On February 12-14 and February 19-20, ECCE Ensemble premieres Switch, a new opera by my friend and colleague composer John Aylward. Directed by Laine Rettmer and conducted by Jean-Phillipe Wurtz, the piece features two vocalists: soprano Amanda DeBoer Bartlett and bass-baritone Mikhail Smigelsk. The project is part of ECCE’s year-long residence at Le Laboratoire,a new multimedia space in Cambridge that combines visual arts, music, the sciences, and even olfactory stimulating exhibits.
To whet your appetite, below is a video of Aylward’s Ephemera.
WHAT: World premiere of the contemporary opera Switch
WHEN:February 12-14+ February 19-20 at 7:00 p.m.
WHERE: Le Laboratoire, 650 East Kendall Street, Cambridge, MA,
T: Red to Kendall Square
TICKETS: $40/$20 Students.
To purchase, contact Le Laboratoire at
617.945.7515 or visit LeLaboratoireCambridge.com
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.
On Saturday December 5th at New York’s Church of St. Mary the Virgin, the Tallis Scholars, directed by Peter Phillips, presented a program that included two composers firmly ensconced in their wheelhouse. Sacris Solemniis and Gaude, Gaude, Gaude by John Sheppard (c. 1515-1558), with long held chant notes offset by passages of sumptuous counterpoint and spare plainsong, provided context and set the stage for the later Renaissance work on the program, Thomas Tallis’sMissa Puer Natus Est Nobis. This piece is also filled with the intricate polyphony, but it makes use of what was by then an archaic device – long held notes in the tenor voice. At St. Mary’s, the piece felt jubilant, bustling with busy passage work and corruscated with counter-melodies.
The concert also featured music by a composer active more recently, the Estonian Arvo Pärt, who turned eighty this past year. These newer works were given incandescent performances. In contrast to the Tallis mass’s busy textures, Pärt’s O Antiphons epitomized clarity of line. The upper voices soared in his Magnificat.I am the True Vine featured delicate and touching harmonies, rendered by the Tallis Scholars with impressively pure diction. Indeed, while one hesitates to downplay the Renaissance portion of this thoughtful and well-balanced program, it was the Pärt that stole the show.
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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Composer William Mayer turned ninety this past November. On Friday December 11th, Ardea Arts has supplied him with a slightly belated birthday gift, and audiences with a treat, by presenting his one-act opera One Christmas Long Ago (1962).
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Last month, I heard the second installment of Anthony De Mare’s Liasons: Re-Imagining Sondheim from the Piano project at Sheen Center. De Mare has commissioned dozens of composers to fashion arrangements of Sondheim songs. The results are as fascinating as they are eclectic.
On Thursday at Symphony Space, De Mare completes his live presentations of the commissions with a third concert. Among the featured composers are Steve Reich, David Rakowski, Paul Moravec, and Duncan Sheik. The concluding arrangement is by De Mare himself: “Sunday in the Park – Passages.” Sondheim will be on hand and the ECM recording, a 3-CD set, will receive its official release.
There are some tickets left to the performance (buy here).
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.