Archive for the “Chamber Music” Category

One of the noteworthy recordings released in 2016 is the Kepler Quartet’s third volume of string quartets by Ben Johnston (New World Records). Johnston, who turned ninety this year, is well known for his work in unconventional tuning systems, namely extended just intonation. The complexity of some of his works in this system, notably the Seventh Quartet, included on Kepler’s volume 3, ranks up there with some of the toughest chamber works in the literature. Even a seemingly more straightforward piece, such as his Fourth Quartet, a trope on “Amazing Grace,” can provide both formidable pitch and rhythmic challenges. Recently, I was in touch with the violinists of the Kepler to discuss Johnston’s work and the new recording.

Eric Segnitz, 2nd violinist for the Kepler Quartet and producer

When did you first become familiar with Ben Johnston’s work?

I was aware of the original Fine Arts Quartet’s 1964  recording of Ben’s 4th Quartet (Amazing Grace) as a student in the late 70″s,  from studying briefly with Leonard Sorkin–the FAQ 1st violinist who commissioned the piece. I subsequently played it several times for the Present Music concert series in Milwaukee, as well as Calamity Jane and her Daughter, Ben’s transcription of Harry Partch’s Barstow, and a few other works.

When you decided to go about recording the quartets, did you have any idea how long it would take to realize the project?

No idea whatsoever. But we made the commitment to Ben, to New World Records, and to ourselves to complete it–damn the torpedoes!

An article in the N.Y. Times (and other writers) have called Johnston’s Seventh String Quartet “the most complex ever written.” Do you agree? Why do you think it is so hard?  

The crazy crawling harmonies, that’s obviously extremely complex. The challenge that is not-so-obvious is that he is dealing with the way time passes, movement by movement; time passing so quickly that it leaves you in the dust, time elapsing at a normal pace– but with a surreal 3D layering of palindromes offset by various cell lengths, or time dragging so slowly that it’s hard to fully comprehend the rigorous structure which exists.  To me, that is the underlying brilliance of the piece.                                                         

How does the Seventh Quartet compare to the others in terms of difficulty?

In the sense of the sheer number of pitches involved, yes, #7 is the most difficult. But that is only one type of challenge posed by Ben. In Quartet #6 (also on this 3rd CD) for instance, every chord  overlaps with the one both before and after it. Given the nature of the chords to begin with, that’s extremely challenging in it’s own right.. And I could cite multifarious examples of uncharted waters, throughout his 10 quartets.

I was recently speaking to a friend who heard your recording of the Fourth Quartet, loved it, and decided to work on it with a student quartet. He said that he was surprised that something that, audibly and on the surface, seemed so accessible to players was actually quite hard. Do you find that too – that “appearances can be deceiving” in terms of the complexity of these pieces.

Yes and no… he uses a genius-level grasp of musical craft to achieve a music that everyone can relate to in a spiritual/emotional way, if they give it that chance. It’s a music that resonates because, once again,  it’s founded upon the natural order of acoustics.

Now that you’ve climbed this Parnassian mountain, what’s next for the Kepler Quartet? Which composers are you interested in performing and recording?

Even though we all play a lot of contemporary music, it might be useful to draw some connections to where this music came from. It’s easy to think of Ben as a maverick composer, a unique innovator, a specialist. He is, but also much more than that. He’s really a great composer in the traditional sense, and his music will only become truly appreciated in that larger context.

Sharan Leventhal, 1st violinist for the Kepler Quartet

How did you go about learning the quartets?

We dealt with them one at a time. There is a certain amount of work that needs to happen before the playing begins. Each pitch must be defined according to its role in the harmony within the just intonation system. Ben’s notation provides a tool for establishing the relationships in every chord, no matter where he has taken the progression. Adding and subtracting his accidentals places a pitch. The ultimate judge is your ear, because every note is determined by its function. Once you understand your role within a given chord, you will hear how to place your notes. Of course, as with any piece, we study the score, to understand its structure and the emotional intention behind the music. Rehearsing is a slow painstaking process of tuning and balancing each chord while gaining an intellectual grasp of the harmonic journey. As the sonic world comes into focus, it informs our choices about the timbre and shape of individual phrases. We worked through every single note of every single chord with the composer, uncovering copy errors, and getting his input on musical decisions.

