It was Donald Hall’s night at the Guggenheim on Monday. Works and Process feted the eighty year-old former Poet Laureate of the United States with a program of music, readings, and conversation. The evening included five premieres, all commissioned by W&P.
Sarah Rothenberg interviewed Hall onstage, discussing his two most recent books, White Apples and the Taste of Stone: Selected Poems 1946-2006, and the 2007 memoir Eagle Pond. Although he’s a bit grizzled and rumply in appearance, Hall was still a lively interview subject. His readings and insights on the life of a poet were simultaneously entertaining and edifying. Rothenberg also moderated a roundtable discussion with the featured composers: Drew Baker, Joshua Schmidt, George Lewis, David Del Tredici, and Charles Wuorinen. Each briefly described their reactions to Hall’s poetry and approach to text-setting.
The music was a mixed bag, stylistically speaking; but the disparate selections were, for the most part, well-performed. Baker set “The Sea” for mezzo soprano (Mary Nessinger), cello (Fred Sherry), and electronics. The tape part incorporated snatches of sea sounds and a recording of Hall reading the poem; the musicians were amplified as well. While creating an ambiance, the amplification and electronic adornments also tended to blur the words. Conversely, Wuorinen’s setting of “Moon Clock” was incisively clear; baritone Thomas Meglioranza and bassoonist Peter Kolkay gave it a superlatively well-prepared rendition.
David Del Tredici combined two poems written over four decades apart, “The Poem” and “The Master,” into an “introduction” and an “aria” meditating the mediation between artistic inspiration and its creator. Del Tredici played the Straussian, hyper-romantic accompaniment; soprano Lauren Flanigan gave an over-the-top performance, mugging a bit with gesticulations towards Hall.
George Lewis set “The Painted Bed” for tenor (Robert Frankenberry) and viola (Lois Martin). Frankenberry seemed a bit taxed by both the tessitura and chromaticism of the vocal line; Martin, on the other hand, nimbly executed a challenging and florid accompaniment. Schmidt took a short poem, “Routine,” and elongated it through repetition, seeking to imitate the refrain of the daily grind. Meglioranza negotiated the angular, rangy vocal part with suavity; bass clarinetist Moran Katz did similarly with the catalog of special effects employed in her part.
There’s frequent sadness in Hall’s poetry; many of his recent works mourn the untimely death of his wife, the poet Jane Kenyon. But in person, he seemed upbeat and engaged, discussing poetic technique, enduring friendships, and abiding interests with enthusiasm. His ability to transcend vicissitudes and channel them into eloquent artistic expression is inspiring.
Bach’s Inventions and Sinfonias, relatively brief 2-part and 3-part contrapuntal works, were written as teaching pieces, designed for study of cantabile playing and the composing & improvising of counterpoint. They served as a ‘way station’ between the simple pieces of the notebooks and his more elaborate suites, partitas, and fugues. Thus, recordings of them have often been greeted with less fanfare than releases which featured these latter, challenging pieces.
But as any pianist, amateur or professional, will tell you, there’s a lot to the Inventions. They may be diminutive in scope; but to be played well, they require far more musicality and imagination than the technical drills of Hanon and Czerny. Till Fellner’s recording of the Inventions on ECM is a reminder of how wondrous these works are, both as studies but, more principally, as compositional miniatures in their own right. Not only is his technical execution of them brilliant – his whirlwind traversals of the d-minor and F-major Inventions are stunners – but Fellner also approaches the works with an eye towards structure, shaping phrases and shading motives & countermotives through terraced dynamics and fastidious articulations.
French Suite V in G-major is a sentimental favorite; it’s the first one I studied as a youngster, and shortly thereafter, also the first I heard on record; Glenn Gould’s lightning-fast reading made me despair at my own, comparatively slothful, tempi. In addition to Gould, there are several wonderful renditions recorded – Schiff and Perahia immediately come to mind. Fellner’s version is worthy of comparison with these noteable antecedents.
