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


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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.

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Promo photo from the artist’s web site

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

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

01 Amorphose 2
Amorphose 2
Daniel Lippel, guitarPhilip White, live electronics 7:13
02 Aphorisms: Whom the Gods…
Aphorisms: Whom the Gods…
Daniel Lippel, guitar 0:52

Mirrored Spaces

Orianna Webb (b. 1974)/Daniel Lippel (b. 1976)

Daniel Lippel, guitar
03 I. Refracted
I. Refracted
4:41
04 II. Sturdy
II. Sturdy
4:03
05 III. Cadences
III. Cadences
4:17
06 IV. Reflected
IV. Reflected
2:00
07 V. Rondo
V. Rondo
4:20
08 VI. Song
VI. Song
4:58
09 Aphorisms: When Music Itself…
Aphorisms: When Music Itself…
Daniel Lippel, guitar 0:57
10 Descent
Descent
Daniel Lippel, guitar 10:34
11 Aphorisms: Solon the Lawmaker…
Aphorisms: Solon the Lawmaker…
Daniel Lippel, guitar 0:45
12 Primo cum lumine solis
Primo cum lumine solis
Daniel Lippel, guitar 3:43
13 Aphorisms: It Needs a Body…
Aphorisms: It Needs a Body…
Daniel Lippel, guitar 1:01
14 Like Minds
Like Minds
Daniel Lippel, guitar 11:48
15 From Scratch
From Scratch
Daniel Lippel, guitarSergio Kafejian, electronics 11:18
16 Aphorisms: Whosoever is Delighted…
Aphorisms: Whosoever is Delighted…
Daniel Lippel, guitar 1:23
17 Detroit Rain Song Graffiti
Detroit Rain Song Graffiti
Daniel Lippel, guitar 6:02
18 Aphorisms: We Seek Destruction…
Aphorisms: We Seek Destruction…
Daniel Lippel, guitar 1:11

Partita

Douglas Boyce (b. 1970)

Daniel Lippel, guitar
19 I. Cumiliform
I. Cumiliform
2:50
20 II. Galante
II. Galante
1:37
21 III. Empfindsamer (offstage)
III. Empfindsamer (offstage)
3:10
22 IV: Air de cour
IV: Air de cour
3:15
23 V. Brise
V. Brise
2:32
24 Aphorisms: There is No Excellent Beauty…
Aphorisms: There is No Excellent Beauty…
Daniel Lippel, guitar 1:56
25 Joie Divisions
Joie Divisions
Daniel Lippel, guitar 6:54
26 Aphorisms: Man Comes into the World…
Aphorisms: Man Comes into the World…
Daniel Lippel, guitar 1:19
27 Arc of Infinity
Arc of Infinity
Daniel Lippel, guitarChristopher Bailey, electronics 16:27
28 Aphorisms: Love is Necessarily…
Aphorisms: Love is Necessarily…
Daniel Lippel, guitar 1:43
29 Scaffold (live)
Scaffold (live)
Daniel Lippel, guitar 7:00

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

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

My 2019 in the Arts


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The amazing Stuart Dempster at a house 2015 house concert at Philip Gelb’s Sound and Savor.  

In many ways this has been a year of reckoning.  I kept my promise to myself to double down on writing this blog and have already reached more viewers than any previous year.  I am now averaging a little more than 1000 hits a month from (at last count) 192 countries and have written 74 pieces (compared to 48 last year).  I need to keep this up just to be able to stay in touch with similarly minded folks (thanks to all my readers).  Add to that the fact that a piece of music I wrote 15 years ago was tracked down by the enterprising Thorson and Thurber Duo.  They will provide me with my very first public performance this coming July in Denmark.  Please stop by if you can.  After having lost all my scores (since 1975) in a fire and subsequently the rest of my work on a stolen digital hard drive I had pretty much let go of that aspect of my life but now…well, maybe not.

Well one of my tasks (little nudges via email have been steadily coming in) is to create a year end “best of” list.  Keep in mind that my personal list is tempered by the fact that I have a day job which at times impinges on my ability to do much else such as my ability to attend concerts.  However I am pleased to say that I did get to 2 of the three Other Minds concerts this past year.  The first one featured all the music for string quartet and string trio by Ivan Wyschnegradsky (1893-1979).  The second one featured music by the same composer written for four pianos (with two tuned a quarter tone down).  Both of these concerts exceeded my expectations and brought to light an amazing cache of music which really deserves a wider audience.  These are major musical highlights for this listener this year.

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The Arditti Quartet acknowledging the applause at the Wyschnegradsky Concert.

Read the blog reviews for details but I must say that Other Minds continues to be a artistic and musical treasure.  Under the leadership of composer/producer/broadcaster Charles Amirkhanian (who turns 75 in January) the organization is about to produce their 25th anniversary concert with a 4 day series beginning in April, 2020.  For my money its one of the reasons to be in the Bay Area if you love new music.  He is scheduled for a live interview on the actual day of his birthday, January 19th as a guest on his own series, The Nature of Music.  This series of live interviews (sometimes with performance material) with composers and sound artists he has hosted since 2016.

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Amirkhanian performing at OM 23 (2018)

Next I will share with you my most obvious metric, how many views my various blog posts got.  I have decided to share all those which received more than 100 views.