Why do you think that the Seventh Quartet is so hard?

The 7th quartet is especially daunting because it has a hugely expanded pitch group. Ben travels so far along the spiral of pure harmonic progressions that there are over 1,200 discrete pitches in the octave. Actually, in some ways I didn’t find the 7th quartet the most difficult. For example, the 6th quartet is more musically obscure and difficult to grasp. The 7th quartet makes sense, but you have to be able to work (and hear!) the system.

How would you go about teaching these pieces to the next generation of string quartet players? Moreover, for those who want to learn Johnston’s tuning system, where would you suggest they turn?

I already teach Ben’s music at The Boston Conservatory. Every once in a while an adventurous quartet wants to make the attempt. Invariably, for the students it is a transformative experience. As one cellist said, “nothing will ever be the same.” Learning these works is a matter of learning how to hear—to be wholly immersed in vertical relationships, attuned to the harmonic series, and completely committed to the present moment. At the same time, one must listen forward and backward—anticipating root movement of chords to hear where pitches will belong ahead of time, or relating back to what has just happened. It is incredible ear training, and requires rethinking what pitch is, how it works, and how it can be manipulated.  

When teaching these works, I like to start with #9. The first movement is a clearly defined C Major just tuned scale (with a cameo appearance by that interesting anomaly, the syntonic comma). Young players find it rhythmically challenging—the rhythmic complexities are based on the same ratios that define the intervals of the just tuned scale. The third movement is a simple hymn-like melody, with clear almost traditional harmonies. What makes it so fantastic and emotionally potent is the harmonic slide down two syntonic commas (from F Major to F- Major to F – – Major) and back up within the first phrase.  This modulation is part of opening the tempered ‘circle of fifths’ to its naturally occurring spiral. Hearing it has a strong, visceral effect.

I have written an article (“An Introduction to the String Quartets of Ben Johnson,” American String Teacher, Volume 64, Number 3, 8/2014) that details how to approach these scores—how to tune the instruments’ open strings, how to do the math required by Ben’s accidentals). I think the article will also be made available on Kepler’s website, and that is definitely a good place to start. Without those preparatory steps, the score can’t be realized as the composer intended. Next, the players must tune and balance each chord, working back and forth between harmonies to understand progressions and internalize relationships. All this ultimately supports the interpretation of the music, making a much more powerful, visceral statement.

 

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TMC Fellows perform Barbara White's "Learning to See." Photo: Hilary Scott.

TMC Fellows perform Barbara White’s “Learning to See.” Photo: Hilary Scott.

The Pierrot Ensemble, named after Schoenberg’s Pierrot Lunaire and consisting of flute, clarinet, violin, cello, and piano, has, since its inception, been a signature assembly for contemporary music. The preferred version of the ensemble also includes a percussionist: the “Pierrot plus Percussion” grouping is the default core membership for many new music groups. Even after dozens, if not hundreds, of pieces have been written for “P+p” ensembles, there is still plenty of vitality left in the genre. This was abundantly in evidence on the Saturday afternoon concert on July 23 at Tanglewood’s Festival of Contemporary Music, where several of the pieces employed this instrumentation or an augmented variant of it.

Barbara White’s Learning to See takes as its inspiration several works of visual art by Tinguely, Brancusi, Hesse, and Johns. The use of movements inspired by Brancusi’s Bird sculptures, of which he made fifteen, as a refrain in the piece allows for subtle variations on a pool of similar materials. Meanwhile, the other movements explore syncopated rhythms and ricocheting counterpoint. There’s timbral variety too, briefly including a prepared piano. Learning to See takes on a melange of musical material, but fits it together in fascinating ways.

Visual Abstract by Pierre Jalbert is connected to art as well, but in a different way from White’s piece. After its composition, video artist Jean Detheux made a computer-generated series of images to accompany the piece. Its individual movements are based on three different overarching images. “Bells – Forwards and Backwards” gives the ensemble the chance to play with a complex array of pealing sounds replete with overtones. “Dome of Heaven” contains luminous harmonies and lyrical string duos. “Dance” is a contrasting closer. Bongo drums articulate mixed meters while the other instruments engage in an elaborate game of tag.

