Quantum Koh: Jennifer Koh’s “Limitless”


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Cedille 9000 191

Watching the flowering career of this wonderful violinist has been both a joy and a labor.  First, the labor: she is so consumed with projects that it is difficult to keep up sometimes.  Second, the joy:  All her projects and recordings are fascinating in concept and satisfying to the attuned listener’s ear and to her collaborators.

So it is with this marvelous 2 disc set from Cedille Records (now celebrating its 30th anniversary as one of the finest independent classical labels) which consists of duos with composers.  She partners with a variety of up and coming composers in this varied but always interesting collection. These sincere and intimate collaborations exude quantum sparks of creative genius.

Eight composers and nine compositions span two discs demonstrating the Chicago native’s eclectic interests and marvelously collaborative nature. These compositions represent some of the cutting edge nature of her repertory choices as well as the respect earned from these composers.

It begins with The Banquet by Qasim Naqvi who is perhaps best known for his post minimalist acoustic group, Dawn of Midi. Here Naqvi works with a modular synthesizer utilizing that instrument’s quirks to create a sort of drone with minimalistic effects created by his exploitation of those quirks (this could even be classified as a species of glitch). Koh’s part interacts in ways that seem quasi improvisational, doubtless the product of close collaborative efforts.

Next are the lovely Sanctuary Songs by Lisa Bielawa, a fine singer whose solfege singing was for years part of the defining sound of the Philip Glass Ensemble. (Koh masterfully played the solo violin dressed in costume in the title role in the recent revival of Einstein on the Beach.)  She comes to us on this disc as a both composer and singer in this lovely cycle.

Bielawa has developed her own compositional voice and this little song cycle is a fine example. Both voice and violin are given challenging roles in exploring this unusual combination of musical timbres.  Bielawa compositional voice is entirely her own and her gift for it is evident in this and all that this writer has heard.  The work is in three short movements.

Du Yun, whose astounding work was recently reviewed here is represented by her voice and violin duo, Give me back my fingerprints.  The link on her name will take the curious listener through this composer’s amazing accomplishments but nothing can prepare the listener for the raw energy that characterizes her work.

Rapidly rising star Tyshawn Sorey uses his amazing ear to create this memoriam for one of his mentors, Muhal Richard Abrams. Sorey uses a glockenspiel as a counterpoint to Koh’s violin in this all too brief memorial piece written on the passing of AACM (a gaggle of brilliant musicians whose grouping reminds this writer of France’s “Le Six”, the “Russian Five”, and the early twentieth century “American Five”) founding member, a truly great composer, collaborator, and performer.  The AACM was founded in Chicago.

I had the pleasure of meeting the genial and quick minded Sorey at OM 17.  The link to my blog review is provided for the curious listener.  The concert took place in 2012.  Here is the shortcut to the Other Minds archival page.  Sorey provides no liner notes perhaps because he has succeeded in saying everything he wanted to say in the music (Koh seems quite appropriately tuned in here.

Nina Young‘s Sun Propeller involves the composer on electronics which interact to some degree with the solo acoustic instrument to extend the range of what the audience hears from the violin.  The title refers to the rays of sun one sees when the sun is behind a cloud and the sunbeams radiate out in glorious fashion.  This serves as a metaphor for the process involved in the composition.  But not to worry, the complexity does not hide the beauty of the music itself.

As if all the preceding weren’t enough there is a second disc continuing this collaboration.  First up is another name new to this writer, Wang Lu .  This Chinese American composer uses electronics alongside acoustic instruments in much of her work.  Her digital sampling reflects the eclectic nature of her world comprising everything from Korean pop to Chinese opera and a host of environmental sounds.  This piece also contains an opportunity for the composer to do some free improvisation as well as provide accompaniment to Koh’s violin part.  It is a dizzying and mind manifesting experience.

Next up is Vijay Iyer.  Iyer is perhaps best known as a jazz pianist and, as such, he is a fine example but his south Asian heritage doubtless has had an influence on him musically though that is but one aspect of his work. The American born Iyer, like many of his generation, mine their and our collective heritages as needed for inspiration. The present composition, “Diamond” also draws from his rich cultural background as it refers to the Buddhist Diamond Sutra and utilizes the structure of that religious parable to create the piece.  It is probably the most conventional sounding work here but that tells the listener little given the wide ranging eclecticism.  It is a piece which gives homage to jazz filtered through the experience and the person that is Vijay Iyer and, in this case, shared with the violinist.

