Archive for the “Concert review” Category
A bit past the halfway mark in Richard Wagner’s Siegfried Idyll comes a passage marked “Lebhaft” (lively tempo). It begins with a bright, energetic horn fanfare that is quickly answered by bird calls in the flute and clarinet. The flow of the piece makes it sound like Siegfried – Wagner’s son as much as his character – has awoken from gentle slumber to find himself in the woods. But there was nothing like that sensation when Alarm Will Sound played the original sinfonietta version last Friday to open their “The Permanent Collection” concert, which itself opened their new residency at the Metropolitan Museum of Art.
Limor Tomer is remaking the Met into the most interesting performance space in the city, with programming that rivals that of Miller Theatre and the use of the gallery spaces for live music. Alarm Will Sound has some great programming on tap, including an all Steve Reich concert November 16, but Alan Pierson and the group choose to set their first concert in the museum’s physical collection by showing the roots of their ensemble. Pierson hints at something of an argument about the sinfoniette being the prototypical new music ensemble, which is sort of true and sort of not – it depends on what year you’re look from, and which direction you turn your attention.
Wagner was certainly making new music in the nineteenth century, but that’s not what the Idyll is. It’s one of his loveliest works, but the aesthetic is entirely different than that of the new music movement that began around a hundred years ago. The music is about cadences, modulations between chords and tempos and the gestural language used to effect those. That’s where the expression is, and Alarm Will Sound is steeped in the aesthetic of non-narrative expressive language. They strung along the notes, played nicely, but had nothing much to say about the actual music. It had me searching for my recording of Glenn Gould conducting an intellectually critical and lovely take with the same forces.
Thomas Adés Living Toys is more in their style, but only superficially. I’m not a fan of the music, or his work in general. I find his composing masks an ordinary romantic sensibility in a lot of bravura hand-waving material that, if it doesn’t amount to something ordinary, amounts to little at all. There is a mismatch between the density of musical activity and the density of thinking. It suffered in inevitable comparisoin with all the great pieces from John Zorn I heard last month, music that is overwhelming with both detail and musical, aesthetic and intellectual meaning. But Adés is more old music in new music clothes.
Truly new, and truly excellent, were Ligeti’s Chamber Concerto and Ragtime Dances 1 and 4 by Charles Ives. These works are at the heart of Alarm Will Sound’s purpose, music that explores the possbilities of the future and that was written with experimental values at the fore. Ligeti’s work comes from his cloud phase, a period when he heard music as something like a collection of webs, gossamer strends connecting to each other across distances and forming sections that fill in space with a tantilizing wispiness. This was a beautiful, concentrated performance, the music clearly excites the players’ interest and concentration, everything focussed and spooky. The Chamber Concerto doesn’t tell stories, and it displays instrumental prowess in subtly challenging ways, the results tickle the bass of the skull in rare ways.
The Ives’ dances are rarely played or recorded, which is a shame because they are brilliant and practical, distilled and sharply written examples of his art and his importance. Ives was always pinning popular tunes to his pieces, but there’s something about hearing him create and lay out his own ragtime beat that is revelatory. True to form, he fractures it deliberately and exuberantly, and like a pinata, the yield is delight, joy and real, substantial satisfaction.
Q2 will have the concert archive available to stream, check their site for availability
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The Society for Minimalist Music is holding their biennial conference this year on the campus of Cal State Long Beach from October 3d through the 6th. Opening day included a concert of piano music by primarily west coast-influenced composers who have appeared on the Cold Blue Music label, and two of whom – Michael Jon Fink and Kyle Gann – were in attendance. The venue was the Daniel Recital Hall which comfortably held the audience, consisting mostly of conference attendees. The pianist was Bryan Pezzone.
The wide variety of expression in this concert – even within the context of piano music – illustrates the extent to which minimalist music has evolved past its stereotypical image of repetition and stasis. Nine pieces by six composers were listed on the program; here are some impressions and reactions.
The concert opened with Five Pieces for Piano Solo (1997) by Michael Jon Fink, whose spare, soft style is very engaging. Part 1, Passing, starts off with single tones and then a series of interesting chords that build into a slight tension. This continues in part 2, Mode, now with some dissonance, producing a somewhat more strident sound. Fragment, for Lou Harrison, the third part, provides a welcome contrast with a series of soothing low arpeggios that are then repeated in a higher register. The tension reappears in part 4, Echo with the same repeating figure and is resolved in the last part, Epitaph‘ with a slow, calming bell-like finish – the final chord seems to hang in the air, evaporating into silence. The long pauses between parts and the simple elegance of the sequences add to the introspective nature of this quiet music.