Donald Crockett’s Whistling in the Dark adds a few instruments to the P+p grouping: an extra percussionist, a viola, and double bass. It has a quirky cheerful refrain, called “boppy music” by the composer, that is contrasted with passages of considerably greater heft. The work is strongly undergirded by its percussion component, which includes unorthodox instruments such as suspended flower pots. The piano’s percussive capabilities are played to maximum advantage as well. Over this, corruscating string and wind lines dart in and out in various combinations. Just when you think that the piece will whirl into a maelstrom, the cheery “boppy” refrain, the piece’s “whistling in the dark” brings it back from the edge.

Arthur Levering employs a variant of the P+p grouping too, with viola and double bass augmenting the complement in place of percussion. One of several “bell pieces” Levering has composed, Cloches II focuses on overlapping the limited pitch oscillations of bells. The repetition of these figures gives the piece a consistent feeling of momentum. Despite the absence of percussion, there are plenty of gonging sounds provided by the instruments: Levering has cited a particularly low cello riff towards the end of the piece as imitative of “Big Ben.”

Erin Gee's "Mouthpiece 29." Photo: Hilary Scott

Erin Gee’s “Mouthpiece 29.” Photo: Hilary Scott

Two other works on the program employed ensembles that are removed from the P+p context. Elizabeth Ogonek’s Falling Up (love the Shel Silverstein reference), is for a trio of winds — flute/piccolo, English horn, and clarinet — and two string players: violin and cello. In addition to Silverstein, Ogonek has indicated that a quite contrasting poem — Rimbaud’s Enfance — served as a contrasting inspiration for the piece. Thus we see two disparate types of music, one embodying Silverstein’s whimsy — complex rhythms, trills, altissimo register playing, and angularity — and Rimbaud’s sensuousness — slow-moving, sostenuto passages with frequent punctuations from different subsets of the ensemble — that provide rich contrasts and imaginative textures. Erin Gee’s Mouthpiece 29, commissioned by the Tanglewood Music Center, featured the composer as vocalist alongside three string players: violin, viola, and double bass. Gee is adept at incorporating all manner of mouth sounds and extended techniques into her music. Thus, microtones, pizzicatos, and glissandos from the strings were well matched against Gee’s own sliding tones, lip pops and trills, and phonetic (rather than texted) vocal lines. Mouthpiece 29 was the most “out there” piece on this year’s FCM, but it was greated by the audience with an enthusiasm that suggests that Tanglewood might be ready for more post-millennial avant classical offerings in the future.

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miranda_blair_album

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.

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danishpianotrioPhoto: THOMAS GRØNDAHL

This Thursday, the Danish Piano Trio will make their US recital debut at Weill Recital Hall at Carnegie Hall. The group – Katrine Gislinge, piano, Toke Møldrup, cello, and Lars Bjørnkjær, violin – will present piano trios by Niels Gade and Felix Mendelssohn (one of my personal favorite chamber works, the swoon-worthy Piano Trio in D minor). The group will also present the premiere of Bent Søresen’s Abgesänge. Pianist Steven Beck guests, joining Møldrup in the world premiere of Geoffrey Gordon’s Fathoms (Cello Sonata).

danishromantic

The group’s DaCapo recording Danish Romantic Piano Trios is out now.

CONCERT DETAILS
Danish Piano Trio
Weill Recital Hall
December 17 at 8 PM
Tickets: $20.
Student/Senior tickets: $10. available in person at box office only.
Carnegiehall.org | CarnegieCharge 212-247-7800
Box Office at 57th and Seventh

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Last night marked the launch of Pulitzer Prize-winning composer John Luther Adams’ weeklong residency at the University of Michigan. Adams’ time in Ann Arbor, which will include performances as well as lectures on environmental advocacy, began with an evening of his chamber music at the University of Michigan Museum of Art. The museum’s apse has been site of may memorable concerts over the years, but none may have taken advantage of this setting as well as yesterday’s program of Adams’ resonant and ravishing compositions. In one of the handful of interstitial interviews between Adams and University of Michigan Musicology Professor Mark Clague, the composer described his music as, “all about sound and space.” And, Adams later added, “I want to make strange and beautiful new places…make them empty, without my footprints in them…so the audience can find their way through them.”

