Archive for the “Concert review” Category
On Friday night, February 5, 2016 a good crowd braved the dreaded 101 freeway closure to travel downtown to Art Share LA . The occasion was …until… the first concert of 2016 for wasteLAnd music, marking the third year they have offered programs of new and experimental music in Los Angeles. Four pieces were performed – including a premiere – each incorporating traditional acoustic instruments accompanied by electronics.
Scott Worthington was the double bass soloist on …until… #10, by Santa Barbara-based composer Clarence Barlow. This was the premiere performance and the inspiration for the concert title. …until… #10 begins with a steady electronic tone from a large speaker and this was joined by Worthington’s double bass. A series of moderately fast notes streamed out from the bass in repeating phrases that featured slight variations in the pattern of pitches and rhythms, but no overarching gestures or development. The notes were confined to the higher registers and none of the familiar deep, woody tones of the bass were heard. The mix with the electronic sound was quite complimentary, the warm tone from the speaker nicely filled up the nooks and crannies of the faster passages coming from the bass. Transient harmonies of bass notes against the electronic tone momentarily appeared and vanished, adding to the intrigue. There is a bright, bubbly optimism to this piece, effectively conveyed by the almost child-like melody. This pattern continued as the work progressed but the slight variations in rhythm and the sequence of the notes kept the listener actively engaged. …until… #10 is a masterful combination of simple electronics and refreshingly uninhibited musicality that envelops the listener with a cheerful buoyancy.
This was followed by Ilhas, by d’incise and this consisted of four snare drums with a player assigned to each along with a small, hand-held speaker. The speakers were placed face down on the drum heads, which were prepared with upturned plastic cups or boxes as well as other found objects. Soft electronic tones were heard and the speakers actuated the drum heads to produce a very light drum roll. The result was a pleasantly calming effect, like hearing an organ prelude in a soft rain. The electronic tones were sustained for a few seconds at a time, and the players adjusted the position of the speakers to achieve different effects. The speakers were moved from the center of the drum to the edges and at times the speakers were covered by the plastic cups or a box to concentrate and direct the energy to the drum head. The drum tension was adjusted and occasionally the speakers were lifted up slightly to vary the timbre and intensity of the drum head response. There was no scoring for this – it was up to each player to find the best place to maximize the various effects. Matt Barbier, Justin DeHart, Cory Hills and Scott Worthington were all effective in drawing out subtle differences in timbre and texture. Ilhas is an understated yet engaging work that is both inventive and surprisingly tranquil, given that it is performed with four snare drums.
Next was Commitment :: Ritual I ::BiiM, by Jessie Marino. And this was performed by Cory Hills with a single snare drum and lamp stand. The room was completely darkened and the piece began with a sharp rap on the drum followed by a short flash of bright light from a single lamp – and then a few seconds of silence. This sequence was then repeated. The sudden sound and bright flash of light was quite startling – the loss of visual references in the total darkness sharpened the senses and when the sounds and flashes occurred, it multiplied the effect. As the piece progressed the sequence changed so that the lamp flashed before the drum was heard. The beginning section invited your brain to associate the light and the sound together so when the light flashed first, the effect of the sound was that much more alarming. The feeling was reminiscent of a thunder storm at night – a flash of lightening closely followed by a loud thunder clap. Commitment :: Ritual I ::BiiM is an dauntingly instructive demonstration of the power of sensory conditioning on ear and eye.
The final work on the program was untitled three part construction by Michelle Lou, who is the featured composer for the current season of wasteLAnd concerts. For this Justin DeHart and Cory Hills were seated at desks containing a number of mechanical objects and one tape recorder. Matt Barbier and Scott Worthington shared a music stand, with muted trombone and double bass, respectively. Low, rough notes from the amplified double bass opened the piece while the trombone added a series of sharp repeating notes. Mechanical clickers were heard and more mechanical electronic sounds came from a speaker. As the clicking and clacking continued, ratchet wrenches were applied to stationary bolts and twirled backwards, introducing a light metallic ringing to the texture that added to the impression of being inside some sort of operating machine. At times, smooth tones from the bass made for a nice contrast with the clatter; at other times all was continuous rattling, commotion and roar. The feeling, however, was one of virtuous and industrious intent, free from any trace of malice.