The winner for 2019 is:

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Linda Twine (unknown copyright)

Linda Twine, a Musician You Should Know

A rather brief post written and published in February, 2018 for Black History Month.  It was entirely based on internet research and it got 59 views that year.  As of this writing in 2019 it has been seen 592 times.  I have no idea why this “went viral” as they say.  I just hope it serves only to her benefit.  Amazing musician.

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Fatu Duo

Charming little album of lesser known romantic violin and piano pieces played by a husband and wife duo.  This self produced album seems to have had little distribution but for some reason people are enjoying reading about it.  I only hope that the exposure will boost their sales.  This is a fun album.

The Three Black Countertenors

I’m guessing this is one of my “viral” posts.  I wrote it in 2014 and it continues to get escalating hits, 180 this year.  The title pretty much says it all.  First time three black countertenors appeared on the same stage.

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Jenny Q Chai

This concert was an all too brief presentation of some very interesting work.  Quite a pianist too.  File this artist’s name in your “pay attention” category.

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Heavenly Violin and Piano Music by Giya Kancheli 

Giya Kancheli (1935-2019), one of the artists we lost this year (I refuse to do that list).  If you don’t know his work you should. He wrote I think 7 Symphonies and various concertos, film scores, and other works.  He was sort of elected to the “Holy Minimalists” category but that only describes a portion of the man’s work.  Very pretty album actually.

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Because Isaac Schankler

This composer new to me, works with electronics, and maintains an entertaining presence on Twitter.  Frankly, I’m not sure exactly what to make of this music except to say I keep coming back to it.  Very leading edge material.

 

 

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Wolfgang von Schweinitz’s “Klang”

A very different music from that of Schankler listed just above.  But another recording to which I find myself returning.  Thanks to Mr. Eamonn Quinn for turning me on to this one.

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A New Voice for the Accordion

I pretty sure that Gene Pritsker can shoulder at least part of the blame for connecting me with this great new musician  The accordion has come a long way and this guy leads it gently forward.

 

 

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Bernstein’s Age of Anxiety in a new recording

Loved this one.  I had only listened to this work three or four times and probably not with adequate attention.  Hearing this performance was revelatory.  It’s a great work deserving of a place in the standard repertoire/

 

 

 

Black Classical Conductors

Written in 2013, just an occasional piece about black conductors for Black History Month.  It’s now been read over 2000 times.  It is my most read article.  It’s embarrassingly incomplete and in need of a great deal of recent history but that’s a whole ‘nother project.

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Blue Violet Records

Blue Violet Duo

So glad this disc got a little exposure.  Its gorgeous.  This disc of jazz influenced classical Americana unearths some real musical gems.

 

 

 

 

 

 

 

 

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Shakuhachi Ecstasy 

OK, I meet this guy at a vegan underground restaurant (whose proprietor is noted Shakuhachi player, Philip Gelb).  A little casual conversation, a few vegan courses (Phil can seriously cook), and whaddya know?  About a month or so later he sends me this gorgeous self produced set of him playing shakuhachi…but the upshot is that this is the distillation of the artist’s sensibilities filtering his very personal take on the world via his instrument.  It has collectible written all over it and that is as much due to the music itself as to the integrated graphics and packaging.  You really have to see and hear this trilogy.  It got over 100 hits.  Thanks to Cornelius Boots and Philip Gelb (musical and culinary concierge).

boots4

That’s it.  Everything else (300 plus articles total with 74 from this year) got less than 100 views.

 

Personal Favorites

It was a great year for recordings and I listened to more than I did last year.  Some may have noticed some experimentation with writing style and length of review here.  The problem is that the very nature of my interest is the new and unknown so I have to do the research and have to share at least some of that to hopefully provide some context to potential consumers that will ignite the idea, “gotta check that out” without then boring them to death.

For this last section I will provide the reader with a list in reverse order of the publication of my reviews of CD and streaming releases that prompt this listener to seek out another listen and hopefully draw birds of a feather to listen as well.

 

Keep yer ears peeled.  This young accordion virtuoso is an artist to watch.  This was also one of my most read review articles.  This guy is making the future of the instrument.  Stay tuned.

 

bartonblues

This artist continues to draw my attention in wonderful ways.  Her scope of repertoire ranges hundreds of years and she brings heretofore unknown or lesser known gems to a grateful listening audience.  Blues Dialogues is a fine example.  It is also reflective of the larger vision of the Chicago based Cedille label.

jensen

I found myself really taken by this solo debut album by American Contemporary Ensemble (ACME) director Clarice Jensen.  In particular her collaboration with La Monte Young student Michael Harrison puts this solo cello (with electronics) debut in a class all its own, This independent release is worth your time.

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This album of string chamber music arrangements of Mahler is utterly charming.  No Time for Chamber Music is a seriously conceived and played homage.

horvatdiedtrying

Canadian composer Frank Horvat’s major string quartet opus is a modern classic of political classical music.  It is a tribute to 35 Thai activists who lost their lives in the execution of their work.  His method of translating their names into a purely musical language has created a haunting and beautiful musical work which is a monument to human rights.

donut

Donut Robot is a playful but seriously executed album.  The kitschy cover art belies a really entertaining set of short pieces commissioned for this duet of saxophone and bassoon.  Really wonderful album.

beauty

It has been my contention that anything released on the Starkland label requires the intelligent listener’s attention.  This release is a fine example which supports that contention.  Unlike most such releases this one was performed and recorded in Lithuania by the composer.  Leave it to the new music bloodhound, producer Tom Steenland to find it.  In Search of Lost Beauty is a major new work by a composer who deserves our attention.