 

From left to right: conductor Oriol Sans, composer John Luther Adams, conductor Jerry Blackstone (photo credit: Patrick Harlin)

From left to right: conductor Oriol Sans, composer John Luther Adams, conductor Jerry Blackstone (photo credit: Patrick Harlin)

The hundreds in attendance Monday night had a terrific opportunity to experience these characteristics in Adams’ works Strange Birds Passing, Dark Wind, The Farthest Place, In a Treeless Place, Only, and in four selections from his massive choral work Canticles of the Holy Wind. In between the pieces, Adams shared evocative and endearing anecdotes related each work’s origins. These included the revelation that the Strange Birds Passing was inspired by the paisley wallpaper decorating Adams’ Alaskan cabin’s refrigerator in the 1980s, or that the selected movements from Canticles of the Holy Wind reflect his more recent observations of parhelia and other celestial phenomena in the sky above the arctic and Mexico.

 

The concert’s program was, essentially, chronological, and enabled Adams to recount his sense of his growth as a composer. Fond of and familiar with his music, I listened for large-scale similarities and differences across the evening’s offerings. Certainly, The Farthest Place and Dark Wind – which Adams denoted as two of his, “color field pieces,” – work through deeply similar designs. The oldest piece, Strange Birds Passing, was the most overtly melodic composition, yet it evinced the same ambling, symmetrical form expressed by In a Treeless Place, Only Snow and Canticles of the Holy Wind. Altogether, Monday’s concert was a terrific aperitif to the culmination of Adams’ time in Ann Arbor: the University Symphony Orchestra’s performance of Become Ocean, which represents the work’s Midwest premiere. Even that piece, Adams’ most recent and celebrated, had ancestors of last evening’s program, as one could here embryos of Become Ocean in Dark Wind’s trembling opening.

 

In the end, as much as Adams’ music amazed, the setting of its performance was almost more stunning. At the very least – and as Adams admitted – the museum’s acoustics had as much a hand in the beauty of the evening’s performance as did the talented instrumentalists and vocalists of Michigan’s School of Music, Theatre, and Dance, or Adam’s compositional artistry. Perhaps the most remarkable aspect of the concert was Adams’ willingness to collaborate with, and have his listeners’ experience so heavily influenced by, the space surrounding the performance. As Adam’s described, it seems he tries, in all his pieces, to remove himself as much as possible from the music, from the center of the audience’s attention. I think many composers aspire towards the humility needed to even consider this kind of rhetorical positioning, but few live in it like Adams seems to. And, though I doubt it is even possible for any composer to disappear fully from a listener’s experience of their music, Adams’ efforts to this end, like his compositions, are, indeed, superlative.

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RighteousGIRLS will be celebrating their new disc gathering blue with a release party at Joe’s Pub at 7 P.M. this Friday, August 7th. Flutist Gina Izzo and pianist Erika Dohi will, of course, be there to throw down with their exciting and inventive program and they will be joined by Kendrick Scott & Andy Akiho as well!

RighteousGIRLS collected an exceptional collection of genre-blending works using flute, piano, electronics, guest performers, improvisation, and all the things that make today’s contemporary music engaging and exciting.

A video of Pascal Le Boeuf’s piece GIRLS as well as audio of Andy Akiho’s KARakurENAI can all be found on the gathering blue site.

Composers featured on the disc are:

  • Andy Akiho
  • Ambrose Akinmusire
  • Pascal Le Boeuf
  • Christian Carey (Sequenza21’s own!)
  • Vijay Iyer
  • Dave Molk
  • Mike Perdue
  • Jonathan Ragonese
  • Randy Woolf

Tickets are $15 in advance or $20 at the door.

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synchromy717Friday night July 17 and Boston Court in Pasadena was the venue for a concert titled Music From Text presented by Synchromy, the Los Angeles-based composers collective. Brightwork newmusic was the featured performing group and a sell-out crowd gathered for an evening of contemporary music based on the spoken word.