à la Gould , there are brisk, technically impressive, movements; the final gigue is particularly wonderful, balancing contrapuntal clarity with tour de force showmanship. However, unlike my cherished Gould LP, Fellner remembers that these pieces are meant to emulate and evoke dance music. He thus takes most of the movements at tempi which could be realistically executed by actual dancing humans. Thereby, his reading is elegant, often poignant; both the Sarabande and Loure are simply breathtaking.
For Bach-lovers, choosing among recordings can be like choosing between children – how can you, really, say that you like one best? But Fellner’s Bach has quickly joined my extended family of recordings in heavy rotation.
(I last wrote about Fellner for File Under ? in 2004. You can see that article here.)
Chris Cohen is a member of the band Cryptacize, an indie quartet whose recently released LP, Mythomania (Asthmatic Kitty), is a fascinating, oftentimes whimsical, affair. It traverses myriad musical genres: psych-rock, alt-folk, non-Western music, and echoes of Fifties-era pop balladry. The album’s artwork, drawn by Nat Russell, mirrors the band’s sense of inquisitive playfulness.
Cryptacize has been touring up a storm in support of Mythomania, driving from gig to gig in a tiny Toyota Corolla, necessitating a stage show employing miniature amps and a spare drum kit. The band’s turned this supposed limitation into a virtue, ramping up the performance energy level as they bring down the amplitude; providing their entertainment up close at intimate venues for enthusiastic audiences.
Carey: What inspired the title Mythomania?
Cohen: The filmmaker Raul Ruiz was talking about Hollywood movies or something – we just liked the word for some reason. Actually we had to look it up. But ‘mythomania’ is also good if you don’t know what it means – ‘myths’ and ‘mania;’ both pertinent to our album. “Mythomania” really means compulsive lying, where you have to make up one story after another to justify previous lies.
Our music is created by a process something like that – not that we’re lying – but one thing leads to another in a compulsive kind of way, and you end up with something in the end that’s really weird and isn’t what you’d expect originally. I think that in general a person’s sense of reality goes something like that too – the narrative we feel like we’re living sort of self-generates and sends us on a very particular, self-determining path which seems somehow already decided.
Carey: I really enjoyed the CD’s artwork – how did you decide on images from the book This is the Smoke that is Inside You?
Cohen: Nat Russell is our friend from Oakland and we are fans of his work. We just came across the drawings and said ‘yes!’
Carey: Cryptacize’s sound brings together a bunch of influences, including Non-Western rhythms and vocal inflections. Would you tell me a bit about some of your favorite reference points from outside the Western pop canon?
Cohen: We are interested in all genres. If you check our blog, we post mixes there of stuff we’ve been listening to lately, so you could get more detail… anyway I would say I like individual artists in every genre, but never every artist in any genre. Lately I really like Selda Bacgan, Fairuz, the film composers Shankar-Jaikishan, Group Doueh, Etoile de Dakar, the Pearl Sisters… we’re pretty much open to whatever is unique/exceptional… a lot of that music is older stuff. I like new stuff too, like Fiji music, but I don’t know about as much there. It’s kind of like African highlife music mixed with rap, just drums and vocals, and they have really good videos on YouTube.
Carey: At the same time, pop styles from early rock ‘n roll to psych-rock are palpable. It’s great to hear you bring an intricate groove together with more straightforward rock signatures on a song like “Tall & Mane.” How did that arrangement come together?
Cohen: Thanks – I don’t know – Mike and I just started playing that rhythm pattern together on the cowbell and guitar. It was trial and error like everything else. We wanted it to sound frantic so we brought in the sped-up guitars…
Carey: “Gotta Get Into that Feeling” and “I’ll take the Long Way” are examples of another kind of music-making at which Cryptacize excels: the ballad. Sometimes, it’s startling how earnestly presented your ballads are. Given how cynical pop culture can be, is it difficult to allow a song to be earnest in its emotional appeal?
