Gregg Smith, one of the most prominent choral conductors in the United States, has passed away at the age of 84. With his Gregg Smith Singers, Smith brought a wide variety of repertoire to all corners of the US and abroad. In particular, he specialized in American music – folk songs, spirituals, hymns, and contemporary repertoire. As a young singer, I had the privilege of singing under Smith’s direction on several occasions. He was an extraordinary teacher.
It seems appropriate to include this particular selection, performed by the Gregg Smith Singers, in an arrangement by Virgil Thomson.
Since its inception, the Orchestra of the League of Composers/ISCM has displayed a catholicity of style in its program selections. This year is no exception. Director Louis Karchin and the players present works ranging in character from serialism to spectralism, with a bit of neo-tonality in between. This is only fitting: the League has long welcomed composers of myriad styles into its membership. This year’s season finale is equally representative of this musical diversity.
Huck Hodge’s Alêtheia is filled with percussive passages, glissandos, and extended techniques juxtaposed with supple melodic gestures. It makes a bold impression. In a recent interview with League member Luke Dahn, Hodge clarified his particular use of orchestration as follows, “There is the combination of roughness and elegance in my music – the way that coarse yet sumptuous timbres may create a framework from which emerge elegiac lines of melody. Some listeners have identified a certain violence in my music, but it is a regenerative violence — destruction as an act of rebirth — like the restorative nature of a forest fire.”
Sempre Diritto! (Straight Ahead!) by Paul Moravec is a robust work filled, as one might imagine, with direct melodic gestures. These are supported by harmonies redolent in Romanticism. However, the piece is not merely nostalgic for a bygone era or a particular geographic area. Instead, Moravec molds these various elements into staunchly individual music of considerable character.
Composed for the pianist Peter Serkin, Charles Wuorinen’s Flying to Kahani references his opera Haroun and the Sea of Stories. The title is the name of the second “undiscovered” moon of earth, found in Salman Rushdie’s book upon which the opera is based. A piano concerto, but one cast in a single movement, it is abundantly virtuosic, both in the piano’s solo passages and in the orchestral parts. While its harmonic language is unmistakably chromatic, like many of Wuorinen’s recent pieces there is an exploration of pitch centricity (Kahani is built around the note C) and reference chords.
The longest work on the program, clocking in at some twenty-five minutes in duration, Felipe Lara’s Fringes explores the world of spectral composition, serving as an homage to the work of such French composers as Tristan Murail, Gerard Grisey, and Pierre Boulez, However, Fringes is not just built on the harmonic series found in orthodox spectralism, but also on a complex array of effects-based orchestration. Much like Hodge’s work, there is an architecture of sentiments – of gentleness contrasted with violent outbursts. Another layer of Lara’s music is his use of antiphonal seating, with instruments spatially dispersed onstage creating a vibrant colloquy. Thus once again in its Season Finale concert, the Orchestra of the League of Composers/ISCM shares a collection of pieces from the late Twentieth and early Twenty-first centuries that display diversity, virtuosity, and a wide range of reference points. One thing shared by all the works: the durable quality of the music.
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On Monday, May 23rd, with a performance by JACK Quartet at the 92nd Street Y, the New York Philharmonic’s second Biennial begins. Running until June 11th, a plethora of concerts are contained in this year’s offerings. Last week, Music Director Alan Gilbert outlined some of them at an “Insights at the Atrium” event. You can watch a video of it below.
On Tuesday, May 24th, Q2whets listeners’ appetites for the Biennial with a 24-hour marathon devoted to the NY PHIL. Hosted by composer Phil Kline, it features recordings from the orchestra’s archive and record label. At 7 PM, there will be a live broadcast from National Sawdustof violinist Jennifer Koh playing from her Shared Madness commissioning project.
A few other events that I’m particularly enthused about:
Cheering for the home team, the Orchestra of the League of Composers/ISCM, conducted by Louis Karchin,presents a concert on June 1st at Miller Theatre with works by Huck Hodge,Felipe Lara, Paul Moravec, and Charles Wuorinen.
On June 2-4, a staging of Gerald Barry’s The Importance of Being Earnest will be given as part of the NY PHIL’s Contact! series.
