Archive for the “Los Angeles” Category
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 »
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.
The 2013 Ojai Festival continued its look at American composers with a performance of Suite for Symphonic Strings by Lou Harrison on Saturday, June 8 in the Libbey Bowl. A 24-piece orchestra comprised of the Mark Morris Dance Group Music Ensemble and the American String Quartet filled the stage with a strong presence. Joshua Gersen conducted.
Suite for Symphonic Strings is an assemblage of pieces composed at various times in Harrison’s career, and is loosely based on allusions to the Greek gods. One of his most-performed pieces, Suite for Symphonic Strings reflects a diversity of influences. The dance-like first movement Estampe and the fourth, Ductia: In Honor of Eros, clearly betray the Asian influences that Harrison absorbed as a West Coast composer. Other sections, such as the second, Chorale: Et in Arcadio Ego provide a warm, open sound full of lush harmonies. Still others such as number five, Lament and nine, Nocturne are poignant and quiet while number three, Double Fugue: In Honor of Heracles, has a anxious edge. It is a piece that is rich with a variety of feelings and emotions and these were put across effectively by the string orchestra.
During some of the quieter moments in the piece the inevitable outside noises of kids playing in the park, or the band playing in a nearby bar could be heard, but these did not detract decisively from a fine performance of Harrison’s lovely music.
After a short intermission For Lou Harrison by John Luther Adams was performed by the same string ensemble, but this quickly became problematic. Full disclosure – I am a big fan of this piece and was excited when it was programmed for this year’s festival. This performance, however, suffered from too much sound coming from the big orchestra. The beginning arpeggios washed over the listeners like a tidal wave and became relentless as the piece progressed.
The notes and tempo were correct – and what I heard certainly resembled the piece I love – but too much of the intimacy and sweetness of the piece was lost in the translation to larger musical forces. It seemed to work best when at the lower dynamic levels and there were occasional flashes of the beauty that this piece contains. But much like the sacred music of Bach, For Lou Harrison is too much the chamber piece to be scaled up to the level we heard in this performance. Additionally, the outdoor venue became quite chilly in the late evening after a long day of warm temperatures and this didn’t help the concentration of the listeners or the conditions for the musicians. The length of the piece, with all the players playing most of the time, eventually became wearing and the audience was visibly restless as the final chords sounded.
A much more satisfactory outcome was heard the following morning with the performance of songbirdsongs, another outdoor piece by John Luther Adams. The venue this time was Meditation Mount, a local Ojai landmark about 5 miles out of town. The location was high along a narrow winding road and buses were required to take the listeners up to a small promontory that overlooks the Ojai Valley. About 200 early-risers packed themselves into a performance space just a few dozen yards across. Red fish blue fish and two brave piccolo players formed the smallish ensemble. Percussion stations were scattered around the area and the players moved about as necessary for each section.
Written over several years (1974-79 and revised in 2006) and as the title indicates, songbirdsongs is a series of musical realizations of bird calls. As the program notes describe, the players are to “play with the free intonation and inflection of bird songs, not in exact temperament. Time should also be free and fluid…”
The nine sections of the piece are titled after the names or characteristics of various birds and evoke a wide variety of natural sounds. The piece proceeds with a back and forth calling of rapid, bird-like phrases between the piccolos. Other percussion pieces join in, generally at a low dynamic, and convincingly portray the familiar landmarks of a woodland or meadow. The music and the surroundings actually seem to merge together in the mind of the listener.
There are regular pauses in each section – and with the audience sitting stone silent – the natural sounds of the environment became part of the performance. This was remarkably effective – as a city fellow I don’t pay much attention to the sounds of nature – but during the pauses in this piece I suddenly become aware of all of the birds in the surrounding trees calling back and forth. I am no naturalist but it seemed to me that some of the local birds were actually answering the piccolo calls. I talked later to one of the piccolo players who said that a bird swooped down and buzzed by her head during one passage.
The integration between performance and nature was virtually seamless and the audience agreed that this was an experience far beyond that found in the average concert hall. Music, intention and venue met successfully in this performance of songbirdsongs and it makes a powerful case for the direction John Luther Adams has taken with his art.