About midway through the piece there was a sudden, measured silence, followed by a high pitched note from the double bass, as if hearing a siren at a distance. Knocking and scraping sounds ensued from the electronics, adding a distinct feeling of anxiety. The siren tones increased and the trombone added a deep growling sound. A piece like this invites the listener to create a story around the sequence of sounds – was that the drone of bombers overhead? The thud of bombs falling in the distance? The clicking and knocking increased and the tape recording added more anxious sounds. The double bass and trombone added a few rugged low notes and exited the stage. The tape increased its intensity and finally became disconcertingly chaotic before a sudden silence concluded the piece. untitled three part construction is a marvelously creative combination of sounds and musical tones that invite the listener to inhabit the unfolding drama of one’s own invention.
The next wasteLAnd concert, titled point/wave, will be on February 26, 2016 at Art Share LA.
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On Friday, January 22, 2016 the wulf in downtown Los Angeles presented a diverse concert of electronic music by four groups of artists. A standing-room only crowd turned out for an evening of intense sounds created by computer algorithm, spectral analysis and traditional percussion. The room was filled with all kinds of amplifiers, speakers, mixers, patch panels and miles of cable. The four sets made for a varied program that challenged both the mind and the ear.
First up was PDRM, by John Krausbauer and David Kendall. According to the program notes this piece is “…constructed from a ‘just’ tuned, three-string electric guitar with real-time and algorithmic delay and spatialization processing.” Four large speakers were placed on the four corners of the completely darkened performance space that also included active strobe lights. PDRM began with a warm, droney sound from the bowed guitar, accompanied by a substantial bass line in the electronics, providing a solid foundation. The sound filled the room and the consistent texture immersed the audience in a congenial sonic wash. As the piece progressed the volume seemed to gradually increase and the tempo quickened slightly as well. PDRM is very powerful experience that takes control of the senses – there were occasional bass tones that were felt as well as heard. The complete darkness and compelling sounds command the listener’s attention; Krausbauer and Kendall might consider adding an aromatic component to their performances to further extend this sensual dimension. The steady drone and flickering of the strobes give PDRM a distinctly primordial feeling – as if the audience is gathered around some ancient communal bonfire, meditating together in a deep trance.
Next up was an improvisation by percussionist Ted Byrnes with William Hutson on accompanying electronics, and this marked their debut as a duo. Hutson operated an old school reel-to-reel tape machine fed with a ten foot loop of tape that stretched across the room and produced a steady stream of metallic clattering and crashes as well as what sounded like a barrel of broken glass shards being rolled across the floor. To this chaos Byrnes added his athletically active drumming with a variety of mallets and brushes on a standard drum kit along with a number of found objects. The rhythmic drumming formed a kind of counterpoint to the crashing tumult from the tape and this became an anchor for the ear. The piece took on an epic character as it progressed: the heroic drummer in combat with the forces of anarchy. This contrast was so effective that the listener often found himself rooting for the drumming to prevail. Byrnes was a constant blur of motion and activity, yet the continuous outpouring of the electronics added a helpful consistency to the texture, filling in for those times when Ted changed drum sticks or reached down to add a new object to his kit. There were quiet stretches, as when brushes were used on the drum heads, but overall the intensity and drama that emerged from this mix of electronics and drumming proved to be a winning combination. The addition of fierce electronics to the animated style of Ted Byrnes was inspired, achieving a new level of energy and excitement for this duo.