 

Breathe by John Frantzen began the concert and this performance was the world premiere. Breathe is based on a poem written by composer’s brother about the trials, hardships and relationships as experienced in military life. In the program notes John Frantzen states that the music “strives to frame these words of support, honor and camaraderie in a journey of love, loss and enlightenment.” The piece began with a short section of the text spoken by a narrator followed by high-pitched bird calls and some bowing of the strings that suggested a lonely breeze in a far away place. The sound of a distant snare drum effectively evoked the military setting. The soprano voice of Justine Aronson was heard and the generally unsettled character of the passages in the strings hinted at the stress and confusion that is present in wartime. This was also portrayed by two actors on the stage whose movements intentionally suggested the strong bonds shared by soldiers in the field. At length the music gave way to a slow, dirge-like unison that was very beautiful. More dramatic action followed, ending in a sudden silence and the spoken word ‘breathe’. The viola and cello again took up the sorrowful theme and this was especially moving, even as the snare drum recalled the military context of what was fundamentally a story about relationships. Frantzen was able to draw a surprising amount of emotion out of the small musical forces in this piece. Breathe is a powerful work that captures both the anxiety and deep emotional attachments that are the essential elements of a soldiers life lived in harm’s way.

The next two pieces on the program were both based on text by Tao Lin and were played consecutively. The text of the first of these was taken from the poem I will learn to love a person and the music by Christopher Cerrone bore the somewhat expansive title I will learn to love a person and then I will teach you and then we will know. This began with spoken text followed by gentle tones in the vibraphone and clarinet. The entrance of Ms. Aronson’s lyrical soprano voice added to the delicate, airy texture and carried the melody forward by weaving in and around the vibraphone line. The dynamics here were carefully observed, adding an extra element of vividness to the realization. This piece agreeably reflects the calm character of the poetry and, as Christopher Cerrone states, “In writing these pieces, my hope is to create a work that reflects the strange and beautiful experience of growing up at the turn of the (21st) century – and will continue to have meaning after that moment passes.”

A declarative sentence whose message is that we must try harder by Jason Barabba followed the Cerrone piece without pause. This was played by a viola, cello and contrabass trio and started with a high pizzicato in the viola and some fast dissonant passages in the lower strings. There was tapping on the wooden parts of the instruments and this added to the feeling of a distant uncertainty as the anxiety mounted in a series of running phrases in the bass, viola and cello. Rapid running of the fingers up and down the strings produced a series of soft, unworldly screeches that added to the tension. This music is also based on the poetry of Tao Lin, but provided a fine contrast with the serenity of the previous piece. Jason Barabba writes that “Because this work is a reaction to a complex and provocative poem, I’ve chosen to take advantage of some of the more unusual techniques that have been introduced for these instruments.” These were deployed with good effect and the string players managed everything quite smoothly. The piece briefly turned warm and dark, but held to the tension of the preceding sections. The fast and turbulent finish was fittingly taut and mysterious. The playing of a declarative sentence whose message is that we must try harder was well matched to the writing of the music and these combined to persuasively express the composer’s intentions.

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Composer and conductor Joseph C. Phillips, Jr.

If you’re a fan of new music, be it “indie-classical” or whatever it’s being labeled this week, then you must check out the music of composer and conductor Joseph C. Phillips, Jr. Phillips’ music, composed and arranged for his ensemble Numinous, a large chamber group (or small orchestra?) of woodwinds, brass, strings, tuned percussion, electric instruments and vocalists, is a complex, finely detailed amalgam of classical, minimalist, South American, Asian, and African American influences, with a distinctive “sound” that is instantly identifiable, yet full of surprises. (You know those descriptive terms “Brahmsian” or “the Mingus effect”? It’s like that.) Phillips’ latest album, Changing Same, due out August 28 on New Amsterdam Records, is perhaps his most autobiographical musical statement to date.

While his previous recordings, Numinous: The Music of Joseph C. Phillips, Jr. and Vipassana include notes that detail the inspiration for his compositions, Changing Same has no notes; just a quote from 1966 by writer, poet and playwright Amiri Baraka (then Le Roi Jones) that describes a “post-black aesthetic,” one that unapologetically digs both the down-home and the downtown, the highfalutin and the funky, the Anglo-centric and the Afro-futuristic, the “what it is” and the “what the hell is goin’ on?” The titles for each of the six movements of Changing Same offer some additional clues . . . “Behold, the Only Thing Greater Than Yourself,” “Miserere,” “Unlimited,” “Alpha Man,” “The Most Beautiful Magic.” The first track, “19,” which can be streamed and purchased here, refers to November 19, 1970, the date of the publication of James Baldwin’s essay, “An Open Letter to My Sister, Miss Angela Davis,” Arnold Schoenberg’s Sechs Kleine Klavierstücke, opus 19, from 1911, and the age Phillips began studying music as an undergrad, after two semesters as a bio-chemistry major.