The last composer is Missy Mazzoli, an established American composer.  She is represented by two works, “A Thousand Tongues” and (the now Grammy nominated) “Vespers”.  The composer provides accompaniment with piano and electronics.  The first piece has more the ambiance of a pop song though an avant garde one.  The last piece, the Vespers, feels deeper and more haunting.  Both provide more than adequate writing to keep soloist Koh both busy and happy.  

Indeed this album will keep the astute listener happy for its musical content, its progressive interest in new music, its wonderful soloist and beautiful sound.


 

Philippe Manoury’s Book of Keyboards, Third Coast Percussion’s Masterful Rendition


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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:

  1. 6 Thai Gongs and 2 Marimbas
  2. Marimba Duo
  3. Sixxen
  4. Vibraphone solo
  5. 6 Thai Gongs and 2 Marimbas
  6. Sixxen

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.

Be not afraid, this is great stuff.

Perpetulum, a Double Album from Third Coast Percussion is a Triumph


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Orange Mountain Music OMM 0132

Third Coast Percussion is one of Chicago’s finest musical exports along with groups like Eighth Blackbird and doubtless others with whom I have less familiarity.  Their deservedly Grammy winning album of music by Steve Reich was reviewed here.  All percussion ensembles are somewhat the rage these days judging by the amount of such albums that come my way.  Percussion instruments are common in eastern cultures but only really made its way into western ensembles in a big way in the last 100 years or so largely due to composers like John Cage and Lou Harrison studying music of other cultures and writing new music for both existing and newly invented percussion instruments.

Percussion is like the junk drawer of the orchestra in that any instrument which does not fit into the categories of strings, winds, or brass is handled by the percussionist.  The taxi horns in Gershwin’s American in Paris are a good example.  However what we have here is an ensemble entirely comprised of percussion instruments with some seriously virtuosic players here performing music written for them.

This two CD set from Orange Mountain Music contains five works by five composers.  The first CD is dedicated to the largest work on this release, “Aliens with Extraordinary Abilities” by ensemble member David Skidmore.  It is, at about 35 minutes, the longest piece in this collection and is virtually a symphony for percussion and electronics.  It is in seven movements, each with a cryptic title no doubt related to the musical content.  It is an engaging work of some complexity with fascinating writing for percussion instruments. Multiple close listens will reward you with details not immediately apparent and reveal some of the structure of this large work.

The second CD begins with a shorter work by ensemble member Peter Martin called “Bend”.  It has the characteristics of an orchestral work using largely pitched percussion.  It presents themes, develops them, and has a detectable harmonic structure.  It is a showpiece for the musicians but it does communicate with the listener.

Next up is Philip Glass in his first all percussion work, “Perpetulum” (2018) has four movements and clocks in at about 25 minutes.  This is music by a seasoned composer, not the experimental music of his earlier years (which hooked this listener) but rather a recognizable and comfortably familiar style with some really nice writing for percussion.  Glass has frequently used percussion of various sorts in his works but this is the first thing he has written entirely for percussion ensemble.  It is an audience pleaser and a challenge to the musicians.

This is followed by a work by another member of the group Robert Dillon.  “Ordering-Instincts” (2018) is cast in one movement it is a relatively brief (7min approx) piece which successfully challenges the players and entertains the audience.  It also seems to provide a nice segue to the final cut.

The disc concludes with a major percussion work by British minimalist Gavin Bryars.  “The Other Side of the River” (2018) is a commission by Third Coast Percussion and is a valuable addition to Bryars gentle, pensive oeuvre.  For this listener this piece is the highlight of this collection.  Bryars is at his best in his meditative mood.  Sinking of the Titanic and Farewell to Philosophy come to mind as similarly relaxing and thoughtful.  This is a big piece and well worth the journey of listening.

bryarsOM

Bryars at the Other Minds Festival in San Francisco, 2016 (Creative Commons license by Allan J. Cronin)

This CD set is a massive undertaking and a fine production illustrating the range of compositional interests of Third Coast Percussion as well as their own compositional chops.  It is also a great sounding recording.  Very well done.

 

 

World Premieres and a Resurrection: Partch Vol. 3 on Bridge Records


Bridge Records is one of those labels whose every release is worth one’s attention. Their series of music of Elliott Carter, George Crumb, et al are definitive. And while this listener has yet to hear the first two volumes of the Harry Partch series this third volume suggests that Bridge continues to maintain a high standard as they do in all the releases that I’ve heard.