Hermetic Bird, a section from Peter Garland’s Bright Angel (1996) followed with a driving, bright sound incorporating powerful chords and echoes. It is as if a light has been switched on or you are facing the sun just above the horizon. This piece was written in memory of Kuniharu Akiyama and according to the program notes, Garland states that “Bright Angel refers to a view point on the north rim of the Grand Canyon, where one gets a spectacular view of canyons and depths. I was there at sunset, thinking of Kuniharu and of this piece, thinking about life and death.” As the work progresses it becomes softer with overtones floating above thick chords and sounding almost church-like. The piece concludes with louder section supported by a prominent bass line and is as satisfying in its strength as the ending of Five Pieces for Piano Solo was in its softness.
A second Garland piece was heard, The View from Vulture Peak (1987) and this was followed by Ponkapoag Bog (2008-09) by Daniel Lentz. This has a warm, soft feel – as reflective and nostalgic as Garland’s music is dynamic. Ponkapoag Bog is filled with lovely chords that become bouncy and playful as the piece progresses – a full sound that is bubbly and almost dance-like at times. Daniel Lentz is based in Santa Barbara, California but interestingly this piece was commissioned by Dr. Richard Marcus of Dorchester, Massachusetts, and Ponkapoag Bog is an actual historic New England Native American site nearby. Ponkapoag Bog is a sunny piece, full of optimism, and in its denser sections reminded me a bit of a Prokofiev piano concerto.
Sad from Kyle Gann’s Private Dances (2000) suite was next. According to the program notes, Kyle “…had to excise some of the original 11-against-13 rhythms, but the piece is still tricky. The idea was to have a clear harmonic rhythm while thoroughly obscuring the meter…” Byran Pezzone carried this off nicely and to my ears the ornamented moving line in the melody and the solemn – but never somber – feel of this piece sounded almost conventional. Private Dances was commissioned by Sarah Cahill and was premiered by her on a New Albion CD.
as she sleeps (2000) by Michael Byron followed, a piece consisting of soft chords, pauses and a spare, economical style as befits a work dedicated to the composer’s daughter. The other pieces listed on the program were La Ciudad de Nuestra Senora la Reina de Los Angeles (1980) by David Mahler, and Requium (1976), another Daniel Lentz piece. The program concluded with Celesta Solo (1981) by Michael Jon Fink.
Bryan Pezzone, known for his film and studio work, did a masterful job on the keyboards, readily adapting to the different styles and requirements of each piece. Afterwords, Cold Blue Music hosted a reception in the lobby, and Jim Fox could be seen moving among the guests with his usual gregariousness. It was a fine evening for hearing minimalist music and for reconnecting with acquaintances.
On a hot September 7th Saturday night, People Inside Electronics and LA Sonic Odyssey presented bass-baritone Nicholas Isherwood in a concert of electronic and vocal music given at the Moryork Gallery in Highland Park. This was the Los Angeles appearance for Isherwood’s world tour that will also take him to New Zealand, Portugal and France. The evening included works by Michael Norris, Jean-Claude Risset, Lissa Meridan, Isaac Schankler and featured an adaptation of Karlheintz Stockhausen’s powerful Capricorn.
The Moryork gallery space was roomy and comfortable for the 40 or so in attendance and even though the interior walls were lined with all sorts of exotic items the acoustics were carefully engineered with several good speakers placed around the perimeter of the audience. A table with a soundboard and several computers completed the electronic setup. With Los Angeles sweltering in triple-digit temperatures the heat inside the gallery was an issue, but it did not affect the performance.
The first piece was Deep Field I by Michael Norris, a composer and software programmer who teaches at the New Zealand School of Music. Deep Field I is the first of a proposed series of works based on the Hubble Telescope Deep Field images. The electronics provided a suitably spare and expansively distant feel while Isherwood’s rich voice added a welcome warmth. The texts were taken from MUL.APIN, an ancient Babylonian star catalog, On the Revolution of the Heavenly Spheres by Copernicus and some 16th century French poetry by Pierre de Croix. The blending of voice and electronics through the speaker system was effective, although the vocals would occasionally overpower. This piece provokes feelings that are an interesting combination of the primal and the futuristic, inviting the listener to speculate about immensity of deep space and our place in it. Deep Field I was commissioned by Nicholas Isherwood and is well matched to his voice. Read the rest of this entry »
Thursday night kicked off the Resonant Bodies Festival, a new 3-day parade of contemporary vocal music at ShapeShifter Lab in Brooklyn.