More information about the 2013 Ojai Festival is here.
The 2013 Ojai Music Festival began this week under the artistic direction of choreographer Mark Morris. The festival will focus on American composers including Charles Ives, Henry Cowell, John Cage, Lou Harrison, John Luther Adams and Terry Riley. Two pieces – Strange and Sacred Noise as well as songbirdsongs by John Luther Adams – were scheduled for outdoor performance in rural venues.
The first of these performances, Strange and Sacred Noise (1997) was sited on a knoll in Upper Ojai that is part of a local country school about 10 miles out of town. The 8:00 AM concert time found the musicians and about 150 listeners wrapped in an early morning mist. The percussion ensemble red fish blue fish had set up several stations around the top of the hill and the players and audience were free to move about as the piece progressed. Folks sat on blankets or brought a chair, but most stood and watched, moving as necessary to hear each section.
The beginning of the performance was announced by a sharp field drum roll and a series of characteristic rhythms that comprise …dust into dust…, the first section of Strange and Sacred Noise. The early morning stillness made for good listening in the open air, and a series of soft snare drum rolls that alternated in dynamics were clearly heard and very effective. Despite the unusual venue and informal atmosphere the audience was attentive; a series of pauses in this section would briefly restore the early morning quiet and this seemed to engage the listeners even more.
The second section, solitary and time-breaking waves, was played on a four tam-tams placed about 50 feet apart. A series of rolling crescendos rumbled through each register adding to the mystical atmosphere of the morning mist. The shimmering sense of waves and swift river currents invoked by this section reminded me of parts of Inuksuit, another JL Adams piece performed at Ojai last year. Inuksuit is on a much larger scale and was performed with several hundred in attendance outdoors at Libby Park and the audience reaction then was to watch and listen and to wander among the players while talking or calling on cell phones. For Strange and Sacred Noise, however, the audience was silent – as if in a concert hall. In both cases the audience reaction seemed appropriate and the staging of outdoor performances continues to be a good way to help people connect with new music.
The third section of Strange and Sacred Noise begins with a powerful roll of bass drums that vary in dynamics as higher register tom toms vary in tempo. Titled volocities crossing in phase-space this provides a muscular contrast to the previous section. The cross currents developed by the rhythmic interplay between the drum sets make for an interesting listen. The fourth section – triadic iteration lattices - consists of four differently pitched hand cranked air-raid sirens that are started at different time intervals. The sound of four sirens screaming out into the pastoral landscape was strikingly surreal, and the inclusion of these sounds in an outdoor percussion piece designated for a rural setting seems unusual. The rising and falling of four continuously changing pitches made for some unusual sonic combinations as this section progressed, however, and the fun of it is too much to resist.Sections 5 through 8 of this work are titled clusters on a quadrilateral grid and are performed on various marimbas, vibraphones and xylophones. The first part on marimbas is very quiet – a ten second pause by the players and then a switch of harmonies add to the mystery. The next part on xylophones is strident and dissonant and makes a fine contrast. After that a switch to bell-like registers form a lighter, faster texture and finally there is a return to the marimbas – a sort of da capo – completing section 8.
The ninth and last section of Strange and Sacred Noise – titled … and dust rising… - is a return to the original field drum set that opened the piece. By now the haze had burned off revealing the mountains that surround the knoll and the soft snare rolls and louder rhythms recalled the opening section but in a changed environment.
Strange and Sacred Noise is one of the earlier pieces by John Luther Adams that explore the sense of place and its connection to the environment. The little knoll in Upper Ojai was a fine venue and seemed well suited to the occasion.
Later that morning in the Libby Bowl Terry Riley’s In C was performed by 26 musicians including percussion by members of red fish blue fish. The sound system was in good form and those of us on the lawn could hear the precise rhythms and tight ensemble that was playing on the stage. To my ear there was a solid bass line and this gave the piece a sense of reserve and formality. But what it may have lacked in exuberance was more than offset by a consistently good reading as the piece progressed. Pronounced dynamic changes from time to time gave the texture some relief and the audience was for the most part engaged with a groove that was carefully sustained for the entire 65 minutes. At one point – about 36 minutes in – the combination of basses and voices was reminiscent of Wagner. At 49 minutes that same combination produced a definite sense of the majestic. Not what I expected but a very fine reading throughout.