Cohen: No it’s not difficult. That’s just our natural personalities… I guess I think a cynical ballad would be horrible. Ballads should be sad! They should make people cry! How are you going to do that and be cynical?
Carey: Are you still driving a Toyota Corolla to gigs?
Cohen: Yes, although not for too much longer… 4 people’s starting to kind of push it for space.
Carey: Using mini amps and a small drum kit certainly keeps things streamlined for touring. How have they affected your musical approach?
Cohen: The tiny equipment pretty much made it possible for us to go on tour. On the money we make, we can’t afford to pay for much gas. We do like the sounds of our tiny equipment though! And it makes the sound-person’s job a lot easier, they like things pretty quiet on stage usually. I don’t know why, I love little amps. And my back loves me not carrying heavy ones anymore!
Switzerland’s Paul Sacher Foundation has some of the most extensive contemporary music archives in the world. In addition to their Carter holdings, Sacher also maintains an extensive collection of scores, writings, sketches, and the correspondence of Edgard Varése (1883-1965). Although born in France, Varése spent much of his career from 1915 onward in the United States. Not prolific in terms of number of works – one can listen to his oeuvre in a single (likely mind-blowing!) evening – he is still a legendary and innovative figure in Twentieth century music.
Composer, Sound Sculptor, Visionary points out Varése’s many conceptual and material contributions, both his approach to more traditional musical elements, such as pitch and rhythm, as well as his investigations of electronic music, extended orchestral resources, and sculpted texture. The volume includes analyses and discussion of many of his important works, spotlighting Poéme électronique, an important early example of tape music, Ionisation, a watershed work for percussion ensemble, and Déserts, for winds, percussion, and tape. These are supported by beautifully reproduced examples from scores and sketches.
Varése’s influence on his contemporaries as well as the generation that succeeded him is also amply documented. A number of composers pen tributes to his work and legacy. Most affecting is Chou Wen-Chung’s chapter, “My sixteen years with Varése,” relating his time as student and assistant to the elder composer. Wen-Chung has done a great deal for Varése studies, editing a number of the composer’s works (even completing some from unfinished sketches); his contribution here is essential reading. Another strong contribution is Kyle Gann’s “Magnificent, in a Mysterious Way,” which charts Varése’s influence on American music.
Because of his celebrity and dedicated advocacy, Frank Zappa probably did more than anyone to bring Varése to the awareness of the general musical public. Perhaps it is appropriate, then, that the Boydell book closes with Matthias Kassel’s appraisal of the importance of Varése’s music and aesthetics on Zappa’s rock and concert works.
With their recent large-format Carter and Varése volumes, Boydell has raised the standard for completeness, annotation, and presentation in retrospective volumes on composers.
Sharon van Etten
Because I was in Love
Language of Stone
Brooklynite alt-folkie Sharon van Etten embarks on a European tour starting today. While we wish her bon voyage, listeners who can’t make one of her European shows (dates below) will have to content themselves with her new debut LP. Because I was in Loveis slated for release on May 26. It’s sparely adorned, placing van Etten’s vocals front and center accompanied by acoustic guitar. There’s a homey quality to the proceedings, which sometimes manifests itself in rough hewn moments, such as the approximate guitar tuning on “Some Dream.” But Because I was in Love is an LP that can catch you in the gut six different ways to Sunday. Lovely, disarming moments are found on “I Wish I Knew” and the ceaselessly vulnerable “I Fold.” This is doubtless due to the indescribably haunting quality of Van Etten’s voice. ”Consolation Prize,” an evocative, achingly sad ballad, is my favorite tune thus far; hope she keeps it in reserve for the encores!