Each night features three young singers performing programs of their favorite music. This curatorial freedom gave last night’s show a happy zealousness, where the singers’ enthusiasm for their repertoire was contagious.
Festival curator Lucy Dhegrae marked out a broad territory in her set. Beginning with Jason Eckardt’s mantic Dithyramb, she swiftly established her virtuosity in an elastic, preverbal but hyper-articulate world. In Old Virginny, by Shawn Jaeger, juxtaposed a forthright Appalachian lament with a snarling, snaky bassline, played athletically by Doug Balliett, to surprisingly tender effect. Balliett then took the mic for the premiere of his newest Ovid rap cantata, #11, Clytie and the Sun. While not the most arresting of his cycle (see Echo and Narcissus), it delivered a highly entertaining mix of humor and pathos, and Dhegrae’s theatrical arias, as the smitten Sun, were the perfect foil to his informal Narrator. Read the rest of this entry »
On September 3rd Kinan Azmeh CityBand returned to Joe’s Pub for the official release of their new album, Elastic City. The disc, a collection of passionate and virtuosic pieces in the genre of Arab World Jazz, features Azmeh (clarinet), Kyle Sanna (guitar), Josh Myers (bass), and John Hadfield (drums and percussion). Formed in 2006, the ensemble has received critical acclaim in the US, Europe, and the Middle East. Judging from the large and wildly enthusiastic audience at Joe’s Pub, they are clearly developing a big following here in New York.
Born and raised in Damascus, Azmeh finished his training at New York’s Juilliard School and has since gained international recognition as a clarinettist, composer, and musical innovator. He’s currently recognized as one of Syria’s leading classical musicians and composers, and also has a well deserved reputation as one of New York’s most engaging composer-performers. In addition to his work with CityBand, Azmeh performs regularly with the Syrian ensemble HEWAR, the Damascus Festival Chamber Music Ensemble (of which he is the artistic director), and also as a solo artist.
CityBand has a captivating stage presence and an interpersonal attunement that comes from years of performing together. They respond intuitively to each other, grooving effortlessly in complex meters, and never getting in each other’s way. Their improvisations are sophisticated and emotionally powerful, each member contributing a distinct individual voice to a seamlessly blended whole. At times Azmeh brings the dynamics of the group down to an almost inaudible level, building it slowly to ecstatic heights.
Azmeh started the evening with a deeply moving solo entitled A Sad Morning, Every Morning, a composition that he wrote in memory of the thousands who have lost their lives in the Syrian conflict. Other memorable moments included Woods, a haunting and transportive work by Kyle Sanna, and Wedding, a raucous piece written by Azmeh that featured the group’s dazzling virtuosity.
Kinan Azmeh: A Sad Morning, Every Morning (art by Kevork Mourad)
The two-week long series of experimental music concerts in and around Los Angeles concluded Saturday, August 17 with es geht weiter a reading of nine compositions from members and friends of Wandelweiser, an international group of composers and performers founded in 1992. The event was held at the Wild Beast performance space on the Cal Arts campus in Valencia and was curated by faculty and Wandelweiser member Michael Pisaro.
Twelve musicians in various combinations performed the nine pieces and a number of these works were heard in the US for the first time. The instrumentation varied widely – including found objects, standard instruments played normally or by coaxing out new sounds, voices and various electronics. Many of the pieces were very soft with long pauses and this invited a high level of alertness and concentration from the audience.
The nine works offered in this concert were highly varied in their instrumentation and approach – here are some random observations and reactions:
Through the window and the wood – Daniel Brandes. Very soft solitary electronic tone that slowly increases in volume, is then joined by a voice and followed by silence for several minutes. The most subtle of pieces, the long silences and low dynamics are effective in putting the listener in a heightened state of anticipation. Read the rest of this entry »
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As part of a two-week long concert series of experimental music, For John Cage (1982) by Morton Feldman was heard at The Wild Beast performance space on the campus of California Institute of the Arts in Valencia, CA on August 14. Dante Boon was at the piano and Andrew McIntosh played violin in the concert titled, suitably, ‘Bon Amis‘.