This was a solid performance of In C and if recorded might make a good addition to the history of Terry Riley’s classic of minimalism. More information about the Ojai Music Festival can be found here.
On Friday, February 22 the week-long 2013 residency of Tom Johnson in Los Angeles was capped off with a concert of his music at the wulf, an experimental performance space deep in the gritty heart of industrial downtown. Featured was the Los Angeles premiere of ’Clarinet Trio’ and four other works, plus the occasion was also marked by the release of a new CD of Tom’s works titled ‘correct music’ from Populist Records. About 50 people crowded into the reclaimed factory loft to attend the event and what the wulf lacks in amenities was more than compensated by the enthusiasm of the young audience. The concert was free and there was an ice chest full of Tecate beer – what’s not to like?
Tom Johnson’s time in Los Angeles this past week was spent giving lectures on mathematics and music at Cal Arts, hosting an exhibition of his drawings in the Art Share LA gallery and presiding over concerts of new music. Tom has deep minimalist roots and, according to the concert notes, “works with simple forms and limited sonic materials, utilizing logic and mathematical models in both his music and his drawings.”
The concert began with Clarinet Trio, performed by Jim Sullivan, Brian Walsh and Damon Zick. This piece consists of a series of short passages with changing sets of three note chords separated by short pauses. Tom Johnson uses mathematics and sets of drawings to describe his intended sequence of the various permutations of musical sound and these are then translated into the written score and parts. Clarinet Trio was constructed to explore the possible ways of playing seven different three-note chords and this took about 20 minutes to unfold. The different segments varied in rhythm, attack, dynamic and tempo but the ensemble playing here was very tight and each phrase was cleanly played with good intonation. The acoustics of the small space at the wulf were well-matched to the musical forces and those listening were very attentive during the Trio – even the 5 second pauses between phrases became familiar after a few minutes. The occasional horn blast from the nearby freeway made its way inside during the silences, but this was not a distraction. The premiere was well-executed by the performers and well-received by the audience.
The second piece was Eggs and Baskets, a narrated piece that is similar in construction to Tom’s Narayana’s Cows. The idea in Eggs and Baskets was to musically describe all the possible ways to put six eggs in two baskets. The two baskets were represented by a viola, played by Andrew McIntosh and a clarinet played by Brian Walsh – as the narration progressed each player sounded a series of notes representing the number eggs in his ‘basket’. The interplay between the viola and clarinet thus became increasingly varied as the permutations grew, with notes trading rapidly back and forth within the same phrase – but this was cleanly done and very effective. The narration by Douglas Wadle nicely connected the playing to the concept, making for an enjoyable piece.
Trio for Strings followed and this set out to play “all possible 3-note chords adding to 72 where C = 24” – some 280 combinations altogether. This was a smooth legato sound of rapidly changing tone combinations, often dissonant. I found that my ear would follow one or the other string players for a time, the chords that sounded were brief and constantly changing. The pitch discipline of the string players was impressive as each tone typically did not bear any familiar relationship to those around it. Hearing this piece is like listening to a computer roll through the possible permutations of a pitch set and it gives a striking example of just how small a subset our traditional tonalities are of all the possibilities that are available in the equal-tempered scale.
Tilework for Piano followed and this was played by Dante Boon, the Dutch composer and pianist. This was similar to Clarinet Trio in that it consists of a series of short phrases built from a limited number of tones, separated by short pauses. The piano gives this piece a more introspective feel and I found my ear tended to concentrate more on the patterns than the pitches or timbre. A concert presented by Mr. Boon will be given at the wulf on February 28.
The concert concluded with Eight Patterns for Eight Instruments, and the musical forces used for this performance were sax, piano, violin, clarinet, accordion, guitar, flute and oboe. There is a video of this piece on YouTube as played mostly by strings but the use of winds here yielded a brighter, more accessible sound. ‘Eight Patterns for Eight Instruments’ consists of eight short segments of scales and simple chord patterns. This music is as close to the classic minimalist style as was heard during this concert and the eight instruments played tightly together, filling up the space with a well-balanced sound. A sort of warm optimism radiates from this piece that is appealing and, if anything, too short.