Sharon Van Etten in Europe 5.08.09
The Forum w/ BEIRUT and Shearwater
5.10.09
Festsaal Kreuzberg in Berlin w/ Great Lake Swimmers
5.11.09
UT Connewitz in Leipzig w/ Great Lake Swimmers
5.12.09
Beatpol in Dresden w/ Great Lake Swimmers
5.13.09
Kreuz in Fulda w/ Great Lake Swimmers
5.14.09
Manufaktur in Schorndorf w/ Great Lake Swimmers
5.15.09
Cultureel Podium Roepaen in Ottersum w/ Great Lake Swimmers
5.16.09
Le Botanique in Brussels w/ Great Lake Swimmers
5.18.09
St. Bonaventures in Bristol w/ Great Lake Swimmers
5.19.09
Dulcimer in Manchester w/ Great Lake Swimmers
5.20.09
The Cluny in Newcastle w/ Great Lake Swimmers
5.21.09
Twisted Wheel in Glasgow w/ Great Lake Swimmers
5.22.09
Glee Club in Birmingham w/ Great Lake Swimmers
5.23.09
Borderline in London w/ Great Lake Swimmers
Multi-instrumentalist, vocalist, and songwriter Robert Gomez may be most famous in indiedom for rubbing elbows with the likes of Midlake and Centromatic membership, but he’s also quite the maverick globetrotter. Originally from Denton Texas, he’s played son with Septeto Habañero, studied tres with Roberto Gonzalez, and toured Turkey with singer Omar Faruk Tekbilek; he’s even been part of the pit band for Ringling Bros., Barnum, and Bailey Circus!
Perhaps it’s not surprising, then, that his third LP, Pine Sticks and Phosphorus (co-produced with Centromatic’s Matt Pence),is not so easily pinned down as standard singer-songwriter fare. While there are echoes of fine exponents from this genre, ranging from Nick Drake to Elliott Smith, Gomez creates some noteworthy, hybridized arrangements that stand out from the crowd. His incorporation of tres and guitars adds to a supple background of layered arpeggiations (“At Nemilli Bats”). In other places, he adds both rock instruments and a veritable chamber orchestra, consisting of a revolving membership of some fourteen singers and instrumentalists. Quite appealing in this vein is the seven minute-long ‘epic’ ballad, “Open Your Eyes/Burning Trees.” The song successively favors an indie pop arrangement laden with electronic keyboards and acoustic guitar strums, then chamber music strings, followed by an extended proggy coda where the electric guitars come to the forefront.
Meanwhile, “On this Day” juxtaposes foreground Rhodes licks with twangy Telecaster shadings, atop a lush orchestral pop harmonic underpinning; Gomez’s voice unflappably rides the wave. One can hear a bit of circus calliope infiltrating the inspirational headspace on the psych-pop charmer “Middle of Nowhere.” Joined by vocalists Tim Yehezkely and Manya Rebnikova on “Paper Figurine,” Gomez treats the listener to several swerves; but none of the intricacies of arrangement or even harmony can dissuade the hook from insinuating itself into your memory.
Sleepy Sun’s Embrace LP exudes psychedelic ambience: a trippy, hazy sound world, long form guitar jams, often bewildering vocals which veer from exuberant screaming to sweet crooning. But the music by this San Francisco (by way of Santa Cruz) sextet exceeds the expectations set by any retro attributions: better, at least, to call it post-psych. And when they’re in full-on feedback and roaring jams mode – as on “White Dove” – Sleepy Sun are the poster children of the genre. The overlapping percussion and gradual buildup to a wall of sound on “New Age” is thrilling as well.
Still, what makes the group so appealing is their ability to veer quickly between performance demeanors. Underneath the gruff exterior of howling chants and vigorous, distortion-laden improvisations lies a core lyricism. Indeed, the alt-folk delicacy and duet vocals employed by Sleepy Sun during moments of repose – for instance, on the haunting “Golden Artifact” – may be some of their most memorable work. Embrace supplies excellent listening at both ends of the dynamic and mood spectrum.