Changing Same is another intriguing chapter in Phillips’ journey, from growing up listening to both Holst and Prince, to conducting Numinous onstage at the Brooklyn Academy of Music in a performance of his score for the 1922 silent film The Loves of Pharoah, to producing this latest release. In the following interview, Phillips provides some details about that journey, and explains how his life experience, be it past, future or present-day-craziness, is reflected in the music of Changing Same.

On the back of your new album, there’s a quote by Amiri Baraka (then LeRoi Jones) from his 1966 essay, The Changing Same:

“R&B is about emotion, issues purely out of emotion. New Black Music is also about emotion, but from a different place, and finally toward a different end. What these musicians feel is a more complete existence. That is, the digging of everything.”

So, my first question with regard to this quote is, do you dig everything?

Well, of course, I have my standards. [laughs] There are things I like and don’t like.

In that essay, Baraka is explaining the spontaneous compositional processes of the creative improvisational people at that time, and putting them in a continuum of what had come before in terms of black music. He’s saying look, these guys might seem like they’re acting wild and crazy, But really, this “New Black Music” harkens back to earlier music.

When I read the essay, the quote just jumped out at me. I thought it was a perfect encapsulation of what I’m doing or hoping to have happen with my piece. With Changing Same, I wanted to take the cultural and musical things that I grew up with and incorporate them into piece. When I read Baraka’s essay, I thought, yes, I grew up with the black music continuum, Marvin Gaye, Curtis Mayfield, and Prince. But I grew up with classical music as well, like Holst, Bach . . . like any other composer, I have a potpourri of influences. Sometimes you can hear these influences very specifically. For example, on the fourth track, “The Most Beautiful Magic,” the initial bass line is actually coming straight from Prince’s “Purple Rain.”

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On October 11, the Oneonta Concert Association of central New York presented an unforgettable concert by Musicians from Marlboro. For half a century, Vermont’s Marlboro Music School and festival have spawned top-flight, ad-hoc ensembles pairing rising stars in classical music with established names in the field. The fact that the name of Kim Kashkashian, one of the world’s finest violists and a tireless champion of contemporary music, was mentioned nowhere in the touring group’s modest marketing package indicated the level of Marlboro’s commitment to apprenticeship. Indeed, despite her unmistakable tone and timbre, Kashkashian contributed humbly to an atmosphere of total and mutual respect.

The program was itself a work of art. Before bows contacted strings, Kashkashian described György Kurtág’s Officium breve as “very gestural and dramatic music.” That it was, for its sparse notecraft nevertheless required of the four string players an uninhibited comportment by which the sounds might freely unravel. The moods of Kurtág’s compendium, written in memory of Hungarian composer Endre Szervánszky (1911-1977), are as varied as their source materials. With characteristically intertextual grace, he references the canon from Webern’s final completed opus (the second Kantate of 1941-43) and works by Szervánszky, the latter not least of all by way of self-quotations from the ever-expanding Játékok (specifically, the bipartite “Hommage à Szervánszky” thereof). The opening harmonics, courtesy of cellist Karen Ouzounian, established a haunting undercurrent that would flow throughout. To this were added the floating lines of violinists David McCarroll and Nikki Chooi before being conjoined by Kashkashian’s peerless tonal qualities. Despite the brevity of its 15 sections, most lasting under a minute, what the piece lacked in duration it made up for in Kurtág’s wealth of invention. Shifting contrasts of altitude, distance, and texture throughout made this sometimes-challenging music feel as organic as rain. Harmonies were elastic, pulled as they sometimes were from a single note in tutti or alit upon from above. The occasional outburst came across not as an interruption but as a catharsis of self-discovery. The ending left us with a drawer of knives, each of varying sharpness and resilience but all bearing the stamp of meticulous smithery.