Cameron Shafii, the San Franciso-based composer was next, presenting a solo sound piece, part of a collaboration with Joe Gilmore that according to the program notes, “…transforms brass and string instruments by spectral analysis.” This began with a loud drum clap followed by exotic electronic tones that added a vaguely alien feel. The steady electronics were accompanied by a drumming rhythm, producing a sense of anxiety and mystery. The volume seemed to rise as the piece progressed and the drumming became more concentrated and powerful – at times the beats were felt as blows to the chest. The electronic sounds morphed into purer tones and a series of loud rumbles, like distant thunder could be heard. At one point the mood lightened and there were some lovely harmonies. The total darkness and the relentlessly increasing power soon restored the feeling of menace, however, and at times the sound overwhelmed the senses and verged on the painful. Cameron Shafii and Joe Gilmore have crafted a daunting listening experience that operates at the harrowing edges of human perception.
The last piece in the program was VRS, a project from Ellen Phan of Los Angeles who presented “…a new piece exploring modalities of experimental sound.” This piece deftly unpacked an eclectic variety of sounds – a loud buzzing, gongs, bells and the crash of smashing china. The pitches accelerated and became higher and more cutting even as the texture attained a sort of frenetic consistency. Voices were heard in an unintelligible scat singing and the electronic sounds assumed a bouncy, arcade-like feel. As the piece progressed a powerfully percussive hammering dominated, and this soon morphed into a nicely rhythmic groove. VRS is full of fast-changing textures that made for a refreshing wash of bright colors and energetic surfaces that agreeably filled the performance space and the listener’s ear.
Update on the wulf: The building has now been sold and the wulf is seeking new accommodations, although no schedule has been announced. Fund raising for the expected moving expenses has been successful and donations are still being accepted – see www.thewulf.org for details.
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On Tuesday, December 8, 2015 the first Green Umbrella Series concert of the season featured three Los Angeles-based string quartets: Calder Quartet, Formalist Quartet and the Lyris Quartet. Disney Hall was mostly full for the event, evidence of the strong following contemporary music has attracted by this concert series over the years. The music for the evening spanned works by John Cage and Christian Wolff to two world premieres and LA Philharmonic commissions from John Luther Adams and Tristan Perich.
First up was the Formalist Quartet performing Music for Marcel Duchamp by John Cage. Originally written for prepared piano, this piece was arranged for string quartet by Eric Byers, cellist for the Calder Quartet. This opened with a flurry of pizzicato figures that nicely approximated the expected percussive jaggedness of a prepared piano. These irregular rhythms were soon supported with a soft, soothing undertone from the cello. This made for a good contrast and the piece took on an exotic, almost Asian feel. Some sharp rapping on the wooden parts of the string instruments along with some new pizzicato reinstated the rhythmic to prominence and also added a bit of mystery to the mix. Rhythmic textures alternated with smoother sections as the piece progressed. As played by a string quartet this new Byers arrangement of Music for Marcel Duchamp came across as finely drawn and delicate, with a quiet, contained feel – especially in the comparatively vast Disney Hall performance space.
The Calder Quartet followed with Edges by Christian Wolff, arranged by Chiara Giovando. This began with a high, thin sound in the violins followed by a solid pizzicato thump in the cello. More high, stressed sounds followed, adding a palpable tension. At times there were very soft – almost inaudible – sounds that focused the listener’s attention. At other times there were fast and furious runs full of thunder and drama, and at still other times slower, more harmonious stretches. Edges was notated by Wolff using a graphical score and this was skillfully interpreted for strings by Chiara Giovando. This outcome was successful in that there were a wide variety of individual textures and dynamics present that, combined with the precise playing of the Calder Quartet, made for a highly detailed and intricate experience taking the listener beyond the normal boundaries of string quartet music.
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On Saturday, November 21, 2015 People Inside Electronics presented the contemporary vocal chamber ensemble Accordant Commons in a concert at the Neighborhood Church in Pasadena. A Saturday night crowd of new music enthusiasts gathered to hear an evening of vocal music combined with electronics.
