulez’ Livre pour Quatuor, or any of a number of pieces with such aspirations that have the word “book/livre” in the title. The second piece is strikingly similar in sound to the first and is a fitting companion on the recording.
Indeed the 6 movement Livres is a monumental work but its aspirations are to produce a lovely and complex set of pieces for percussion sextet. Third Coast handles this work, as they do with all they approach, with thought and virtuosity. This is not a grandiose attempt to create a landmark of western music but rather to add to the oeuvre. The same can be said for the later work which follows it.
While Manoury has worked with electronics and computers, none of that is in evidence here. This is purely acoustic, just six virtuoso percussionists and the music is well crafted and shows off the composer’s inventiveness as well as giving these fine young musicians something to show off their considerable skills. It is absolute music (ie music for the sake of music) and if there are metaphorical aspects they are not immediately evident.
Doubtless there are complexities here, most of which lay beyond the ken of the average listener (your humble reviewer included) but the joys of the sounds and the lucidity of the writing make for an enjoyable experience. It’s not the minimalism of Philip Glass, nor the complexities of Boulez, nor the dissonances of Xenakis. This is intelligent, approachable chamber music that will speak to the listener who allows it to unfold.
The first piece has six movements which are named simply for the instruments called for in the score:
6 Thai Gongs and 2 Marimbas
6 Thai Gongs and 2 Marimbas
As you can see, not all six percussionists are kept equally busy throughout. Each movement seems to have its own character and probably a great deal of complexity which will entertain and perhaps frustrate musicologists. All in all a very entertaining work.
The second work coming in at just over 22 minutes is cast in a single movement and has a more pensive quality. It does require attention and, like all good music, reveals more on repeated listens.
The recording is, as always with New Focus, lucid and complementary. This recording also serves to demonstrate the incredible range of this rapidly rising star in the percussion players universe.
This is a big work written expressly for these musicians and commissioned by conductor Jonathan Haas. It is titled percussion “symphony” which suggests a grand undertaking. It is the only work on the disc.
The composer, Tomas Kozumplik is an American composer unfamiliar to this writer and most likely to most listeners. Kozumplik is a percussionist and composer based in Brooklyn. He is perhaps best known as a film composer but his interests and his collaborations reveal him to be embracing a wide variety of musical interests.His website is definitely worth your time as it describes this artist’s range.
This work is neither noisy modernism nor “lite classical”. It is almost neo-romantic at times as it lives up to the grand promise of its title. It is a great example of how to write for percussion. Indeed the genesis of this work lies partly in the collaborative. Kozumplik worked closely with the musicians to mold this work into its final form. Multiple listens reveal more of the structure and unity of this work. It is not, strictly speaking, difficult music but it is also not simple either.
Indeed, as the titles suggest this piece has a sort of external program, “Child of the Earth” and the subtitle, “Un nino busca a Dios” (which my limited Spanish means, “A child looks to God”) are referred to in greater detail in each track. It’s not clear how these ideas are integrated musically it does couch this work in a sociopolitical genre. The music certainly works well by itself but astute listeners will want to be aware of the meaning these ideas have had for the composer’s and, doubtless, the performers whose intimate investment here is ultimately the joy in this release.
The Julliard Quartet is a hallowed name in classical music. This release reflecting its current generation of musicians is consistent with their practice of playing established classics alongside the modern. These are interesting choices of string quartets from the 18th, 20th, and 21st centuries.
Many will likely speculate on the motivations for these choices but it is a typical set of choices for a Juilliard Quartet recital, an intelligent mix of standard repertoire, not the “usual suspects” or most popular but musically solid pieces. And, of course, there is their all important embrace of the modern.
The Beethoven and the Barton are lovely choices intelligently played but the real draw, at least for this reviewer is the Davidovsky. Mario Davidovsky (1934- ) is a major American composer who deserves more performances and documentation of his work. Fortunately Bridge Records has taken on this task.
He is best known for his “Synchronisms” series pairing electronics with various acoustic instruments. This won him a Pulitzer Prize. But his music sans electronics is just as substantial and this 2016 String Quartet, his sixth, provides ample evidence of that substance.
Near as I can tell this is only the second recording of any of his quartets but it is sufficiently intriguing to whet the appetite for the other 5.
As a recital disc this one is thoroughly enjoyable and it’s inclusion of the Davidovsky is gloriously consistent with the overall image of the hallowed name of the Juilliard Quartet.
The selection of repertoire suggests that this release is targeted Stan audience which enjoys contemporary solo cello music. No pairing with earlier established warhorses such as Brahms Cello Sonatas, and no electronics either. Just a highly skilled musician and her incredible technique navigating these relatively recent examples of this genre from two acknowledged living masters, Esa-Pekka Salonen and Kaija Saariaho. It is a daring and unusual program for cellist Wilhelmina Smith but it works as a dazzling display of her skills.
Salonen is, of course, one of the best known composer conductors working today. This reviewer’s only other exposure to Salonen’s work thus far has been the gorgeous Cello Concerto reviewed here. No question that this is a name worthy of your attention.
And if you enjoy new music you will be familiar with Kaija Saariaho (1952- ). Since she first burst on the scene in the early 1980s she has produced one success after another in pretty much all genres. Like Salonen she is Finnish by birth but has taken her rightful place as an internationally renowned composer.
The performances are virtuosic and deeply felt. The complex range of sounds evoked are rich and stunning. Highly recommended.