To this, Szervánszky’s Trio for Flute, Violin and Viola made for a natural follow-up. Enlivened by the virtuosity of flutist Marina Piccinini, alongside violist Wenting Kang and Chooi again on violin, its flowering field carried scents of Bartók, Dvořák, and Smetana. Impressive was Szervánszky’s constant shifting of register, as was the trio’s ability to evoke it. The first two movements, lush and pastoral, were feathered by the veiled Adagio, which gave way to the final Vivace with dreamlike reluctance. Throughout, moods morphed from exuberant to tearful and back again, Piccinini navigating the strings’ crosscurrents with a seafarer’s proficiency. The dance was always waiting—not in the wings but with them, ready to fly at a moment’s notice.

The Sonata for Flute, Viola and Harp of Claude Debussy took yet another logical step into 20th-century repertoire. Piccinini, Kashkashian, and harpist Sivan Magen—newly fashioned as Tre Voci—charted the centerpiece of their 2014 ECM New Series release with élan. Debussy’s popular trio, tailored specifically to the idiosyncrasies of its instruments, is divided into three movements with seemingly arbitrary titles. A Pastorale introduces the fluid impressionism one typically associates with the Frenchman. And yet, as this piece’s bold strokes make clear, Debussy was anything but an impressionistic composer. Boldness was especially apparent in the Interlude, the enchanting harping of which only served to emphasize the clarity of its partners. With a strong backbone and even stronger sense of destination, the sportive Finale further proved that Debussy isn’t all sparkles and rainbows. Key to this performance was each musician’s take on the equal role given to her or him. Piccinini was like the writer’s pen and Magen the weaver’s dance, while Kashkashian took on a visual artist’s intuition, her bow as descriptive as a painter’s brush. In a word: exquisite.

Tre Voci
[Photo source: (le) poisson rouge]

Intermission prepared us for the finale of Beethoven’s String Quintet in C Major. Its four-movement traversal of atmospheres showcased the string players at their most integrated. From the massive, seesawing Allegro to the show-stopping Presto (its tight tremolos providing full yet distant support for the violin’s acrobatic exposition), the musicians handled every twist and turn with ease and a unity typically seen only in far more established ensembles. Between these juggernauts, however, were the piece’s highlights. A romantic yet earthy Adagio, its tendrils wavering in freshwater current, paired beautifully with the Scherzo’s delicate anchorage. It was a fitting summation of the dramas that preceded it, spoken in a language at once canonical and freeing.

Also canonical and freeing was the pre-concert performance by Jonathan Fenwick, a high school junior from nearby Ithaca, who presented the Adagio and Fugue of Bach’s Sonata No. 1 for Solo Violin. In addition to polishing the concert’s educational sheen, Fenwick’s performance was further proof of the inspiration absorbed by coming generations of classical purveyors. His sensitive pacing, artful trills, and warmth of execution proved that all roads not only lead back to Bach, but also proceed from him.

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In 2011, pianist Raffaella Gazzana and violinist Natascia Gazzana, better known as Duo Gazzana, made a quiet, if colorful, splash with Five Pieces, their first record for ECM’s New Series imprint. Navigating a recital comprised of works by Takemitsu, Hindemith, Janáček, and Silvestrov, the Gazzana sisters, in close collaboration with producer Manfred Eicher, demonstrated an acute sense of programming, technique, and integrity. Despite the title of their debut (named for the Silvestrov composition of the same name), which contained only four pieces, Silvestrov’s Hommage à J.S.B. (2009) comprises the heart of this truly pentagonal sequel. The Ukrainian composer offers three short movements: two Andantinos and one Andante, each the band of a deeper and more nuanced spectrum. The end effect is one of suspension. Although originally written for Gidon Kremer, the Hommage is uniquely informed here by the Gazzanas’ attention to detail. “The music of Silvestrov is not difficult in terms of notes,” Raffaella tells me in a recent interview, “but it’s so particular. In a way, you have to isolate yourself from the noise of life. He’s a composer who belongs to another time, bringing these beautiful melodies, as if from the past.” Indeed, as Wolfgang Schreiber observes in his album notes, the Gazzanas share in the spirit of the music they have selected, which like them finds newness in the old. Their unwavering commitment to urtexts only serves to emphasize what is unwritten in them, thus coaxing out hidden messages and spirits.