Fire in July is joining pianist Chie Roden for a special evening tomorrow night…we’ll be performing a chamber ensemble version of the Alex North film score to the 1951 classic A Streetcar Named Desire, arranged by yours truly; and with original interludes by my husband Alan Ferber and myself. It will be a beautiful and enchanting musical walk down memory lane, with stills from the film projected. And we’re going into the recording studio to record the project next week! Wish us luck!
$20 for general admission, $15 for students at the door.
FIRE IN JULY with CHIE RODEN
Wed. May 6, 2009
8:00 pm
The Player’s Theater
115 MacDougal St. between W 4 and Minetta Lane
1 to Christopher
ABCDEFV to W4
ALSO…
The next Ditmas Park Concert Series concert is this Sunday afternoon, Mother’s Day!
JANUS is a fabulous trio of flute, harp and viola, and they’re playing in a beautiful synagogue here in Victorian Flatbush. Come bring your mom…or the mother of your children….or just yourself!
JANUS on the DPCS
Sunday, May 10, 2009
4:00 pm
Temple Beth Emeth
83 Marlborough Rd. at Church Ave.
Brooklyn, NY 11226
$10
Q train to Church Ave., exit the south side of the station, then an immediate right on Church Ave. Walk about 3 blocks and the synagogue is on the corner.
PITCHFORK MUSIC FESTIVAL ANNOUNCES BEIRUT, DOOM, FRIGHTENED RABBIT, LINDSTRØM & MORE TO PERFORM AT 2009 FESTIVAL!
As the Chicago winter reluctantly becomes the spring, and the charcoal grills and lawn chairs emerge from hibernation, the 2009 Pitchfork Music Festival — to be held in Chicago’s Union Park Friday, July 17 through Sunday, July 19 — is pleased to be announcing even more undeniably unique and ground-breaking acts performing at this year’s event. Saturday will see performances by Beirut, DOOM, Lindstrøm, and Ponytail and on Sunday, the festival will be adding Frightened Rabbit, The Mae Shi, DJ/Rupture, and Dianogah to the ultimate festival lineup of the summer.
Those who remember the speed with which tickets sold out last year should not find it surprising that the number of 3-day passes is quickly diminishing and should be sold out within the week. Those who have not purchased tickets yet should visit the official festival website.
Remember, ticket buyers can go online and “Write the Night” by voting for the set list of their dreams for the bands performing on Friday night. The ballot boxes are open until June 12. Those who have already purchased a ticket but have yet to vote should be sure to check their purchase confirmation email for a link to the polls.
Friday – “Write the Night: Set Lists by Request”
Built to Spill
The Jesus Lizard
Yo La Tengo
Tortoise
Saturday
The National
Beirut *
DOOM *
Yeasayer
The Pains of Being Pure at Heart
F**ked Up
Plants and Animals
Matt and Kim
Lindstrøm *
Wavves
Ponytail *
Charles Hamilton
The Duchess and the Duke
Disappears
Sunday
The Flaming Lips
Grizzly Bear
M83
The Walkmen
Pharoahe Monch
Blitzen Trapper
Frightened Rabbit *
The Mae Shi *
Black Lips
The Very Best
Mew
Vivian Girls
Japandroids
DJ/Rupture *
Women
Dianogah *
* Just added
About the Pitchfork Music Festival:
This year marks the fourth anniversary of the Pitchfork Music Festival — and the fifth time Pitchfork has presented a music festival in Union Park. The three-day event will once again showcase a wide range of global artists on three stages, with a focus on forward thinking programming at a reasonable price. Beginning with the music and continuing through all facets of its production, the Pitchfork Music Festival is dedicated to providing both attendees and musicians an overwhelmingly positive, comfortable, and fun experience. In years past the Pitchfork Music Festival has proven to be the best event to see indie stars in key, ascendant points in their careers, as well as a wide range of established and widely loved artists that appeal to a diverse audience.