This concert was a good illustration of just how fully grounded is the music of Tom Johnson on the mathematics of combinations and permutations. Rarely has a music been so rigorously architected – the drawings that Tom uses to structure his work look very much like a set of drafted plans or a chemical diagram for a complex molecule. Other minimalist composer’s of Tom’s generation incorporated repetition and gradual changes in rhythmic patterns to realize their music. Tom’s music stands out because of his use of an entirely different mathematical space to guide the structure of his works.
Further information about upcoming events at the wulf is available here.
More about the exhibition of Tom Johnson’s drawings at Art Share LA can be found here.
The 100th anniversary of the birth of John Cage was celebrated in Pasadena, California at the Boston Court Performing Arts Center with a concert by Gloria Cheng titled Two Sides of Cage’s Coin. The Boston Court venue is comfortably cozy and all but a few of the 100 seats were filled to hear Water Music and the entire sequence of Sonatas and Interludes. Despite the modern industrial construction of the hall – it has corrugated steel walls – and a play going on in the adjacent theater, the acoustics proved more than adequate for the intimate space.
John Cage was born in Los Angeles and has many connections here despite being known primarily as a New York composer. Cage studied with Schoenberg at UCLA – where Gloria Cheng is now a faculty member. He lived for a time in Pacific Palisades and later in Hollywood. Cage was also a colleague of Lou Harrison and taught at Mills College in the Bay area. To mark the centennial here in Los Angeles of the birth of John Cage – one of Americas most influential composers – is entirely fitting and appropriate.
The first piece on the program is known generically as Water Music but as Ms. Cheng explained the official title should be Boston Court, Pasadena August 24, 2012 because Cage had intended the title to be taken from wherever it was performed. This piece was first presented as 66 W. 12 at Woodstock, NY August 29, 1952 and so the title is updated on each playing. Water Music is partly music and partly performance – the score calls for a table radio, three kinds of whistles, cups and pitchers of water, a wooden stick and a deck of playing cards, all in addition to the piano. (A similar piece - Water Walk – was once performed by Cage himself on the old I’ve Got A Secret TV program and you can see this here on You Tube.)
Boston Court, Pasadena August 24, 2012 started with the rolling out of a small cart full of items to center stage – the radio plays – and Ms. Cheng began a series of activities such as pouring water from cup to pitcher, blowing various whistles, etc. This was all done by timing the sequence of actions with her iPhone (a nice 21st century touch) and following Cage’s score, which was projected overhead for all to see. No one brings as much dignity to the concert stage as Gloria Cheng, but she could have been a 1950s housewife scurrying about attending to various domestic chores. When the score called for a chord or two on the piano, however, everything changes: it is the virtuoso who – with just a few notes struck – suddenly and decisively shifts the focus to an artistic perspective. It is this overlap between the mundane and the suddenly artistic that makes this piece so intriguing – our ordinary lives are never quite removed from the arts – and art bleeds into our everyday experience.
Sonatas and Interludes for Prepared Piano was written over two years,1946 to 1948, at a time when John Cage was working with choreographer Merce Cunningham. Ms. Cheng explained that because there was no room in the dance studio for drums, Cage hit upon the idea of adding various pieces of hardware to the piano strings to give it a more percussive sound. He eventually devised explicit instructions on how the piano was to be prepared and he specifies individual types of screws, bolts and plastic pieces for each of 45 different notes on the piano. A complete chart by Cage showing how the piano is to be prepared was included in the program.
To those who have never heard a prepared piano the resulting sound invariably exceeds prior expectations. The lower prepared notes have a wonderful gong-like quality while the middle register can produce beautiful bell tones. The higher notes tend most toward the percussive, at times resembling the notes from a music box. The added texture of the prepared piano is fully explored in Sonatas and Interludes which are, by turns playful, dramatic, solemn, agitated, languid, mysterious and tranquil. The ‘Sonatas’ are played in groups of four followed an ‘Interlude’ for a total of 20 pieces – all played sequentially. This work was written at a time when Cage was studying South Asian music and culture – the various pieces in Sonatas and Interludes evoke a definite exotic and mystical feeling and are intended to portray the eight permanent human emotions as defined by Indian philosophy.