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My favorite big label release.  This new Cello Concerto from conductor/composer Esa-Peka Salonen restores my faith that all the great music has been written and that all new music is only getting attention from independent labels.  Granted, Sony is mostly mainstream and “safe” but banking on the superstar talent of soloist Yo-Yo Ma they have done great service to new music with this release.  Not easy listening but deeply substantive.

project w 365

This release typifies the best of Chicago based Cedille records’ vision. Under the guidance of producer James Ginsburg, this local label blazes important paths in the documentation of great music.  “W” is a disc of classical orchestra pieces written by women and conducted by the newly appointed woman conductor, Mei-Ann Chen.  She succeeds the late great Paul Freeman who founded Chicago’s great “second orchestra”, the Chicago Sinfonietta.  Ginsburg taps into Chicago’s progressive political spirit (I guess its still there) to promote quality music, far beyond the old philosophy of “dead white men” as the only acceptable arbiters of culture.  Bravo to Mr Ginsburg who launched Cedille Records 30 years ago while he was a student at the University of Chicago.

adamsdesert

Become Desert will forever be in my memory as the disc that finally got me hooked on John Luther Adams.  Yes, I had been aware of his work and even purchased and listened to albums like Dream in White on White and Songbirdsongs.  I heard the broadcast of the premiere of the Pulitzer Prize winning Become Ocean.  I liked his music, but this recording was a quantum change experience that leads me to seek out (eventually) pretty much anything he has done.  Gorgeous music beautifully performed and recorded.

publiquartfreedom

OK, I’m a sucker for political classical.  But Freedom and Faith just does such a great job of advancing progressive political ideas in both social and musical ways.  This is a clever reimagining of the performance possibilities of the string quartet and a showcase for music in support of progressive political ideas.

amerecorder

Michala Petri is the reigning virtuoso on the recorder.  Combine that with the always substantial production chops of Lars Hannibal and American Recorder Concertos becomes a landmark recording.  Very listenable and substantive music.

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I have admired and sought the music of Harry Partch since I first heard that excerpt from Castor and Pollux on the little 7 inch promotional LP that came packaged with my copy of Switched on Bach.  Now this third volume in the encyclopedic survey of the composer’s work on Bridge Records not only documents but updates, clarifies and, in this case, unearths a previously unknown work by the master.  Sonata Dementia is a profoundly important entry into the late composer’s discography.  I owe PARTCH director, the composer/guitarist John Schneider a sort of apology.  I had the pleasure of interviewing him about this album and the planned future recordings of Partch’s music but that has not yet been completed.  You will see it in 2020 well before the elections.

The aforementioned Shakuhachi Trilogy is a revelatory collection which continues to occupy my thoughts and my CD player.

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Gil Rose, David Krakauer, klezmer and the inventive compositional talent of Mathew Rosenblum have made this album a personal favorite.  Lament/Witches Sabbath is a must hear album.

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Another Cedille disc makes the cut here, Souvenirs of Spain and Italy.  The only actual Chicago connection is that the fine Pacifica Quartet had been in residence at the University of Chicago.  But what a fine disc this is!  The musicianship and scholarship are astounding.  Guitar soloist Sharon Isbin celebrates the 30th anniversary of her founding the department of guitar studies at Julliard, a feat that stands in parallel with the 30th anniversary of the founding of Cedille records.  This great disc resurrects a major chamber work by Mario Castelnuovo-Tedesco and presents a definitive program of chamber music for guitar and string quartet.  This one has Grammy written all over it.

duyundino

This New Focus recording was my personal introduction to the music of Du Yun and I’m still reeling.  What substance!  What force! Dinosaur Scar is quite an experience.

eyetoivory

Another Starkland release, this album of music by the great new music pianist is a personal vision of the pianist and the creators of this forward looking repertoire.  Eye to Ivory is a release containing music by several composers and championed most ably by Kathleen Supové.

kohlimit

Chicago born Jennifer Koh is one of the finest and most forward looking performers working today.  Limitless is a collaboration between a curious but fascinating bunch of composers who have written music that demands and receives serious collaboration from this open minded ambassador for good music no matter how new it is.  And Cedille scores another must hear.

Many recordings remain to be reviewed and some will bleed over into the new year so don’t imagine for a second that this list is comprehensive.  It is just a personal list I wished to share. Happy listening and reading to all.

The Jack Quartet Plays Music of Hannah Lash


Hannah Lash‘s name began appearing on my radar about two years ago but this is my first actual encounter with her music.  This recent (2011) Harvard graduate’s star seems to be rising quickly and this is a fine place as any to start to get to know her work.  New Focus Recordings is a label with good instincts regarding new and important music and this one is typical of their collective acumen.

This release features 4 works. One is for harp (Lash’s instrument) with string quartet and the rest are for string quartet alone. I find it difficult to describe Lash’s work concisely. Like many in her generation she seems to have been exposed most comprehensively to a huge range of styles and techniques and she appears to be selecting judiciously among those to apply those techniques by which she can achieve her compositional goals.