Harry Partch (1901-1974), like Philip Glass and Steve Reich would later do, formed his own group of musicians to perform his works. For Glass and Reich they could not find performers who understood and wanted to play their music. For Partch this issue was further complicated by the fact that he needed specially built instruments which musicians had to learn to play to perform the very notes he asked of them.  And keep in mind that Partch managed to do a significant portion of his work during the depression.  He is as important to the history of tonality as Bach, Wagner, and Schoenberg.

I will confess a long term fascination with Partch’s music.  Ever since hearing a snippet of Castor and Pollux on that little 7 inch vinyl sampler that came packaged with my prized copy of Switched on Bach I was hooked.  That little sampler also pointed this (then 13 year old) listener to Berio’s Sinfonia, Nancarrow, Steve Reich, and Terry Riley.  And so it continues.  But it is not just nostalgia that recommends this disc, it is the definitive nature of the scholarship, the intelligence of the production, and the quality of both performances and recordings that make this an essential part of any serious collector of Partch, microtonal music, musicology, and good recordings in general.

With the aforementioned interest/fascination I reached a point where I had pretty much collected and listened to all I could find of Partch’s music.  Certainly everything of his had been recorded, right?  Well ain’t this a welcome kick in an old collector’s slats?  Not only have the folks at Bridge (read John Schneider) found and recorded a heretofore practically known composition but they’ve done it with a brand of reverence, scholarship, and quality of both recording and performances such that this is a collector’s dream and a major contribution to the history of microtonal musics and American music in general.

schneiderUtube

John Schneider from a You Tube screen capture

Let me start with the liner notes by producer John Schneider.  As one who is given to complain about the lack of liner notes I am so pleased to encounter such as these.  They alone are worth the price of the CD and read at times like the adventure they describe, to wit, this recording.  The tasteful and well designed (by one Casey Siu) booklet provides an intelligent guide to the music which enhances the listening experience.  Schneider’s web site also provides a wealth of information and references for further research.  Many would think that these liner notes are comprehensive as they are and there should be no need for anything more…so the link provided to even more info on the web site of the performing group on this disc, PARTCH.   These folks are Grammy winners and they perform on scholarly copies of the original Partch instruments executed by Schneider and his associates.  This release is solidly built from the ground up.

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PARTCH performing at RedCat copyright Redcat

PARTCH includes: Erin Barnes (Diamond Marimba, Cymbal, Bass), Alison Bjorkedal (Canons, Kitharas), Matt Cook (Canon, Cloud Chamber Bowls, Spoils of War), Vicki Ray (Canons, Chromelodeon, Surrogate Kithara), John Schneider (Adapted Guitars, Bowls, Canons, Spoils, Surrogate Kithara, Adapted Viols, Voice), Nick Terry (Boo, Hypobass), T.J. Troy (Adapted Guitar II, Bass Marimba, Voice), Alex Wand (Adapted Guitar III, Canons, Surrogate Kithara)

The 21 tracks contain five Partch compositions.  It opens with one of Partch’s more unusual pieces (for him), Ulysses at the Edge of the World (1962).  This piece was written for Chet Baker but Baker never got to play it.  It kind of sits a bit outside of Partch’s work and is his most direct use of the medium of “jazz”.  The piece has been recorded twice before.  For this recording two fine new music/jazz musicians were chosen, saxophonist Ulrich Krieger and trumpet player extraordinaire Daniel Rosenboom.  Excellent choices for this too little performed piece.

Tracks 2-13 contain the Twelve Intrusions (1950) which is basically an accompanied song cycle with instrumental pieces placed at the beginning.  These are great vintage Partch works but do read the liner notes on the evolution of Partch as he was writing these.  They describe some of Partch’s evolution during that time.

Next is another discovery (or restoration if you will).  Partch’s scores exist in various versions for various reasons.  Windsong (1958) was written as a film score for the Madeline Tourtelot film of that name.  It was later reworked into a dance drama (Daphne of the Dunes, 1967).  Here we have a live performance of the entire score which (read them notes) includes things not heard before, not to mention the most lucid sound of this recording.

Now to the putative star of this release, the Sonata Dementia (1950).  It too comes with some nice detective work allowing listeners to hear substantially what Partch intended but neither recorded nor rejected.  There are three movements and let me just say that they are captivating and substantial.  This deserves to be heard again and again.