Cellist Jay Campbell curates Ligeti Forward, a series of three concerts on June 3-5, performed by alums of the Lucerne Festival, conducted by Gilbert. Using György Ligeti as a starting point, the concerts incorporate a number of composers who have been influenced by his work, including Unsuk Chin,Marc-André Dalbavie, Gérard Grisey,and Alexandre Lunsqui.
On June 8, the Aspen Contemporary Ensembleperforms a program that features the NY Premiere of Steven Stucky’s composition for tenor and ensemble The Stars and the Roses. A setting of three Czeslaw Milosz poems, the affirming character of both the words and music of this piece are made even more poignant by the composer’s recent passing.The concert also includes NY premieres of works by Esa-Pekka Salonenand Stephen Hartke.
On June 9th, Brooklyn Youth Chorus, San Francisco Girls Chorus, and Brooklyn Knights join forces on two programs that feature pieces by, among others, Lisa Bielawa, Theo Bleckmann, Philip Glass, Aaron Jay Kernis, Carla Kihlstedt, Nico Muhly, and Caroline Shaw.
There’s more Stucky on the Biennial’s finale on June 11th; a concert given by the Philharmonic features the New York premiere of his Pulitzer prizewinning Second Concerto for Orchestra. Also on the program is the cello-filled Messagesquisse by Pierre Boulez and the U.S. Premiere of Per Nørgård’s Symphony No. 8.
This just in via email from Other Music,one of the premiere (and one of the last) record stores devoted to experimental music left in New York City.
It is with heavy hearts that we share the news that after more than 20 years in New York City, Other Music will be closing our doors on Saturday, June 25th. It’s been an incredible run for us, and we cannot thank you enough for the support and inspiration that you’ve given us over these past two decades. We’ve learned so much from you and are so grateful to have had your trust, curiosity, and passion as we’ve discovered and explored so much great music together since we first opened back in December of 1995. Times have changed, and soon we will be moving on, but in the coming weeks we hope you’ll come by and see us, dig through our racks, and reminisce about what has been a truly special era for all of us. We’ll also be announcing more events and celebrations soon, so stay tuned. Once again, thank you, from the bottom of our hearts.
-All of us at Other Music
I’m sad to learn of the passing of Ursula Mamlok, a persuasive composer of elegant post-tonal works. Like Ralph Shapey and Stefan Wolpe, her compositions referred to serialism while also retaining pitch centricity as a unifying principle.One can hear a particularly compelling example, her Concerto for Oboe and Chamber Orchestra, below.
I met Ms. Mamlok twice, once at a concert and once at a grad school audition at MSM. I was struck by her keen intellect and insightful comments.
On Friday, violinist Miranda Cuckson and pianist Blair McMillen release their ECM debut CD. It contains the Hungarian Béla Bartók’s Violin Sonata No. 2 (1922), the Russian Alfred Schnittke’s Violin Sonata No. 2 “Quasi una Sonata” (1968) and Polish composer Witold Lutoslawski’s Partita for Violin and Piano (1984). One can hear sound excerpts via ECM’s website. All three are interpretations of searing intensity, rhythmic vitality, and impressive ensemble cooperation.
One can hear works from the CD live at Le Poisson Rouge on May 10, where ECM will be hosting a release party for the two artists. Each will also take a solo turn with short pieces by Americans: Cuckson playing Carter and McMillen playing Stucky. Doors open at 6 PM; concert starts at 7 PM. More info can be found at LPR’s website.
Those who discount Charles Bradley as a retro act imitating James Brown are missing out on something very special. The sixty-eight year old singer’s latest full length recording, Changes, reveals a mature artist whose vocal powers are undiminished but whose interpretive skills are ever more sharply refined. His accompanists, the Menahan Street Band and Budos Band, create spot-on charts to support Bradley’s singing, at turns muscular and lyrically soulful.
Most of the tracks are originals, and strong ones at that. “Ain’t it a Sin” rollicks rebukingly. “Nobody But You” is a smoothly delivered ballad that explores Bradley’s sweet mid-register before swooping higher to impassioned cries.