As might be expected, Sonatas and Interludes is a very challenging work for the performer – from the 3 hours of piano preparation time to understanding just how each note will feel and react. And of course you can see that the piece is technically difficult just by looking at the notes on the score – rapid runs of complex arpeggios, soft quiet stretches and dramatically loud passages. Because the hardware tends to shorten the duration of the sound when a prepared note is struck, this music is typically a sequence of single notes and rapid runs with very few long chords – a good test of the performer’s dexterity. Ms. Cheng was up to all of this but what impresses most is her ability to find just the right dynamic and “touch” for each section – even with 45 of the keys prepared. I asked her afterwords if she had much chance to practice on a prepared piano and she responded that at one time she did so but now feels confident given her experience with Cage’s music. In any event the results were well-received by the audience who brought Ms. Cheng back for two curtain calls amid much cheering. Gloria then invited those interested to come on stage to look inside the piano – and help her “de-prepare” it – a gracious gesture from an accomplished performer.
This concert was sponsored by Piano Spheres and information on their upcoming concert season can be found here.
The great diversity of the Los Angeles area has produced a wide variety of cultural institutions and one of those is the Los Angeles Jewish Symphony (LAJS) – an expression of the sizable Jewish community here. The LAJS is “Dedicated to the performance of orchestral works of distinction, which explore Jewish culture, heritage and experience. It also serves as an important resource for aspiring composers and musicians. As part of its mission, the Los Angeles Jewish Symphony is committed to building ‘bridges of music’ and understanding within the diverse multi-ethnic communities of our great city.”
The LAJS marks its 18th or ‘Chai’ anniversary this year with a concert on August 26 titled ‘Chai-lights – Celebrating 18 years of Jewish Music‘. The concert includes a contemporary work ‘Klezmopolitan Suite‘ by Niki Reiser, in its US premiere. Past concerts have included themes from bible stories, the Sephardic-Latino connection, a tribute to Jewish film composers and many educational performances given throughout the city. As part of its mission, the LAJS actively commissions new works and often includes contemporary pieces in its programming.
Dr. Noreen Green, artistic director, conductor and one of the founders of the LAJS, recently met with Sequenza21 to talk about Jewish music, the LAJS and the process of programming and selecting new pieces for performance.
So what is Jewish music and how do you program it? Dr. Green describes: “People have this idea what of Jewish music is – like its bas mitzvah music – so I try to take it beyond. We do a lot of klezmer, but we do it within the framework of the orchestral instruments so it expands the colors of what klezmer is – I think it adds another level to it. And we also do Castelnuovo-Tedesco [an Italian-Jewish composer who came to Los Angeles in 1939 as a refugee] and we also do Bloch and we also do Korngold and a lot of the film composers. Being a good programmer is really key to how the audience is going to react. Whatever you want to say, we are entertainment dollars, so we want people to come and feel like they have had a high musical experience, but in addition I want them to feel like they have learned something – and had a little fun.”
How do you go about selecting new music for the LAJS? The process, admits a smiling Dr. Green is ‘mystical’, but she declares: “Well, it’s all subjective. First of all, I have to like it. I have to make sure it also fits into whatever theme the concert is. I will commission [a piece] within a theme, like the Istoria Judia, the piece had to fit into the whole.”
The Istoria Judia concert this past March had as its theme the expulsion of the Jews from Spain after 1492 and featured a commissioned work by composer Michelle Green Willner. There was a close collaboration between Dr. Green and the composer as the piece was written, but this is not necessarily the case for new music programmed by the LAJS.