The works include the single movement, Frayed followed by Suite: Remembered and Imagined (in 6 short movements), the single movement Pulse-Space, and the three movement Filigree in Textile which features Lash on harp along with the Jack Quartet.  The rather sparse liner notes are by the composer.  They may lack detail as to composition date, commissioner, etc. but they do reflect what the composer’s thought processes were with each piece.  She is clearly more concerned with conveying her metaphorical ideas than the technical aspects of her work.  That is perhaps best left to future musicologists.

Her work is direct, one might even say concise.  Using a basically tonal palette, the composer explores a variety of musical and metamusical ideas.  These are intimate and interesting works that seem very much to the point.  Keep in mind too that this is simply a disc of recent chamber music which gives no idea as to how she handles larger forms.  But from the perspective of this album alone her brevity has an almost Webernian quality (not the thorny harmonies or difficult rhythms, just the brief and direct statements she makes with the music here).

The always wonderful Jack Quartet plays in two different configurations here.  Tracks 1-8 feature Christopher Otto and Ari Streisfeld, violins; John Pickford Richards, viola; and Kevin McFarland, cello.  Tracks 9-11 feature: Austin Wullman and Christopher Otto, violins; John Pickford Richards, viola; Jay Campbell, cello; and Hannah Lash, harp.

As usual with well written new music multiple listens reveal more detail.  The music is both interesting at first listen as well as compelling enough to provoke yet another listen.  Lash is a rising star who deserves the attention of a new music audience who will learn the subtleties of her musical language.  There is great beauty here.

Eric Moe, Uncanny and Affable (and very interesting)


moeuncanny

New Focus FCR 212

Here I sit with an album by a composer with whom I have no familiarity.  Fortunately Eric Moe has a delightfully tenacious public relations department (at least with this particular record label) whose prompts did finally get me listening.  OMG, it says “electroacoustic”.   That could be really bad or obtuse.  Well, I did promise to review it so here goes.

Eric Moe (1954- ) is a composer with a very well organized web page.  A quick glance at that web page informs that this is the 12th or so disc from a man who boasts what looks like a list of over 100 compositions.  Moe is also a performer and participates on this disc.  This graduate of Princeton (A.B., Music) and Berkeley (M.A. and Ph.D., music) teaches at the University of Pittsburgh and is also an active performer of both his and others’ music.

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This discs contains 6 composition for solo instrument (mostly with) electronics.  Now that combination has given this writer pause because the genre given the name “electroacoustic” can be a mixed bag.  Sometimes these works can be ponderous or obtuse with meanings obvious to the composer and, hopefully, the performer.

However your reviewer’s neurotic fears were apparently unfounded as the tracks played some truly wonderful compositions.  Each track features a different instrument.  The instruments, in order, include a drum set played by Paul Vaillancourt, a viola played by Ellen Meyer, a solo 19tet keyboard played by Eric Moe, an unbelievably virtuosic pipa played by Yihan Chen, solo piano played by Eric Moe, and flute played by Lindsey Goodman.

Suffice it to say that all the soloists here come with a high level of virtuosity as well as the ability to interact meaningfully with the electronics.  Far from being a nightmare of impenetrable experimental music this is rather a very entertaining set of pieces which tend to avoid the worst cliches of this genre.

Rather than attempting to describe each of these pieces (a task which would likely be more painful to read than write) it is best to simply provide assurances that the combination of this talented composer combined with the more than capable soloists provides a stimulating and interesting listening experience.  These are wonderful performers with great material.

The listener will want to hear each track more than once to get a good idea of what the composer is doing but, fear not, this album is much more adventure than ordeal.  It shows a composer at the height of his powers producing art which stimulates the senses and provides an emotional experience.  While there is clearly intellect behind the creation and performance of these works they tend to speak rather directly to the listener providing a stimulating entertainment that leaves the listener with a shred of hope that classical, even modern classical is far from dead.

Kudos to professor Moe and his collaborators and a nod of thanks to the tenacious publicity folks who would not let this release go quietly into the good night.  You shouldn’t either.

Duo Stephanie and Saar: Bach Art of Fugue


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New Focus Recordings FCR 181

One of Bach’s last works (It is dated 1748) was thought for many years to have been a sort of academic thesis which was not meant for performance.  Even though it has received performances it is problematic in many ways for performers and listeners. it has spawned many different approaches to this score which specifies no instrumentation, no ordering to the separate movements, and leaves it’s last fugue tantalizingly incomplete.

There have been many orchestrations for ensembles ranging from various chamber groupings to full orchestra.  It has been done on harpsichord, organ and piano, organ, string quartet, brass ensemble, saxophone quartet to name a few.  In fact all of these approaches would seem perfectly appropriate and authentic within the context of baroque performance practice.  Undoubtedly we can expect more of this pluralistic approach to come to terms with Bach’s final utterance.

Sometimes the most salient characteristic of a recording of this work is about a new orchestration or some new scholarship, including yet another effort to complete the fugue which Bach left incomplete in the manuscript.  In this two disc recording the motivation seems to be simple clarity.  Duo Stephanie and Saar (pianists Stephanie Ho and Saar Ahuvia) perform the pieces on piano 4 hands, two pianos and solo piano as befits their artistic vision.  They order the pieces by playing the first 12 fugues (or contrapuncti, as Bach refers to them) followed by alternately performing the four canons in between the remaining fugues and ending with the Canon in Augmentation to create a sense of an arch of unity with increasing complexity followed by the comparatively simple postlude of the final canon.  As with many of the recordings Stephanie and Saar choose to leave the last fugue incomplete as Bach left it which is slightly jarring, leaving the sensation of having missed a step in the descent of a staircase but the final canon then does serve to bring the listener down gently.

