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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Augustus Arnone performs Milton Babbitt’s Time Series and other solo piano works at Spectrum, Sunday January 24, at 2pm
This year marks the centenary of the legendary composer Milton Babbitt (1916-2011). To my ears, his extensive body of piano works especially channels his singular charm as a raconteur. Over the decades a number of pianists have championed some of Babbitt’s major piano works, for instance Robert Helps and Robert Miller performing and recording his Partitions (1957) and Post-Partitions (1966) in early days and much more recently Marilyn Nonken did as much with Allegro Penseroso (1999). Babbitt’s Reflections for piano and synthesized tape (1975) has been performed by the likes of Anthony de Mare, Martin Goldray, Aleck Karis, and Robert Taub, the latter two of whom also recorded it. Robert Taub and Martin Goldray recorded and released full-length CDs. Alan Feinberg too presented stellar renditions of Minute Waltz (1977), Partitions (1957), It Takes Twelve to Tango (1984), Playing for Time (1979), and About Time (1982) on a 1988 CRI CD.
Yet only one pianist has earned the distinction of presenting the entire oeuvre of Babbitt’s solo piano works in concert. And that is Augustus Arnone, who performed the entire set, spread over two concerts, in 2007. In honor of the Babbitt centenary, Arnone is performing the entire set again (this time spread of three concerts) at Spectrum on Ludlow in NYC. The largest work on the program is Canonical Form (1983) which I’ve heard several Babbitt aficionados recently describe as their “favorite” and “most beautiful” Babbitt composition. The most recent work is The Old Order Changeth (1998). The concert also presents a rare opportunity to hear the entire ‘The Time Series’ (Playing For Time (1977), About Time (1982), Overtime (1987)), the last part of which has never been released on a commercial recording.
Arnone’s performance begins at 3pm, but prior to that, at 2pm, will be an interview-discussion between me and the composer-theorist Robert Morris, who, in parallel with the latter half of Babbitt’s career, developed his own independent approach to serial and post-serial composition. Morris has also been an avid listener of and writer on Babbitt’s compositions over several decades. The event should be worth the trek through any rain, sleet, and slush.
Augustus Arnone: The Complete Piano Works Of Milton Babbitt, Concert II
Sunday Jan 24, at 3pm (pre-concert discussion at 2pm) $20, $15 (Students/Seniors).
Spectrum, 121 Ludlow St, NYC.
Those interested in still more Babbitt can check out the Focus Festival at Juilliard, which begins tonight and goes through next Friday. I’ll be writing about that more next week.
Pianist Jenny Q. Chaiis a versatile artist. Her repertoire includes works by contemporary Europeans such as Phillipe Manoury and Marco Stroppa (her dissertation topic), and she recently recorded an excellent portrait CD on Naxos of music by Nils Vigeland. She also performs standard repertoire, such as Robert Schumann and Claude Debussy.
On January 10, in a program entitled Where is Chopin? (subtitled “Steampunk Piano 2″), Chai creates a juxtaposition of Carnaval by Schumann with brand new pieces that feature artificial intelligence, performing the music of Jaroslaw Kapuscinski, a Stanford University-based composer who uses the AI program Antescofo. It supplies a live visual component that responds to the particular nuances and inflections of a given performance. Doubtless Chai will give the program plenty to think about.
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’sFathoms (Cello Sonata).
The group’s DaCapo recording Danish Romantic Piano Trios is out now.
Danish Piano Trio
Weill Recital Hall
December 17 at 8 PM
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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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.
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.
It’s that time of the year again, my composer friends! …When Marvin Rosen, WPRB’s champion of contemporary composers (far and wide, high and low, in or out, he likes you all!) is preparing his yearly “VIVA 21st CENTURY” 25-hour radio marathon, playing works from — well, you! Send along you recording by the December 5th deadline and you too can be a part of the big show. Full details below:
CALL FOR NEW MUSIC RECORDINGS
To be presented during the 11th Live Marathon (10th devoted to 21st century music) curated and hosted by Marvin Rosen, host of the award-winning program, Classical Discoveries and presented on WPRB, Princeton NJ at 103.3 FM or on line at: www.wprb.com
The title of this year’s radio extravaganza is “24 HOUR PLUS – VIVA 21st CENTURY” will start Saturday, December 26th at 2:00pm (EST time) and will go nonstop, live, until 3:00pm on Sunday, December 27th, and yes, this year’s Marathon will run like last years did – 25 hours.
This year Marvin is requesting composers to send him recordings of works completed between 2006- 2015.
Only recordings on CD (no MP3’s, no downloads) will be accepted and must be received by Marvin no later than Saturday, December 5, 2015. The maximum length of each work submitted should be no more than 15 minutes. All private recordings must have good sound quality and released for radio broadcast by the owner of recording (a statement from submitting person is sufficient). Marvin knows that in today’s time many music transactions are done via downloading etc., but since he has a full time job, as well as other volunteer duties, the recording submission process has to be done as conveniently for Marvin as possible.
If you are interested in being part of this crazy annual new music marathon please e-mail Marvin directly for more instructions at: email@example.com
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On October 30, 2015 WasteLAnd presented Study for Eurydice, a concert at Art Share LA in downtown Los Angeles. A nice Friday night crowd filled the restored industrial performance space for an evening of new music.
The first piece, Relay/Replay by Yiheng Yvonne Wu, featured Rachel Beetz on flute. A computer played recorded flute sounds through speakers mounted above the performance area. Relay/Replay began with a brief high-pitched tone from one of the speakers, answered in kind by the flute. A short silence followed and the sequence repeated. A pattern of call and answer continued and the electronic part gradually changed as the replies by the became more varied as if a conversation were occurring in a different language. A low trill from the flute was mimicked by similar sounds from the speaker, like birds calling back and forth. Towards the end of the piece there were sounds from both speakers that ultimately resolved into a low, pure tone. This was actually a recording of the flute – greatly slowed down – that added a mysterious feel. The flute passages that followed felt more organic and brighter by contrast. The low tone increased in volume, becoming dominant and more assertive as the piece ended. Relay/Replay is an intriguing combination of flute playing and electronic sounds derived from the flute, artfully uncovering both similarities and differences.
Susurrus by Panayiotis Kokoras for violin, cello and piano followed, beginning with a series of sharp rapping sounds from the players on their respective instruments. The result was a sort of unsettled clatter that was soon joined by the amplified strumming of strings inside the piano. There was an active and tense feel to all of this – there were no musical tones heard initially, but rather the rhythmic rattle of various extended percussive techniques. Eventually a sustained cello note was heard that slowly decreased in pitch and some piano strings were plucked to form identifiable notes. At one point the musicians voiced the sounds of rushing air using their breath and this added a remote, windswept feeling to the proceedings. Apart from a few notes heard now and then, there was no conventional melody, beat or regular rhythm and this gave an edgy, feral feel to the ensemble. The coordination between the players here was remarkable given how far this piece stands outside the bounds of conventional music. Susurrus is a journey that takes the listener past the limits of ordinary musical practice and into to new levels of expression.
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.