The first piece presented, “those remaining words in nuance”, by Chen-Hui Jen featured soprano Stephanie Aston who began with a soft sustained pitch, accompanied by electronics fed through speakers on the stage. More pure tones and vocalizing followed and this gave a vivid sense of multiple voices – Ms. Aston sang along in harmony and this was quite effective. “those remaining words in nuance” is based on two fragments of text in two different languages -Mandarin Chinese and English – with deconstructed phenomes from each used as vocalise materials The electronic sounds were derived from voice and synthesis of voices.
As the piece progressed, the electronics produced cooler, remote-sounding tones and the blending with the solo voice added a familiar human element. That the overall feeling was one of a curious strangeness, but free of anxiety. Ms. Aston skillfully found her pitches quite accurately and sang with careful attention to the often wide dynamic changes. Towards the end the electronics emitted a series of chirps and whistles that could have been whales calling and this produced a warm, natural feeling that drifted off to a whisper at the finish. The sense of ensemble in “those remaining words in nuance” is most impressive and provides a new benchmark in the artful combination of electronics and the human voice.
Improvisation was next and this featured the three voices of Accordant Commons: Stephanie Aston, Odeya Nini and Argenta Walther. This began with whistling and breathy sounds and was answered with low moans from the electronics. As the piece progressed soft, sustained tones from the singers mixed with tweets and calls in the electronics, building in volume. A series of falling pitches followed that morphed into thunder and a sharp shriek into the microphone faded into a low roar. There was an exotic and isolated feel to this, as if we were hearing the sounds of some foreign fauna in a remote canyon or valley. By the finish, more breathy sounds and low sighs drifted off into a thunderous background while squeaks and squeals added to the echoing ambiance. Improvisation takes us on a journey to a unique, primal landscape crafted from voice and sound.
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On Thursday, October 22nd at the new downtown New York venue the Sheen Center, an acoustically generous and attractive performance space, we heard the second of three concerts presenting selections from Anthony de Mare’s ambitious commissioning project Liasons: Reimaginings of Sondheim from the Piano. De Mare has recorded the 36 commissioned pieces for ECM Records, which has released a generously annotated 3 CD set of them.
De Mare is an ideal advocate for this music. His touch at the piano is at turns muscular, dexterous, and tender, well able to encompass the many demeanors the commissioned composers adopted when interpreting Sondheim’s songs. De Mare’s experience as a teacher (at Manhattan School of Music) was on display as well. Abetted by brief video interviews with a few of the featured composers, he gave short explanations of each piece from the piano. For the students and devotees of musical theatre on hand, these explications were no doubt an invaluable introduction to a number of composers and an integral part of the experience. For those of us familiar with the classical composers commissioned for the project, there were a number of anecdotes and musical details that revealed intriguing pieces of information about the genesis of the programmed pieces and their creators’ interest in particular aspects of Sondheim’s work.
With such an embarrassment of riches on display, it is difficult to pick favorites. For me, Ricky Ian Gordon’s take on “Every Day A Little Death,” from A Little Night Music, was truly lovely, and it was given a nearly impossibly gentle rendition by De Mare. Nils Vigeland’s imaginative version of material from Merrily We Roll Along was a standout: compositionally well structured, balancing thematic transformation with retaining a sense of the title tune’s “hummable” character. Phil Kline took material from a lesser-known Sondheim musical, Pacific Overtures, and made “Someone in a Tree” an especially memorable offering. Nico Muhly’s “Color and Light,” from Sunday in the Park with George, gave De Mare a motoric, post-minimal workout. In “Birds from Victorian England,” based on material from Sweeney Todd, Jason Robert Brown had the pianist playing with three overdubbed instruments, while Rodney Sharman’s “Notes of Beautiful” from Sunday, judiciously included playing inside the piano.
De Mare plays the final concert of the Sondheim triptych at Symphony Space on November 19th. Based on his performance at the Sheen Center, it is a “can’t miss” event.