Not until the minimalist movement would we see such a long focus on a single key (D minor), a potential deal breaker for a lesser composer.  However the lucidity of these performances and recordings allows the listener to focus on the beautiful intricacy of counterpoint that represents one of the pinnacles of western musical art.  Actually I have found that this recording works as well with focused listening as it does as background music where its energy sneaks in to your consciousness in a different but no less exhilarating way.  This is doubtless due to the quality of interpretation.

Nothing flashy here, no overblown musicological perspectives, just strong playing by artists who clearly know and love this music.  The Art of Fugue is not the easiest of Bach’s works to appreciate.  Indeed it took this listener many years and multiple different recordings to finally grasp the depth of the work.  And while it may not have been intended for performance per se this recording does a good job of finding the unity in these contrapuntal etudes which are effectively a summing up of the techniques of the high baroque era.  Stephanie and Saar take us on a wonderful journey, one you will want to take many times.

Exploding Debussy, Kathleen Supové


New Focus FCR 170

Increasingly it seems that new music performers take on a persona which includes a unique selection of repertoire and frequently a distinctive physical presence.  Kathleen Supové is a fine example.  Her distinctive physical appearance and attire becomes a metaphor for her very personal and intelligent choice of repertoire which sets her apart from her peers.  In addition to unquestioned virtuosity and beautiful interpretive skills her persona takes on an adjectival quality which prompts this reviewer to ponder the “Supovian” experience.


I may live to regret that neologism but the present album is offered as exhibit one (of about 20 albums) attesting to the distinctive choices of music that characterize her work.  This two disc album, The Debussy Effect, is a very modern homage (even sometimes with apologies) to the impressionist master.  Twelve tracks on the two discs feature seven contemporary composers.  Only three tracks are for solo piano.  The rest involve electronic enhancements and or “soundtracks”.

Initially I had hoped to be able to say something useful (if not particularly insightful) to prospective listeners/buyers of this album about each of the pieces here but after several listens I can only reliably say that the material makes for a great and entertaining listening experience.  It harbors complexities that cannot be fairly recounted in such a brief review.  (And this reviewer has a limited knowledge of Debussy as well.)

Here are works by some of the finest of the New York “downtown” music traditions that reflect some amazing and very deep appreciations that will likely change the way you hear Debussy.

Here is the track list:

Disc One

1.  Storefront Diva: a dreamscape by Joan La Barbara

2.  Dr. Gradus vs. Rev. Powell by Matt Marks

3.  Layerings 3 by Eric Kenneth Malcolm Clark

4.  What Remains of a Rembrandt by Randall Woolf

Disc Two

1-4.  Shattered Apparitions of the Western Wind by Annie Gosfield

5-7.  Cakewalking (Sorry Claude) by Daniel Felsenfeld

8. La plus que plus que lente by Jacob Cooper

All are engineered by the wonderful Sheldon Steiger for the New Focus recordings label.

So the take away here is as follows:  If you are a Debussy fan you will want to hear this album.  If you are a Kathleen Supové fan you will want to hear this album.  It is the second reason the seems the most salient here.  I expect to be listening to this many more times.  Enjoy.

 

Christopher Bailey: Glimmering Webs, New Piano Music


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I admit to some trepidation when I received this 2 disc set of piano music by an unfamiliar composer.  Even in the best of circumstances the “double album” concept can be a trying thing even to fans of a given artist.  I think I recall some similar trepidation confronting the newly released Elton John Yellow Brick Road double album.  I invoke some pop sensibility here in part for humor but also because that sensibility is one of the many threads that imbue this rather massive collection of pieces.

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Christopher Bailey

Christopher Bailey is a freelance composer who holds degrees from Eastman (BA, 1995) and Columbia University (MA, 1997 and PhD, 2002).  This is the eighth disc to contain his music though only the second to be dedicated entirely to his works (and his first double album).

The first disc is a journey of styles ranging from electroacoustic music (like the opening track which resembles the work of Mario Davidovsky at times) to several whose inspiration seems to venture closer to that of Pierre Boulez and ends with a lengthy sort of post minimalist piece appropriately titled, Meditation.  The composer says in his liner notes that this piece is his homage to “ambient music” and in particular, Harold Budd. The second track is a piece which is a sort of deconstruction of a Hall and Oates song, the pop sensibility to which I referred earlier.  And, yes, there is some nod to microtonalism as well.  Can you say eclectic?

The second disc contains the large Piano Sonata and a host of smaller works in various styles ranging from neo-classical to microtonal.

In the rambling liner notes the composer provides useful clues as to the genesis and intent of some of his ideas.  One need not read the notes to appreciate the music but the clarity that they provide was useful to this listener. More notes would have been appreciated though.  The composer’s and the pianists’ web sites are certainly useful but I doubt that the average listener will spend that much time researching these things and is then left with gaps in information and consequently in understanding.