What would seem like an improbable source for a cover for Bradley, Black Sabbath’s “Changes,” is instead an album highlight, re-envisioned with supple rhythm guitar, Hammond organ swells, and long, legato horn lines. Bradley delivers the song passionately and expressively, capturing the emotional content of one of Ozzy Osbourne’s signature songs, but placing an entirely individual stamp on it.
Bradley’s Changes is a memorable and energetic outing; recommended.
At 7 PM on Thursday May 5th (Yom HaShoah, or Holocaust Remembrance Day) at the Czech Center in New York, Hours of Freedom: The Story of the Terezín Composer, a piece that explores the plight of fifteen composers imprisoned by the Nazis at the Thereisenstadt prison camp, will receive its US premiere. The high quality of the music these figures managed to write while in the camp is inspiring. Sobering too, as they were later deported to other concentration camps to be executed. One can only imagine the wealth of creative potential wasted: virtually a whole generation of Czech composers, including Gideon Klein and Viktor Ullmann.
Hours of Freedom features soprano Arianna Zuckerman, an interpretively thoughtful and persuasive performer, baritone Philip Cutlip, and narrator Jane Arnfield. Murray Sidlin arranged the material and conducts the ensemble. The performance is free. Reservations are recommended at firstname.lastname@example.org with your name, address, phone number and number of tickets; or call The Defiant Requiem Foundation at 202-244-0220.
Anthony Braxton: composer, sopranino, soprano, and alto saxophones, iPod;
Taylor Ho Bynum: cornet, flugelhorn, trumpbone, iPod;
Mary Halvorson: guitar, iPod;
Jessica Pavone: violin, viola, iPod;
Jay Rozen: tuba, iPod;
Aaron Siegel: percussion, vibraphone, iPod;
Carl Testa: bass, bass clarinet, iPod
“As a culture, we are slowly moving away from target linear experiences that are framed as stationary constructs that don’t change on repeated listening, to a new world that constantly serves up fresh opportunities and interactive discourse. American people have made it clear that the new times will call for dynamic inter-action experiences.”
Compositions 372, 373, and 377 are the next phase in Braxton’s use of recorded sounds as part of the musical fabric of his work. Each of the musicians playing on the recording is not only responsible for their respective instruments; they are each also equipped with an iPod on which they can call up past Braxton recordings to add to the proceedings. While one might expect a fair bit of chaos from this approach, the results are surprisingly focused. Recorded when Braxton was sixty-five, his skills as a player remain undiminished in their vitality and improvisational acumen. Correspondingly, his collaborators possess, to a person, both strong vantage points and enviable chops.
The compositions on display here are filled with swaths of variegated textures. One of the cool things about the addition of the iPods is that different instruments than those possessed by the live cohort get to take solo turns. Thus, we hear voices and piano interject asides amid the vigorous exertions of the players. As a trope on listening in the digital age, with the dangers of information overload and the distractions of an increasingly saturated environment rife with visual and sonic information competing for attention, this current Braxton project is certainly a successful experiment. But the ability of the players to pace their exchanges, exquisitely varying the saturation level of the discourse, also allows listeners a way to recalibrate that is most musically compelling. Recommended.
Congratulations to composer and multi-instrumentalist Henry Threadgill, who has won the 2016 Pulitzer Prize in music. One of the original AACM members, Threadgill’s recent work has been distinguished by an intervallic approach to improvisation, in which each member of the band has a limited catalogue of intervals that they can perform, with the sum total creating intriguing harmonic and contrapuntal materials.
In for a Penny, in for a Pound, the prizewinning work, features Zooid, the band with which Threadgill has worked for fourteen years, using just such an approach to making music. In addition to two short movements, Threadgill has composed long movements that each successively feature a different member of Zooid.
Threadgill’s latest recording, Old Locks and Irregular Verbs, features Ensemble Double Up, the first new band with which he has recorded in fifteen years. It includes pianists Jason Moran and David Virelles, alto saxophonists Roman Filiu and Curtis MacDonald, cellist Christopher Hoffman, tuba player Jose Davila, and drummer Craig Weinrib. Cast in four movements, it is dedicated to the late Butch Morris, channeling some of his “conduction” style of improvisation.