Dr. Green explains: “I seek out the people I want to work with. Now of course there are a lot of people come to me and say ‘will you perform my music?’ – that’s more difficult. …I get bombarded with scores – as you can imagine. The ones I don’t even look at are the ones that come without an initial solicitation – a note or letter [from the composer] that asks ‘would you be interested in something like this?’ I have to come up with a kernel first – something to work from – then I go and seek out music. I have a file – and when people will say ‘I have a cello klezmer concerto – would you be interested in that?’ – and I’ll say ‘Maybe in the future but send me some information’ and that goes in the file. I’ve just done our repertoire for next year, so I went back into that file to see what I had – and I didn’t remember some of the things that had been sent. It can take several years sometimes, before a new piece fits into our programing.“
The LAJS does just a few concerts a year, so the opportunities for new music to be performed are also few, even given the commitment to programming it. It can take years for the right combination of theme and music to converge. This was the case with the ‘Klezmopolitan Suite‘, a work that has been around for some time. Dr. Green describes: “I think what is interesting about the Klezmopolitan Suite is that when I read the description of the themes that he [composer Niki Reiser] took, it encompassed all of the elements of what the Jewish symphony is about, because it uses Sephardic themes, it uses Ashkenazic and it intermingles those two main streams of Judaism in a very interesting and ingenious sound. It has ethereal sections and then it has the real flat out klezmer sections – and how he balances these out – I think it is an ingenious work and I’ve been wanting to do it for 10 years.”
How has new music been received by audiences? According to Dr. Green: “It depends on the piece – some people like it and some people hate it! And that is one of the beauties of new music, it engenders discussion.. and I think it’s great when people have very strong reactions to music. I would say 90% of the time mostly people like it, but sometimes people will say ‘well, that didn’t really resonate with me’. [and I say] ‘Great, didn’t resonate with you – but somebody else was crying during it’. It is similar to the way everyone reacts differently to a movie and that is part of the beauty of live performance. If you sit in front of the computer to watch something or listen to it on the radio – that is not a public experience, it’s not a shared experience – and I think we all need more of that, a shared, live experience.”
And that is as good an argument for live performance of new music as you will find!
Further information about the Los Angeles Jewish Symphony, Dr. Noreen Green and the August 26 concert are here.
Early reviews care of bloggers (one well-informed, one not so much)
Boosey and Hawkes has a perusal score available–through an inadequate interface methinks–here.
I was able to get some sense of the First Act by glancing at the score, and I wrote a preview for the LA Weekly here.
I’m attending the Sunday show and will report back here. Did anyone see the premiere last night? Your opinions are most welcome in the comments section!
Zachary Woolfe weighs in with the first professional review I’ve found online. His verdict? Moments of power and beauty, but Adams and Sellars were unable to sustain the intensity throughout the work.
Mark Swed calls it “a masterpiece” in his review here.
Joshua Kosman writes, “much of “The Gospel” finds Adams at his most evocative and inventive.” Read his complete review here.
Performing arts journalist Charlene Baldridge gives her impressions (highly favorable) on her blog.
Timothy Mangan finds The Gospel “a rather grueling evening of music,” but much of that music is “teeming and fascinating.” His review here.
Robert D. Thomas provides the most detailed reportage, although he appears to be withholding his judgement as to the work’s success or failure. His review here.
Pre-concert lecture from the world premiere, featuring John Adams here.
There has been plenty of eulogizing and assessment of Maurice Sendak’s remarkable career, most of it focused (rightly so) on his wonderful books. While Sendak’s work in opera and ballet has been praised, I don’t feel that enough attention has been paid to the two operas he worked on with Oliver Knussen. The first, Where the Wild Things Are, is the best children’s opera of our time; the second, Higglety Pigglety Pop!, is one of the best late 20th-century operas of any type. Higglety Pigglety Pop! is a fairy tale with great appeal to children, yet the surreal story of a selfish dog’s quest for happiness is laden with potent symbolism that speaks deeply to adults.
The efficiency of Sendak’s librettos to both works, and the ways he created new dialogue for Where the Wild Things Are, and distilled the text for Higglety Pigglety Pop!, reveal the handiwork of a shrewd man with a gift for the stage. Knussen’s music–impressionistic in Wild Things, parodic and post-modern in Higglety Pigglety Pop! is colorful and contemporary, yet highly accessible. I hope that more companies consider mounting a production of one or both operas.
I’ve posted my review of the 1990 LA Opera production of both works on my blog, and I hope it will give you a sense of the magic that Sendak and Knussen conjured for an audience full of children and adults. You can read the review here.