Duo Gazzana - ECM

Radiating outward from the Silvestrovian center are two richer, denser works: Poulenc’s Sonate pour violon et piano (1942/43, rev. 1949) and William Walton’s Toccata for violin and piano (1922/23). Dedicated to the memory of Federico García Lorca, the Poulenc sonata is, in Raffaella’s estimation, a product of its time, as is clear in the first in third movements, designated “Allegro con fuoco” and “Presto tragico,” respectively. These are extroverted, almost flailing. Stravinsky looms large in the final, especially, but there are also—unwitting, perhaps—nods to the late Romantics and Ravel as the piece nears its enigmatic coda. “After expressing the suffering of the war,” Raffaella observes, “Poulenc wanted to finish with this dreamy catharsis. This was his character, shy but also enjoying life. He was, I think, a very elegant man, and in this sonata you can hear that.” Poulenc purists take note: the Gazzanas’ interpretation corrects mistakes left in the original French edition prepared by Max Eschig, which elides key signatures in the last page. After careful study of the facsimile, they believe to have arrived at the definitive version.

Although more obscure, Walton’s Toccata was the subject of Raffaella’s dissertation and is no less possessed of elegance. Nataschia’s opening proclamation stirs the piano’s waters with relish and fortitude, giving way to a virtuosic and starkly exuberant foray, pocked by haunting, probing depressions. Although written in the composer’s 20s, it smacks of maturity and daring-do. Raffaella: “I am always impressed by the piece’s improvisational elements. At the time he was working on it, Walton was planning a jazz suite for two pianos and orchestra. Although it never panned out, you can hear this influence throughout the Toccata. The beginning contains no tempo or bar divisions. You just have to go with it.”

Two further works draw the album’s outer circle. First is Schnittke’s Suite in the Old Style. Originally composed for two 1965 films (Adventures of a Dentist and Sport, Sport, Sport) by director Elem Klimov, Schnittke arranged these five selections for violin and piano in 1972. Its moods are crisp and compelling. Especially moving are the Minuet and the spirited Fugue. Only the final movement, marked “Pantomime,” has the surreal touches one might expect of the composer. Still, it is playful and fragile, ending with a mystery.

Tartiniana seconda (1956), by the 20th-century Italian composer Luigi Dallapiccola, concludes. Referencing Tartini, this divertimento spreads a beautiful carpet across its four Baroque-inspired movements. “This piece enjoys great popularity in Europe,” Raffaella explains, “especially in Italy. It makes exclusive use of canons, pastorale, and variations: all forms that belong to the past.” At times ponderous and lyrical, at others swirling with ornament and invention, it culminates with a set of emphatic statements from both musicians. Of all the pieces on the album, it is the most architectural. This is no coincidence: “It helps to have the score in hand when listening, because it’s as much for the ears as it is for the eyes. In the opening Pastorale, for instance the piano plays the violin’s lines exactly, but staggered and in reverse, while in the second Variation, it plays the exact reverse, bar for bar.” The Tartiniana also gives contrast to the freer forms of Walton, lending finality and flourish to this exquisite sophomore program.

Duo Portrait

Coinciding with the release of this disc was the Duo Gazzana’s North American concert premiere when, on May 2, they performed as part of 2014’s Look & Listen Festival in New York City. For this performance, they chose the Silvestrov and Poulenc pieces from the new album, and enchanted the audience with their grace, sensitivity, and mutual resonance. Hearing this music live brought home a vital point in relation to the album’s core philosophy. Because the nature of past and future is immaterial, the only true reality of this music can be the here and now of performance and listening. On this point, Raffaella has the final word: “Chamber music has ever been one of the most beautiful expressions of liberation, one that tests the ability of performers to listen to one another in dialogue. These peculiarities attract us and in our interpretations we try to emphasize them. All the study we put into these pieces is just the grammar. But grammar must be spoken to come to life. Nowadays, it’s easy to speak without caring what other people think. Chamber music ensures we never fall into that trap. Sure, there are good performers, but it’s obvious when they’re performing only for themselves. Chamber music is, quite simply, enjoyable. It’s so beautiful to share it with such a caring musical partner, and with the listener in turn. When you do something out of love, you transmit this love to others. And people can hear this.”

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