The composition dates here range from 1994 to 2013 and embrace a wide swath of styles all with a strongly virtuosic aspect.  The second disc starts with the brief Prelude-Fantasy on the So-Called Armageddon Chord (2011).  The title is almost longer than the piece and, while it’s a fine work, the placement at the beginning of the disc preceding the major opus of his four movement Piano Sonata (1994/1996/2006) is a bit confusing.

I don’t mean to quibble with such things as track order and such but I was left with a sense of difficulty focusing.  Here is a large collection of music which ranges through pretty much the entire gamut of the last 200 years of music and it is presented en masse.  I think some re-ordering might have been helpful but that is one of the difficulties with multiple disc issues.  I listened numerous times to these discs and find the sheer volume and diversity a bit overwhelming.  It is as though this is too much for a single release.

Bailey says that the sonata is an homage to Stravinsky and those neo-classical elements are certainly clear but this listener hears some ghosts of Charles Ives and the polystylism of Alfred Schnittke as well.  The Sonata seems to be the highlight here.   It is wonderfully complex, kaleidoscopic, loaded with quotation, even grandiose at times, but eminently listenable and it is a highly entertaining piece also because of it’s virtuosity which is ably handled by the performer.

There are apparently three pianists on this recording, Jacob Rhodebeck, Shiau-Uen Ding and Augustus Arnone.  The problem is that it is not clear from the labeling or the notes who plays what.  This is actually a fascinating and engaging collection, well played, but I was surprised to be unable to attribute the various virtuosities to the deserving performers.

The recording, mastered by Silas Brown, is as good as it gets.  Overall quite a collection but one that left me with many questions as well.  Perhaps that was, at least partly, the intent but it is my hope that these ambiguities will not distract the listener and that more releases will be forthcoming.  This is very interesting music deserving of serious attention.

 

 

 

New and Newer Music for Flute and Piano


nataraja

New Focus FCR154

This is a curious collection of flute and piano music.  It is framed by two pieces from the late great Jonathan Harvey (1939-2012), one by Elliott Carter and a collection of world premiere recordings by composers far less familiar and markedly different in style.

The premieres are all by living composers (Josh Levine, Christopher Dietz, C.R. Kasprzsyk and Sam Pluta).  Now these are all fine compositions but their style is so very different from the Harvey and Carter pieces that it is almost jarring to the listener.  This living set of composers is represented by a far more conservative compositional ethic (please don’t read that as a negative) than the older, more modernist pieces which frame their efforts here.

Of course only time will tell the eventual place of these works in the annals of musical history but the fact here is that we have two towering works by Harvey, a tasty bit of one of Carter’s lesser known works and essentially unheard works from a gaggle of newcomers. The listener just has to be prepared to switch gears.

The performances are beautiful and loving throughout.  The Harvey pieces truly stand out as the masterpieces they are as does the Carter.  Curiously Carter (1908-2012) has been somewhat maligned since his passing for reasons that defy logic but I am glad that this late Carter piece was included.

This is a lovely recording and performance.  The juxtaposition of the modernist pieces framing the neo-romantic pieces by the younger composers is striking but stick with it. The pleasures of this recording are in the loving and committed performances as well as the recording itself which is quite lucid.

Conor Nelson on flute and Thomas Rosenkranz, piano are new names to me but I will keep them in mind having heard what they have done here.  The ear who made this recording so listenable was Ryan Miller, the recording engineer.

Between the Lines, New Percussion Music by Neil Thornock


Between the Lines

Between the Lines

Other than the information on this CD and the composer’s faculty page (here) information seems limited on this composer,.  He earned a BM, Organ Performance, Brigham Young University, 2001, an MM, Music Composition, Brigham Young University, 2003 and a DM, Music Composition, Indiana University Jacobs School of Music, 2006.  Currently he is associate professor of music at BYU where he teaches theory and composition as well as electronic music.

Thornock is that rare breed of percussionist (or is it keyboardist?), a carriloneur  and he takes the opportunity to display those skills on this all percussion release, apparently the first recording of this composer’s music.

It is very difficult to assess a composer based solely on their percussion music and sometimes that genre can take on the insider feel of, say, band music or some more rarefied and sequestered niche of music.  As popular as percussion music has become in the 20-21st century it seems sometimes to be an orphan genre.  This is also, no doubt, due to the all-inclusive nature of the term “percussion” which leaves a huge list of potential instruments to consider.  So an album of tympani music or bongo music or marimba music (conceivably even piano and harp can be included under the percussion rubric).might all be spoken of generically as percussion music.  This recording uses a wide variety of instruments.

Having said that this disc appears to show a composer with a wide palette and knowledge of the medium and it is an opportunity to hear carillon music which is itself a relatively rare experience in recordings.  His writing is accessible and, no doubt, well-tailored to the skills of the musicians.

There is nothing familiar here.  All are new works written, presumably, in the last few years.  It would be interesting to hear more of this composer’s output in the areas of chamber, orchestral and electronic music.  But this little tease will have to do for now.

Matthew Coley, the percussionist, seems to be the real star here.   He plays on all tracks and seems to be a highly skilled player.  His website was the most useful to this reviewer as well.  Along with him are the Iowa Percussion Group, the Iowa State University Percussion Ensemble and, as mentioned earlier, the composer on carillon on tracks 7-10 with Gerard Norris conducting.

This New Focus recording FCR 156 is beautifully recorded and I think that is no simple task given the variety of instruments involved.