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On Friday September 11, 2015, the Curve Line Space Gallery in Eagle Rock was the venue for a concert titled Collaborations 1.1 featuring the works of Gerhard Stäbler and Kunsu Shim as performed by members of the Southland Ensemble. Stäbler and Shim, German experimental composers, are on a three-city tour of the US, sponsored in part by the Federal Foreign Office of Germany and the Goethe Institute. Seven pieces composed between 1986 and 2007 were presented, ranging from conceptual works to those with graphical scores and standard notation. The warm evening and exquisite acrylic paintings by Sue Tuemmler complimented the amiable atmosphere present in the audience and the gallery.
The first piece was by Kunsu Shim In Zwei Teilen – I, and this was performed by violin, viola, cello and recorder. The first notes were barely audible – a light, high arco sound from the cello followed by about a minute of silence. A short chord from the strings and recorder was heard and then another long, soft tone from the cello. The combination of quiet sounds and long silences worked to focus the listening and the result was a sense of keen anticipation. More hushed tones from the cello followed and with a pleasantly dissonant final chord from the strings and recorder, the piece concluded.
Hart Auf Hart by Gerhard Stäbler was next and this had several performers scattered around the floor with portable radios and a graphical score consisting of bar codes overlaid by a grid of numbered coordinates. A series of numbers and letters were called out – much like a bingo game – the performers consulted their scores, and some began tuning their radios. The tuning proceeded fairly rapidly, and short bursts of voices and music were heard as well as loud static. The voices coming from the radios were fragmentary and did not add any sort of narrative. For some performers the score indicated silence, and the radio was turned off. The piece continued in this way, coordinates were called out at intervals and radio sounds were heard coming from different corners of the performance space. All of this produced an interesting texture, if not any definite form. The changing patterns and locations of the sounds produced an intriguing sense of space and movement for the stationary listener. Towards the end of the piece, the performers gathered around an open microphone and all of the radio sounds were now projected from a single speaker, flattening the previous sensations of distance and location. With a burst of loud sounds and static the piece suddenly ended.
The third piece on the program was Gerhard Stäbler’s ]and on the eyes black sheep of night[ for piccolo, clarinet and violin. This was a conventionally notated piece that began with a dissonant tutti chord and gave off a feeling of remote loneliness. The piccolo played two alternating high notes and the others joined in similarly in their registers. The effect was like listening to a clockwork oscillating back and forth with a sort of familiar regularity. The coloring became more intense, adding a bit of anxiety. A sudden and almost painfully loud dissonant chord in the violin and piccolo disrupted the calm and captured everyone’s attention. There was a brief return to the more gentle feeling, but ]and on the eyes black sheep of night[ ended on a second tense chord as if to underline the journey from the comfortable to the anxious.
Luftrand, by Kunsu Shim, followed and this was for violin, viola and cello. Soft, muffled tones – almost a whisper – were heard, followed by silence. The players began each passage together and the quiet chords had a mysterious and secretive feel. Everything was soft and tentative, with never a strong bowing action or loud note. The players exhibited good ensemble and a soft touch to produce the delicate sounds that felt like a series of quiet sighs. Midway through, the string tension on each instrument was reduced and this produced a new sound – less purely musical perhaps, but more evocative. The now-lower notes seemed to be enveloped in a thick fog that greatly added to the mystery. Luftrand with its subtle, muted tones invites a deeper and more rewarding concentration from the listener.
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Posted by Cortlandt Matthews in Composers, Concert review, Contemporary Classical, New York, tags: Aaron Jay Kernis, Caroline Shaw, Daniel Thomas Davis, Locrian Chamber Players, Mei-Fang Lin, Shafer Mahoney, Victoria Malawey
On August 27, 2015, the Locrian Chamber Players gathered on the 10th floor of Riverside Church to present a program of classical contemporary music. The Locrian Chamber Players set themselves apart from other contemporary music ensembles in two ways. First, LCP only programs works that were composed in the last ten years. Second, they withhold the program notes until the end of the concert, leaving the audience members with fewer distractions from directly engaging in the program. As one who often finds himself buried in the program notes, this approach was incredibly refreshing, and successful.