John Cage and Morton Feldman both have historical connections to Cal Arts: Cage received an Honorary Doctorate of Performing Arts from the Institute in 1986, and Morton Feldman was composer-in-residence that same year. The Wild Beast was named in honor of Feldman who, according to the campus website, “likened the ineffable creative energy in art to a wild beast.” The Wild Beast is an airy but not overly large space with good acoustics that were well-suited to this performance.
For John Cage is a quiet piece for piano and violin played at very low dynamic levels, yet all of the nuances could be plainly heard. Typically the piano plays a few notes or a soft chord and the violin answers, followed by a brief pause. The phrases are sometimes repeated, or the violin sounds first or they may play together – but the call-answer pattern predominates. For me the sequence was most effective when the piano made a declarative statement and the violin softly reflected off the slightly harder tones of the keyboard. This seemed to heighten nuances in the violin, especially in the quietest passages.
Dante Boon provided a solid foundation throughout, never tentative with the many piano entrances but always with the delicate touch that this piece requires. His sensitive playing set the stage for the violin and here Andrew McIntosh displayed amazing control of pitch and intonation, even when the sounds coming from his instrument were barely above a whisper.
Despite the fragmented nature of the piece – and its 75 minute length – it was never boring. This was due largely to the quality of the playing but also the fact that it was performed live in a space where the finest details were audible. The soft dynamics invite the listener to concentrate on each passage played and to create the context for it. This is challenging listening but those in attendance were engaged throughout – and there were happily no coughing attacks or cell phone outbursts to break the spell. This was an excellent performance of one of the landmarks of late 20th century experimental music.
The concert series concludes with Es geht weiter, music by Jason Brogan, Dante Boon, Taylan Susam, Sam Sfirri, Daniel Brandes, Stefan Thut and Johnny Chang at The Wild Beast, Cal Arts, Valencia, Saturday, August 17 at 5 pm. Admission free.
On August 9, Christian Wolff’s Changing the System (1973) was performed by the new experimental music group Southland Ensemble, in the heart of historic China Town here in Los Angeles. About 40 people filled Automata, a small space at Chung King Court dedicated to the experimental arts, to hear Wolff’s politically charged and innovative work that utilizes graphical scoring designed to inspire a kind of consensus-driven interpretation from the players. Enlarged reproductions of the score were hung on the walls and the audience was encouraged to walk about and inspect them during the performance.
Christian Wolff is the last surviving member of the New York School of experimental composition that famously included Morton Feldman and John Cage. In fact it was Wolff who gave John Cage a copy of I Ching , stimulating that composers use of random processes in composition. And Wolff himself, according to the program notes, sought “to turn the making of music into a collaborative and transforming activity…” allowing the players to work out the realization of the piece within the guidelines of the score. Read the rest of this entry »
“I am not a cheerleader,” Auerbach says in our meeting, the day after The Blind premiered on July 9th as part of Lincoln Center Festival. (until July 14th)“I am not trying to please anybody, which, by the way should not be the goal of any artistic endeavor. Yet, art should give you something you have not yet experienced in the same way and you want to be changed by that experience.” Despite Auerbach’s artistic intentions, critical voices have emerged which attack the political correctness of the core metaphor of The Blind, giving rise to a debate about a symbol largely removed from the context of the work. I ask her, “Why the blindfold? Why the potentially sensational effect?” She explains: “I am not about shocking; The Blind is not a gimmick, but aims to fulfill to Maeterlinck’s (the playwright) call for a symbolist breaking of barriers, and attempts to provide a deep psychological understanding. It also pertains to a religious, meditative state of being, which entails a certain unearthing experience of disorientation, facilitated by the absence of the visual element. The Blind brings the audience away from the material state, exploring mental communication with the music’s ritualistic elements, and hopefully lets the audience come away with an individual learning experience that will stay with them, potentially changing who they are.” Directed by John La Bouchardière, the New York production of the work, which Auerbach for lack of a more precise description refers to as “a cappella opera,” has omitted the traditional stage setting used in the 2011 Berlin Konzerthaus and Moscow Stanislavsky Theatre productions of her score and libretto.