Young American Inventions: Music by Steven Ricks


Young American Inventions (New Focus FCR 158)

Young American Inventions
(New Focus FCR 158)

Let me say at the beginning here that this disc contains music of a rather experimental nature.  It has underlying complexities and this is not the kind of CD one would have playing at most parties except perhaps to clear the room.  That being said this is not bad music but it is challenging listening.

I had not been familiar with Steven Ricks (1969- ) or his music prior to receiving this disc for review.   Ricks earned his B.M. in Composition in 1993 from Brigham Young University, and M.M. (also in composition) from the University of Illinois at Urbana in 1995, a Certificate of Advanced Musical Studies from King’s College in 2000 and  Ph.D. from the University of Utah in 2001.  His teachers have included Morris Rosenzweig, Sir Harrison Birtwistle, Bill Brooks, and Michael Hicks.

He is currently on the Board of Advisors of the Barlow Endowment, and an Associate Professor of Music Theory and Composition at BYU where he also directs the Electronic Music Studio.  His works fall primarily into the realm of the “electroacoustic”.  His training and interests seem to put him into orbits that likely include Milton Babbitt, Mario Davidovsky, Lejaren Hiller and perhaps Salvatore Martirano (all, by my definition, great composers but difficult listening and with electroacoustic outputs primarily).

I must confess that I know relatively little about the forefront of electronic music these days and I am working on catching up on this history (which seems to exist almost completely separate from classical music per se).  Even the hybrid of “electroacoustic” music seems, for this writer at least, to remain rather marginal in terms of its listening audience and its prevalence in the concert hall.

Now, having loaded the reader with these prefaces, apologies and excuses, I move on to the music itself.

I listened numerous times to the tracks on this disc.  Sometimes I listened with direct intention and concentration, other times I listened with this disc playing ambiently (can I use that term here?) whilst pursuing other tasks (not recommended).  The music is assertive and, at times downright intrusive.

I get the feeling overall of a great deal of experimentation and complexity that nearly raises Milton Babbitt’s famous question, “Who cares if you listen?”.  Certainly the composer and performers care but that doesn’t rule out the likelihood that this music may speak to a limited audience who are better trained and more familiar with these techniques/ideas.

What I like about this disc, though, is that bold, experimental, doesn’t matter who is listening approach.  Were it not for such innovation a lot of good musical ideas would never have been expressed.  This music is experimental and perhaps more than a little “inside”, meaning that other composers/scholars might get things that the average listener would probably miss.  Call it an adventure.

Curiously I was/am intrigued by Ricks’ interest in algorithmic composition (an iffy genre as well, I know).  I was pleased to find that he has available for free download on his site a program he wrote called Universal Music Machine and I have been rather entertained by it both as a compositional tool and as a teaching/learning method.   And I promise to post mp3 files of any masterpieces I might generate.

There are 9 separately identified pieces here written between 2001-2014.  Two are multi-movement works and all but two involve electronics in performance to some degree.

The opening track, Ten Short Musical Thoughts (2002) serves well as an introduction.  It makes use of sampling and of algorithmic composition.  Indeed these are short musical ideas with some spoken word comments integrated with the music.

If you are not watching/listening closely you may miss the transition between the opening track and the next, “Young American Inventions” (2007) for solo piano and electronics.  The title, a mashup of David Bowie’s “Young Americans” and Steve Martland’s “American Inventions” reflects Ricks’ eclectic interests and fascination with both contemporary classical as well as popular culture.  Pianist Scott Holden navigates the challenging keyboard part accompanied by the electronic score.  Here is where Ricks’ work reminds me of Mario Davidovsky’s “Synchronisms” series.

The four movement, “Extended Play” (2007) continues the pop culture references as the composer states that those four movements are intended to mimic or approximate the four tracks which are found on most vinyl EP productions.  The ensemble composition, which is also full of more specific references to both classical and popular music, is executed by Flexible Music and is the most easily accessible work on this disc (to this listener’s ear).

“Ossifying (Keeping us from…) (2012), listed as “electroacoustic” is a piece of sound art like the opening track (no live performers in the concert hall here) and is one of the most experimental pieces on the disc.  It seems both deeply personal and inextricably self-referential.

“Geometria Situs” (2012) is the musical portion of a multimedia work called “WRENCH” which was written for and performed by Hexnut.  Mezzo-soprano Michaela Riener handles the delicate vocal lines with grace and ease.

“Sounded along dove dôve” (1999) is the last of the non-live “electroacoustic” pieces and, like its predecessors, is similarly cryptic and self-referential, a puzzle perhaps, in which the components of language itself are used as determinants of the settings of the texts.

A bit of an “aww” moment occurs with “Waves/Particles” (2008) which is performed by the Canyonlands Ensemble conducted by the composer’s former teacher Morris Rosenzweig.  Rosenzweig founded the ensemble in 1977.  This is both homage and acknowledgement between the two generations of artists.  It is lovingly played.

“Young American Inventions REMIX” (2014) invokes another pop culture metaphor of remixing a song.  This is another iteration/elaboration of the material in the earlier version of this piece.  Scott Holden is the soloist once again with the electronics.

“Stilling” (1997, rev. 2011) is a piece for solo piano.  This is described by the composer as being an impressionistic piece, perhaps a sort of tone poem.  The language is thorny and modern.  The very capable pianist here is Keith Kirchoff.