The program opened with Daniel Thomas Davis’ Thin Fire Racing, an art song for mezzo-soprano, piano, and clarinet. The work is a selection from Follow Her Voice, a set of songs based on Sappho’s Fragment 31, here translated into English. Mezzo Jacqueline Horner-Kwiatek’s performance matched the fiery intensity of both Sappho’s text and Davis’ setting. While clarinetist Benjamin Baron and pianist Jonathan Faiman expertly supported her, both were also given moments to shine.
To offer a change in mood, the second piece on the program was Shafer Mahoney’s Shining River. This duet was played by flautist Catherine Gregory and harpist Victoria Drake. In contrast to Thin Fire Racing, Shining River is calm, pensive, and deeply internal. Gregory’s long, lyric lines complemented the gently bumping harp to create the image aptly suggested by Mahoney’s title.
Another Ecstatic Opening Out by Victoria Malawey received its New York premiere. For this piece, violinist Keats Dieffenbach and cellist Kristina Cooper joined Gregory and Drake. The interesting textures and timbres Malawey creates within the ensemble are striking. The sounds of the flute blend almost seamlessly into the violin and then further from violin to cello. A pizzicato cello complements the steady churn of the harp, with Cooper’s timbre seemingly growing out of the colors of the harp.
The first half of the program concluded with Mei-Fang Lin’s Mistress of the Labyrinth for solo piano. In contrast to the melodic and lyrical pieces presented before it, Mistress of the Labyrinth is rough and aggressive, with a dissonant and pointy harmonic language. The piece is labyrinthine, expansive and winding, never fully revealing to the listener exactly where it is leading.
The second half of the concert opened with Cantico dell creature by Caroline Shaw. Another very old text, this piece is a setting of an Italian text by St. Francis of Assisi. While the lengthy text did yield a substantial piece, Shaw’s setting did much to offset the formulaic nature of Assisi’s poetry.
For the finale, Cooper and Dieffenbach were joined by Baron, violinist Anna Lim, and violist Daniel Panner in Aaron Jay Kernis’ Perpetual Chaconne. The omnipresent falling motive that opens the piece creates a sense of perpetuity. As the piece builds and intensifies, it almost seems to exist outside of time. As most of the thematic detail seems to develop and open up upon itself as the piece progresses, in a fascinating way, listening to this piece feels much more like the expansion of the a single moment, the meticulous inspection of a single detail, than a large-scale progression over a long period of time.
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Saturday, July 25, 2015 at Boston Court, People Inside Electronics presented Man on a Wire, a concert of new music featuring pianist Aron Kallay. A capacity crowd filled the Branson performance space to hear eight pieces incorporating electronics, piano, keyboards and acoustic instruments.
The first piece was Four Roses (1997) by Annie Gosfield and this was written for cello and de-tuned keyboard. Aron Kallay played the electronic keyboard and Maggie Parkins, cello. According to the program notes “Three of the cello strings are tuned conventionally, and the ‘A’ string is tuned 80 cents flat (just short of a semitone). This scordatura creates microtonal intervals between the open ‘A’ string and the normally tuned strings. The keyboards use prepared piano and piano samples, tuned to a scale that is 32 notes per octave.” This opened with stark, scratchy sounds from the cello that soon coalesced into a pleasing pizzicato groove while the keyboard added short, metallic notes that provided a good contrast. This order was then reversed, with long, sustained tones coming from the cello while the keyboard fashioned a melody from riffs of 8th notes that worked nicely against the smooth background. The cello then embarked on a slow, dreamy solo and when the keyboard entered again there was an added sense of tension that persisted through a brief revisiting of the opening theme. A sudden ending concluded the piece. Four Roses ably incorporates unconventional tuning into an engagingly listenable piece that was artfully performed.