Now two little bonus tracks (reminiscent in nature but not in content of the sampler I mentioned earlier) add significantly to Partch and his place in music history.  First is a Edison cylinder recording from 1904 of a traditional Isleta Indian chant which Partch, who had been hired to transcribe these songs, later incorporated into his music.  It’s early date and the nature of that old recording method provide a picture of early ethnomusicological work.

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Photo of Partch with adapted guitar found on web

The second bonus is a real gem.  Again, read the liner notes for more fascinating details.This is an important find, an acetate recording made of Partch performing his Barstow (1941) for an appreciative audience at the Eastman School of Music from November 3, 1942.  This early version (of at least three) for adapted guitar and voice was reconstructed by John Schneider and released on the Just West Coast album of 1993 (Bridge BCD 9041) and later performed so beautifully at Other Minds 14 in 2009.  But I believe that Schneider’s reconstruction predated the discovery of this recording.  Pretty validating to hear this now I would think.

It is this reviewer’s fondest hope that this wonderful Partch project will continue with its definitive survey of Partch’s work.  Bravo!!

 

 

 

William Susman’s Scatter My Ashes


susmanscatter

I first encountered the composer William Susman (1960- ) when one of his works appeared on a program which included a solo cello and electronics piece by Vivian Fung.  This solo electroacoustic piece, the work I was initially asked to review, was nestled in the middle of an interesting program by the San Jose Chamber Orchestra.  I chose to review the entire concert which was a fascinating selection of new music.  William Susman’s “In a State of Patterns” (2018) struck me immediately as interesting post-minimalist work.

Susman_at_piano

Mr. Susman read my review and rather promptly sent me this 2014 CD on his Belarca label.  It contains four of his works from 1992-2010 and is a fine sampling of his work.  All works are here performed by the Octet Ensemble which includes: Alan Ferber, trombone; Mike Gurfield, trumpet; Melissa Hughes, vocals; Elaine Kwon, piano; Eleonore Oppenheim, double bass; Demetrius Spaneas, saxophone; Greg Zuber, drums and percussion; and William Susman, electric piano.

There are four pieces on 12 tracks.  The disc begins with Camille (2010), a very listenable post-minimal chamber work.  It is followed by a melancholy song cycle, Scatter My Ashes (2009) on poems by the composer’s sister Sue Susman.

The third piece is a wonderful piano concerto.  There are not a lot of convincing concertos in the minimalist genre but this one is a candidate for being a poster child.  It is for piano with chamber ensemble.  Here the composer goes not for the finger busting virtuosity that seems to be the current vogue but rather he evokes a latter day Mozart with more technically modest but highly entertaining music that communicates directly.  Curiously (is this a carry over from the Steve Reich and/or The Philip Glass Ensemble?) he uses a wordless vocal (Hughes) as a part of the instrumental texture.  Elaine Kwon handles the featured keyboard part.  It works very well.

He ends with an arrangement for OCTET of Moving in to an Empty Space (1992, arr 2010), another setting of his sister’s lovely poetry.  Again he evokes the somber but it is more in the nature of exorcising the demons of sadness much like the mission of the poet.

 

Jennifer Koh and Kaija Saariaho, a Glorious Collaboration


Cedille

The arrestingly beautiful portrait that graces the cover of this album should be enough of  a cover to judge this release favorably. Just the presence of these two women suggests that you’re in for some serious music making. Add to that the fact that this is one of those impeccable Cedille releases and you know that you, the listener, will not be disappointed. Here is another offering for Women’s History Month (even though the disc was released in November, 2018).

Kaija Saariaho (1952- ) is possibly the hottest composer to come out of Finland since Sibelius. Her career has steadily grown and she has written for chamber ensemble, stage, and orchestra. It is somehow satisfying to have this little portrait of her work. (This reviewer’s first encounter with the composer was in 1987 when the Kronos Quartet premiered her Nymphea for string quartet and electronics.) Five works are selected here and, if you don’t know this composer’s work, think Debussy, Takemitsu, and their ilk. No electronics on this disc though. Her work is a unique expression and pretty much listener friendly whether or not she uses electronics.

There are four chamber music pieces and a nice new performance of her masterful violin concerto, “Graal Théâtre”. Saariaho is so prolific such that one can only do a sort of “snapshot” selection of her work on a single CD. A decent retrospective would likely require several more discs.