The lucid liner notes are by Jeremy Grimshaw.  The New Focus recording is clean and clear.  So if you enjoy adventures in experimental/electroacoustic music this is your disc.

 

 

 

 

 

The Ensemble Formerly Known as Zeitgeist (?), Music by Scott Miller


Scott Miller- Tipping Point (New Focus fcr 161)

Scott Miller- Tipping Point (New Focus fcr 161)

ADDENDUM:  Mr. Miller kindly supplied the correct composition dates for the pieces in this album and they have been placed in the text.  Also I was pleased to receive a link to their discography:(http://www.zeitgeistnewmusic.org/discography.html)  I hope that is a recent addition and not my oversight (apologies if it’s an oversight).

 

I was particularly pleased to receive this disc for review as I am a long time fan of the Minnesota based Zeitgeist ensemble.  This varied ensemble has been a vital part of the new music scene in Minnesota since about 1977 (I still have some of their vinyl LPs).  Happily they are in the process of making these out of print items available again on CDs via their website.

Curiously there is very little on the ensemble’s web site or on the internet in general on the history of this group prior to about the year 2000  A Google search yields few references to this group and Discogs does not have much listed in their discography of Zeitgeist.  Their Wikipedia page is also in serious need of updating. The Innova records site is perhaps the most useful in identifying the albums released by this group in its various configurations and solo or other collaborations by its members (though the re-release of the older discs are not distributed there).  I realize that this group began in the pre-internet era but perhaps it is time to clarify this and present a comprehensive history and discography of this significant new music ensemble.

Scott Miller

Scott Miller

The present disc is a collection of recent works by Scott Miller, a Minnesota based composer and teacher whose association with Zeitgeist goes back to 1993.  He is currently the president of SEAMUS (Society for Electro Acoustic Music in the United States) and professor of music at St. Cloud State University.  You can find his work on youtube and Sound Cloud.

Now let me say here that it is my observation that electroacoustic music, while not an uncommon genre, seems to be a specialized one which, like Zeitgeist, is not consistently well-promoted.  At least that is my explanation (excuse perhaps) for my limited knowledge of Mr. Miller’s music up to this point.

The CD is a collection of six tracks with vocals by soprano Carrie Henneman Shaw on tracks  2, 4 and 6.  Each track is a separate work and they are listed in the proper order on the back of the CD case but are discussed out of order in the notes for some reason.

But now I must stop my whining and criticisms (and thinly veiled references to Prince) and turn to the actual music. This is really wonderful music, well-performed and well worth your attention.  And if the term “electroacoustic” puts you off don’t worry.  What we have here is an artist who has managed to integrate a variety of techniques into an effective musical language that transcends mere experimentalism to yield some really good music.

The first piece, the one from which the album receives its title, is Tipping Point (2010) and was originally included on the SEAMUS CD Volume 20 (EAAM-2011).  This is a remixed and remastered version of that recording from 2010.  This writer hears echoes and homages to (or influences by, you decide which) Terry Riley, Steve Reich as well as perhaps Morton Subotnick and even the thornier sound of Mario Davidovsky at times.  To my ears this is an integration of many ideas which work effectively together.

The second track, Forth and Back (2003) is the longest track and is a setting of the poem by Catalan poet Felip Costaglioli.  The setting is atmospheric, appropriate to the lovely texts and the vocal writing is simply beautiful.  Carrie Henneman Shaw delivers this work with the success of interpretation that one would expect of a musician who understands the composer’s intent.  Not an explicitly virtuosic piece it nonetheless challenges the performer with sotto voce passages that I imagine are quite a balancing act for a singer.  This is a beautiful piece and the fact of its electroacoustic aspects take on far less important place than the effectiveness of the setting.

Next up is Pure Pleasure (2008) is a percussion piece.  The composer goes into some detail in the notes as to the genesis of this piece and that is interesting but so is the act of listening to it.  This is one of the more obviously experimental works here.

Twilight (2008-13) is actually a portion of a larger work, a collaboration between Miller, Pat O’Keeffe and video artist Rosemary Williams called, The Cosmic Engine.  This is a multi-media chamber opera which premiered in 2008 and this section was revised in 2013.  The text is by Walt Whitman.  Again, Shaw does a lovely job with the lyrical vocal lines.

Funhouse (2003) is a marvelous use of electroacoustic methods.  It is a piece with rather complex origins as explained in the notes but, consistent with its title, this is a fun piece to hear and, I imagine, to play.  Along with the percussion piece it represents the more overtly experimental work of this artist.

The final track, Consortia (2013), as  with Twilight, is an outgrowth or by product of work on the multimedia opera, The Cosmic Engine.  Here the composer enlists computer processing to create a sort of live polyphony with live mixing of tracks of pre-recorded and live improvisational structures based on some renaissance tunes and techniques.  I will leave it to the listener to read through the technical details but the result is a pretty entertaining piece of music.

Zeitgeist does a wonderful job here playing with passion and dedication.  I can only hope that we hear more from both Zeitgeist and Mr. Miller.

The recording done at Wild Sound Recording Studio in Minneapolis (Mark Zimmerman, master engineer on tracks 1 and three; Steve Kaul, master engineer on tracks 2 and 4-6) is lucid and warm.  The art and design by Raul Keller makes for an attractive product.  This release from New Focus Recordings belongs in the collection of any new music fan and certainly every Zeitgeist fan.