Get Rich Quick (2009) by Ian Dicke followed. This piece is for piano and fixed media and was performed during the May, 2014 People Inside Electronics concert in Santa Monica. A new video by Katherine Guillen was commissioned for this latest performance. Get Rich Quick was written shortly after the 2008 market crash and is a playful look at the fragility of our financial system. It begins with sounds of the frenetic bidding of a trading floor and the ringing sound of a coin spinning. A loud, scary piano crash follows, and a chilling melody is heard while a shower of falling coins is seen in the video. The dark melody builds in volume and tension as fragments from 1960’s-era commercials are seen extolling the virtues of consumer debt and stock market speculation. Phrases like “Debt is part of American life!” and “Investing is easy!” are heard while visions of conspicuous consumption are seen. Images of charts and currency tables are especially vivid in parts of this new video, with movement and bright colors that dazzle the eye. The music becomes increasingly ominous as the video narration turns suddenly righteous – “Pay those bills!”, “There’s no free lunch!”, and finally “Get out of Debt.” The video concludes with more falling coins and a music box melody of Teddy Bear’s Picnic. Get Rich Quick has lost none of its relevance and the playing of Aron Kallay perfectly fit both the video and the musical message.
The next piece was The Alchemy of Everyday Things (2015) by Jason Heath and this was for piano, violin and live electronics. Originally written specifically for the Villa Aurora performance space with five channels of audio, this Boston Court version was realized in stereo. Aron Kallay was at the piano and Shalini Vijayan played violin. The piece began with a lovely sustained tone from the amplified violin that was unusually deep and rich. The piano entered, but in an unexpected way. Aron Kallay was seen to be drawing a length of fishing line – or perhaps some thin wire – across one of the lower piano strings. The sound this produced was both exotic and profound, like some ancient Asian stringed instrument. When combined with the violin, the result was calm, soothing and meditative – a wash of warm tones without need of rhythm. A high, soaring violin line added a brightness and color and this was joined by several piano notes, struck now from the keyboard, breaking the spell. The violin became more active and piano chords added a new energy and movement to this middle section. At length the sounds of water lapping at a lake shore and a soft whispering were heard, adding an element of mystery. The violin played a soft solo of low, sustained tones and soon the piano joined with more notes bowed with the wire line, returning to the serenity of the opening. The Alchemy of Everyday Things is a beautifully transcendent piece that draws a surprising elegance from very simple sounds. The playing in this performance was equal to the task, delivering a delicate, introspective quality that precisely matched the music.
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Friday 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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The International Contemporary Ensemble – ICE – was one of the featured groups performing at the 69th Ojai Music Festival. On Friday, June 12, 2013 ICE presented a varied concert of virtuosic pieces at the gazebo in the center of Libbey Park. A good-sized crowd turned out to hear the ICE artists play traditional acoustic instruments artfully combined with amplification and electronics.
Dan Lippel was first with Electric Counterpoint, a piece for guitar and tape by Steve Reich. The music was immediately recognizable as classic Reich and bubbled along with a satisfying groove. The playing by Dan Lippel here was seamless with the tape and the sound reinforcement system seemed to be up to the task of projecting out into the open spaces of the park. The recorded bass line was particularly effective when present and there was all the energy typical of the music of Reich. The piece unfolded in several sections that were variously festive or a bit more introspective, but all consistently active and upbeat. This was the perfect opening piece for the afternoon and the audience was visibly pleased.
This was followed by Jennifer Curtis and David Bowlin performing Apophthegms, a piece by John Zorn for two violins. This was very different and surprisingly complex music, with fast runs, flurries of pizzicato and unexpected changes in direction. Quiet passages followed loud sections, and fast, complex sections were followed by softer and more uniform stretches. Some of the quiet parts had a decidedly sinister feeling and a creaking sound from the violins added to the tension. The amplification, for the most part, worked in favor of the instruments although there were times when very soft segments were lost in the ambient noise of the park. As the piece concluded, a faster and more animated feeling took hold as the two violins weaved wonderfully bright and complex patterns that shimmered to the finish. Apophthegms is a virtuoso piece in every respect – from both a composing and performing standpoint.