Jennifer Koh is without doubt one of the finest violinists working today, especially in contemporary music. She even broke ground in one of the coolest blind castings in contemporary performance playing Einstein in Glass’ opera, “Einstein on the Beach”. For those who are unfamiliar the role of Einstein requires a violinist wearing a wig who plays some mighty difficult violin music at different points during the opera. This writer heard her in performance of this role at the revival in Berkeley a few years ago and it is a mark of Koh’s expertise that she made the role her own. Her range (which includes more conventional repertoire like Mozart, Tchaikovsky, etc.) is simply astounding and her technical ability puts her in competition for an ever growing list of commissions and other works she has added to her repertoire.

On this CD we get to hear Koh in the intimate settings of chamber music where the skills of listening to others is so critical as the individual voices weave their parts though the texture. While Saariaho is basically a well trained modernist romanticism and perhaps impressionism still remain a part of her palette. Joining Koh in the chamber pieces are: Nicholas Hodges, piano; Hsin Yun Huang, viola; Wilhelmina Smith, cello; Anssi Karttunen, cello;

Of course the big showpiece here is the violin concerto from 1994. This large scale work is actually as lucid and detailed as her chamber music, albeit with a larger range of sounds. It is a masterful composition and this appears to be the second recording it has received though apparently the first recording of the version with reduced orchestra played by the Curtis 20/21 Ensemble conducted by Conner Gray Covington (another reason to want this album). I wasn’t able to locate the other recording with Gidon Kremer but it is a good sign when you have more than one top soloist recording your work. Brava Ms. Koh and Ms. Saariaho! This is a collaboration blessed by the Gods. Saariaho x Koh = bliss.

A New Voice for the Accordion, Miloš Katanić’ The Breath


Let me start with an apology. I received this lovely CD digitally, that is, I had to download it, catalog it (so I don’t lose it), download a picture file, burn a CD, listen and write a review. OK, by now most readers have recognized the whine of a pre-millenial grappling with changes in the music distribution system. The bottom line and the reason for the apology? It took me a bit longer to process this submission.


Miloš Katanić (1991- )

Now let’s get down to the main reason for writing this, the CD itself.
Miloš Katanić (1991- ) is a musician who hails from eastern Europe and is just beginning to gain international recognition. This, as far as I can tell is his first release. It consists of twelve short tracks representing ten composers of which this writer is able to recognize three, Philip Glass, Gene Pritsker, and Robert Moran.

Now just a bit about accordions. This writer’s understanding of accordions is that they are a group of instruments which use reeds to generate sound and a bellows to compress air to vibrate those reeds. Sounds like an organ, right? Well, the concept is basically the same only with an accordion (and with those foot pumped organs once popular), the wind is generated by the operator of the instrument.

The accordion certainly has a history in its folk band origins. It is a rather maligned instrument whose provenance fails to connect it to “respectable” instruments such as one would find in an orchestra (though it has had an occasional appearance in orchestras beginning in the late 19th century.

In the mid to late twentieth century several very serious and talented musicians took up this instrument and forever changed the public’s perception. In order by age I am speaking of Pauline Oliveros who took the accordion places no one imagined it could go, Guy Klucevsek who embraced the maligning and the folk aspects of the instrument, and William Schimmel who simply developed it as a classical instrument capable of virtuosity and, most of all, respect.

So along comes Mr. Katanić who now throws his hat in the ring. He is led in part by the most eclectic and prolific Gene Pritsker who I believe directed him to send me this disc. This young musician has a passion for much music which finds a frequent home in one of my audio players. And, as I suspected, the composers whose name were unfamiliar (Tauan Gonzalez Sposito, Antonio Correa, Wolfgang W. Mayer, Anthony Fiumara, Wellington E. Alves, and Ivan Bozicevic) are also of significant interest. The only problem here is the lack of liner notes and hence there is little on these other composers.

No matter really, This is a very enjoyable album by a truly talented musician. Of course my first stop was the Philip Glass Modern Love Waltz (originally for piano but now in many arrangements particularly those by Robert Moran). It is a delightful reading of the piece and hooked the Philip Glass junky in this reviewer in the process.

He manages to include two additional pieces by this really poorly represented master of American music (Moran) as well as two pieces by the also always interesting Gene Pritsker. The remaining pieces are by the composers that are not household names (. This will take a bit more time to listen but in the meantime I think we have here an auspicious debut by a musician who is poised to define his instrument, the accordion, for the 21 st century.