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.
Photo Credit: Janette Beckmann Members of the Da Capo Chamber Players (Left to Right:) Curtis Macomber, violin, Patricia Spencer, flute, Jay Campbell, cello, Meighan Stoops, clarinet, Blair McMillen, piano
On Thursday October 1st, the Da Capo Chamber Players commemorate the hundredth anniversaries of two recently deceased American modernists: Milton Babbitt and George Perle. They will perform Babbitt’s When Shall We Meet Again and two works by Perle: Sonata a Quattro and Nightsong. David Fulmer, a Babbitt student, contributes the world premiere of Cadenza, a piece built out of his violin concerto’s hyper-virtuosic solo part. Rounding out the program are Jason Eckardt’s After Serra and Fred Lerdahl’s Times 3.
Though it is more modest in scope than other centennial tributes one can hear this season – particularly Juilliard’s Focus Festival, devoted entirely to Babbitt – the Da Capo event features several players who collaborated closely with Babbitt and Perle. Indeed, both of the Perle works were written for the ensemble. It promises to be an intimate evening filled with finely honed performances.
Thursday, October 1st at 8 PM
Merkin Concert Hall,
129 West 67th Street, NYC, NY
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Happy birthday to composer Terry Riley, who turns 80 today.
There are CD releases out this week to celebrate the composer. My assessment of ZOFO Plays Terry Riley appears in the CD Reviews section of Sequenza 21 and on my blog.
But wait, there’s more.
Nonesuch Records has done right by Riley. They have released One Earth, One People, One Love, a 5-CD boxed set of the complete recordings of Riley’s music composed for Kronos Quartet.The set contains a disc of unreleased tracks, Sunrise of the Planetary Dream Collector: Music of Terry Riley. For those of you yelling – “No fair! I already have the Kronos discs. I want to buy the unreleased recordings as a separate CD!” – Nonesuch is allowing you to do just that, separately releasing these recordings on a single disc.
Once again, happiest of birthdays Mr. Riley! May you continue to write the eloquently beautiful music we have come to know and love for many years to come.
Saddening news. Gunther Schuller has died at the age of 89. A musical polymath, Schuller was active as a composer, conductor, arranger, historian, educator, arts administrator and, earlier in his career, French horn player. He pioneered the concept of “Third Stream” music: works that combine influences and materials from jazz and classical music.
In Schuller’s honor, today I’m listening to a Boston Modern Orchestra Project recording of his pieces for jazz quartet and orchestra. Given all of the attempts over the years to synthesize jazz and classical, it is amazing how fresh these pieces remain, how effortlessly Schuller (and BMOP) move from one style to another, and how seamlessly they blend the two.
I was looking forward to this summer’s tribute to Schuller at the Festival of Contemporary Music at Tanglewood. Now this concert, with Magical Trumpets, a new work by Schuller, as well as his formidable Concerto da Camera, will serve as an elegy in memory of an extraordinary man of extraordinary talents.
On Monday, July 21st at 8 PM, the last concert of Tanglewood’s 2014 Festival of Contemporary Music is a well-stocked program of orchestral works. The centerpiece is Roger Sessions’s Concerto for Orchestra, a work commissioned by the BSO thirty years ago. Steven Mackey’s violin concerto Beautiful Passing will feature as soloist Sarah Silver, one of Tanglewood’s New Fromm Players. Music by John Adams has not in recent memory frequently been featured on FCM programs, but this year his Slonimsky’s Earbox makes an appearance. The sole work by a younger composer, The Sound of Stillness by Charlotte Bray, piqued my interest – it is an impressive piece. (Check out a video about it here.) Thus, this year’s FCM ends the way that many of its seasons are curated: with nods to tradition as well as explorations of new, unfamiliar, and underrepresented corners of contemporary repertoire.