An independently run, consistently sold-out festival, Pitchfork attracts more than 45,000 fans of all ages from 45 states and 11 countries. With over 50 individual vendors, as well as specialty fairs, the Pitchfork Music Festival offers attendees a wide range of activities on top of its stellar musical program. Additionally, the fest not only supports local businesses and the local economy, but also promotes the Chicago arts community as a whole.
Pitchfork Media is the premier destination for music criticism, news, features, and audio/video content. With more than 1.9 million unique readers per month and over 20 million page views, Pitchfork has earned one of the internet’s most loyal followings and a reputation as the music world’s primary tastemaker.
Tickets for the 2009 Pitchfork Music Festival are on sale now. More bands will be announced in the coming weeks and further information can be found here.
It’s hard to believe that Merge Records has been around for twenty years. In 1989, the imprint was started by Superchunk’s Mac McCaughan to release the band’s recordings and assorted side projects. Merge has since grown into one of the most successful indie concerns around.To celebrate twenty years in the record business, they’ve released Score, a compilation of songs by Merge artists covered by Non-Merge artists. A host of prominent participants include the Shins, Broken Social Scene, Death Cab for Cutie, and the New Pornographers. Proceeds benefit fourteen charities, chosen by the collection’s curators.
The comp is cause for philanthropists to rejoice; music fans too! St. Vincent joins forces with the National on an affecting rendition of Crooked Fingers’ “Sleep all Summer.” Apples in Stereo supply a peppy version of Neutral Milk Hotel’s “King of Carrot Flowers, Pt. 3.” Barbara Manning provides an ardent, rousing take of Portastatic’s “Through with People.” Magnetic Fields’ “Yeah! Oh Yeah!” receives a suitably spare bedroom pop reading, an eloquently lyrical duet from Tracey Thorn and Jens Lekman. Meanwhile, Death Cab for Cutie works a bit against type, trading their often ethereal arranging aesthetic for a bit more grit and darker hues on Superchunk’s “Kicked In.” Overall, an impeccably selected collection of cover songs, featuring a variety of (frequently interesting)approaches: what’s not to like? Save a Carousel
Some of my happiest moments as a child were on the old carousel at Nunley’s Arcade on Long Island: riding the horses around the loop; gazing with a mixture of excitement, awe, and a bit of fear at the carved lions and tigers. A close second was the tire swing:
I hope some readers will consider voting to help restore the Paragon Carousel, favorite haunt of Merge artists Neutral Milk Hotel! Details from the press release are below. The Paragon Carousel is a beautiful machine that has been my dear neighbor for many moons. Now 81 years old, it is in need of a little love and attention in order for it to survive.
It is my sincere wish for the Paragon Carousel to be a part of the magic of long seaside summer afternoons for many years to come. But it might not get to. Unfortunately, we live in a world where the great whirling contraptions of mechanical music and light are not as profitable to operate as other things, and carousels are worth much more taken apart and sold in pieces to museums, where one must pay to look at them behind glass, rather than having them simply existing in the world that we now all share.
I spoke with Jeff and Scott and Jeremy about this and they agreed that I should, on behalf of Neutral Milk Hotel, make an appeal to the good people who might have enjoyed the music made over the years, because we think you’d understand especially, and want to help.
We humbly ask you to vote!
The Paragon Carousel is competing with 24 other historic Massachussettes buildings for a grant of $100,000. The historic site with the most votes wins, and anyone anywhere can vote. We would love it if by our collective effort we could ensure the continuation of this grand place. It only takes a moment and you can do so here
You are allowed to vote once a day until May 17th . Your vote means a great deal to all of us at Elephant Six. Places like this are so special. They deserve to exist in the same world that we do. So we can visit them with our bodies, not just our memories and dreams.
We’d like to thank you for your help and for spreading the word.
~Julian Koster with Jeff Mangum on behalf of Neutral Milk Hotel
It’s hard to believe that 
Save a Carousel
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