Rebekah Heller was next, playing Concatenation, for bassoon and electronics by Rand Steiger. This began with a low rumble of notes that seemed to be re-processed for echo and delay and then sent to the speakers – this nicely increased in density as the playing continued. The sounds soon came in rushes with great clouds of notes pouring out over the audience. There were also slower sections where the sustained bassoon tones and electronics gave a distant, lonely feel that contrasted well with the busier stretches. These sounds were pleasantly matched to the backdrop of oak trees and shrubs, perfectly at home in the woodsy surroundings. As bursts of notes echoed away, it was as if the music was receding back into a forest. The sound also seemed to move from left to right at times, giving a convincing sense of motion and movement. A low trill accompanied by some futuristic electronic sounds at the conclusion gave the impression of a flying saucer rising rapidly upward, taking off and leaving the earth behind. Rebekah Heller’s performance – played with out a score – was a triumph of energy and concentration and the audience responded with enthusiastic applause.
Nuiko Waddenh followed with Polvere et Ombra a piece for solo harp by Suzanne Farrin. This began with a series of rapid arpeggios, fast notes and a low strumming sound that gave a somewhat darker edge to the piece. There was a sense of rapid movement and velocity throughout and a series of sharp, furious chords that were expertly delivered. Towards the end the feel of the piece turned a bit lighter, but still mysterious, becoming very quiet at the finish. The amplification was both necessary and precisely applied to allow the naturally soft harp to be heard in the open spaces of the park.
San, by Du Yun, a piece for cello and electronics was next, and this was performed by Katinka Kleijn. Ms Kleijn took the stage clad completely in black and wearing a white mask. A large bass drum, equipped with a foot pedal, was situated next to her chair. The piece began with low, scratchy tones from the cello and several solid strikes on the bass drum gave this a very Asian feel. Some higher knocking sounds coming from the electronics – and the white mask worn by Ms. Kleijn – added a strong sense of ceremony and ritual to this. As the piece progressed there were complex, layered sections that alternated with slower and more somber stretches. There was a sense of struggle woven throughout and as the piece concluded the percussive sounds in the electronics and the striking of the bass drum conjured images of a violent battle. The complex playing, the combination of electronics, a bass drum and the wearing of the mask were all smoothly handled by Ms. Kleijn who delivered a spirited and drama-filled performance.
Next was a piece by Mario Diaz de Leon, Luciform, for flute and electronics. This was performed by Claire Chase and began with some light trills and rapid runs from the flute with a kind of low roar in the electronics that seemed to be moving slightly in pitch. This soon became very complex in the electronics with the flute supplying a series of fast repeating phrases. The pace slowed and the flute took up a low, dark melody while the deep roar returned to the electronics, producing an overall sense of menace. As the piece continued the electronics became very active and the volume increased, as if sending a warning. The tension increased in the somber flute, evoking a melancholy sense of pervasive alienation and the piece concluded with a frenetic finish. Luciform was another instructive example of how electronics and solo instruments can be artfully combined given good writing, playing and sound engineering.
The final work on the program was Rock Piece by Pauline Oliveros and this was performed by all the ICE musicians. They began in front of the audience, each with two smooth ocean rocks, striking them together more or less randomly. There is not supposed to be a common beat or volume in this – your brain actually works to find rhythms and counterpoint from the perceived sounds. As the players fanned out into the audience, the sounds of the striking lessened and became more diffuse. The players slowly returned back to their starting point and the sounds again became more distinct. The outdoor acoustics ultimately worked against the hearing of this and the one piece in the concert that was performed without electronics seemed to suffer the most.
This concert by ICE provided a lively and forward looking series of pieces that featured exceptional playing and impressive writing that skillfully combined the strengths of acoustic instruments and electronics.
Photos by Bonnie Wright (used with permission)
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