This new, innovative production takes The Blind a step further, eliminating the darkened stage of former productions in favor of the extremely isolating effect of blindfolding the audience; this theatrical method addresses our extreme reliance on visual effects, and aims to challenge the audience’s capacity for hearing, listening, smelling, and feeling temperature, thus evoking a heightened sensory and emotional experience. “Part of Maeterlinck’s conception is a distinct religious connotation, and includes elements of randomness, which, in this production led also to the separate placing of women and men,” says Auerbach, and adding that the experience of the piece also differs slightly for each participant, depending where they are seated. “Every staging demands different elements; in this particular one, timing and positioning was essential to the flow and the individual impression of each audience member.” The physical experience of The Blind’s staging is truly unique, and remarkably executed. Read the rest of this entry »
Liquid Skin Ensemble teamed up this weekend with the dance company Naked With Shoes for an evening of new music and choreography at the AndrewShire Gallery in the vibrant Koreatown area of Los Angeles. Two concerts were given – July 5 and 6, 2013 – consisting entirely of works by Steve Moshier and featuring the premiere of a new piece, Guilt of the Templars. Original choreography was provided by Jeff and Anne Grimaldo, and also dancer Mary Stein. The AndrewShire art gallery is an intimate space – holding maybe 40 people – and the arrangement of audience seating, musicians and dance space, while imperfect, was the best that could be done. The sight lines and acoustics in this venue are not ideal, especially given the dynamic power of Liquid Skin, but this did not detract significantly from the performance. The dancers also coped well with the limited space.
The Liquid Skin Ensemble has been a presence in the Los Angeles new music scene for over 13 years and their trademark rock-solid playing is a happy consequence of the stability of the personnel – the seven members of this group have played together for a long time and it shows. The mix of guitars, keyboards, saxophone, electric bass and Moshier’s vibraphone make for a balanced combination of percussion and sustained sounds that were used to good effect throughout the concert. Works dating from 1981 up to the present were included in this concert and gave a sort of historical arc to the programming.
The music of Steve Moshier falls squarely within post-minimal/neo-tonal tradition with propulsive percussion and driving rhythms such as were heard in the opening piece Shakeout (1981). The dancers here responded accordingly with a sort of fight scene that mirrored the high energy in the music. This was followed by Hidden Face (1990), a slower, more introspective piece that felt much more fluid and relaxed. Hero of the Blast Furnace (1983) featured more fast and hard rhythms with the dancers artfully including chairs in their choreography. Lost Souls (1991) gave the dancers another workout with chairs and a strong beat. The call and answer between the saxophone and vibes was particularly effective here and at the end the dancers were fully extended across the chairs, exhibiting an enviable agility and athleticism.
Two Liquid Skin pieces were offered without choreography. Cross the Wounded Galaxies (1985) has a light, airy texture that starts in the vibraphone and is variously joined by guitar, woodwind and keyboards. Different combinations of the instruments pass the theme around and the swelling tutti sections, when dominated by the saxophone, are especially effective. Leaving Paphos Ringed with Waves (2010) was probably the most serene piece in the concert – quiet, simple and almost chant-like.
This set the stage for the premiere of Guilt of the Templars: for the Liquid Skin Ensemble (2013) and this was accompanied by dancers Anne Grimaldo and Mary Stein. The title suggests some sort of dark, medieval thundercloud of a piece, but it is actually a light, cheerful work that begins with the dancers bouncing two large rubber balls back and forth in a sort of game. Gentle and disarming, the piece quickly acquires a child-like charm. The two dancers are both very tall women and this piece was subtitled ‘Too Long Ladies’ – a truth that was ironically disguised by their costume and playful choreography.
About midway into the piece the accompaniment by Liquid Skin Ensemble ceased and the dancers sang out several of the tall cliches that they must have been endured growing up: “How is the air up there?” and “My, you are a tall drink of water!” – a sort of cathartic release that generated an empathic response from the audience. They then sang several of the old Doublemint Gum tunes – a parody put down of the old sexist jingle that invites you to ‘double your pleasure, double your fun’ – and this was received with a knowing laugh by the audience. A video followed, projected on the wall, showing the ‘Too Long Ladies’ outdoors on sidewalks, streets and curbs performing dance steps on everyday objects underfoot. The video was accompanied by Liquid Skin, and as is the case with music skillfully written and performed for a film or video, you forget that the musicians are even in the room. The dancers may have stolen the show in this piece, but Guilt of the Templars was a fine finish to an evening of good music and skillful dancing.
The Liquid Skin Ensemble is:
Jannine Livingston – Electric keyboard
Ruth Cortez – Electric Keyboard
Mark Gordillo – Amplified Acoustic Guitar
Hai Truong – Electric Guitar
Susanna Hernandez – Electric Bass
Michael Lassere – Saxophones
Steve Moshier – Vibraphone
More information about the AndrewShire Gallery is here.