On Friday, violinist Miranda Cuckson and pianist Blair McMillen release their ECM debut CD. It contains the Hungarian Béla Bartók’s Violin Sonata No. 2 (1922), the Russian Alfred Schnittke’s Violin Sonata No. 2 “Quasi una Sonata” (1968) and Polish composer Witold Lutoslawski’s Partita for Violin and Piano (1984). One can hear sound excerpts via ECM’s website. All three are interpretations of searing intensity, rhythmic vitality, and impressive ensemble cooperation.
One can hear works from the CD live at Le Poisson Rouge on May 10, where ECM will be hosting a release party for the two artists. Each will also take a solo turn with short pieces by Americans: Cuckson playing Carter and McMillen playing Stucky. Doors open at 6 PM; concert starts at 7 PM. More info can be found at LPR’s website.
At 7 PM on Thursday May 5th (Yom HaShoah, or Holocaust Remembrance Day) at the Czech Center in New York, Hours of Freedom: The Story of the Terezín Composer, a piece that explores the plight of fifteen composers imprisoned by the Nazis at the Thereisenstadt prison camp, will receive its US premiere. The high quality of the music these figures managed to write while in the camp is inspiring. Sobering too, as they were later deported to other concentration camps to be executed. One can only imagine the wealth of creative potential wasted: virtually a whole generation of Czech composers, including Gideon Klein and Viktor Ullmann.
Hours of Freedom features soprano Arianna Zuckerman, an interpretively thoughtful and persuasive performer, baritone Philip Cutlip, and narrator Jane Arnfield. Murray Sidlin arranged the material and conducts the ensemble. The performance is free. Reservations are recommended at email@example.com with your name, address, phone number and number of tickets; or call The Defiant Requiem Foundation at 202-244-0220.
March 4. Knitting Factory: Brooklyn, NY. Michael Daves album release concert.
Michael Daves was certainly apt in titling his debut solo album Orchids and Violence. The album presents twenty-four tracks: twelves songs realized with both a bluegrass band and an electric band. Mirroring the album, the album release concert featured both groups, both fronted by Daves.
There is something so compelling about seeing six musicians huddled around a single microphone, weaving in and out of each other as they take turns playing solos. In the bluegrass set, Daves was supported by five amazingly talented musicians. Noam Pikelny (banjo), Brittany Haas (fiddle), and Jake Jolliff (mandolin) play these incredibly virtuosic solos without any effort. Larry Cook (bass) provided a solid backbone, and even took a few well placed bass solos, illustrating his skill as a performer. Jen Larson provided a perfect compliment to the twang of Daves tenor. This band breathes new life into these songs, songs Daves identifies as old bluegrass songs, pre-bluegrass songs, and murder ballads. Guest Tony Trischka also joined the stage toting his cello banjo for a few songs, adding another layer of depth to the electric texture of the bluegrass band.
For the second set, Daves returned to the stage with Kid Millions on drums and Jessi Carter on electric bass. While the bluegrass band was light and buoyant, the electric band was muddy and heavy. The heavily distorted guitar seemed to grow out of the tone of the electric bass. Halfway through this set Daves asked the audience if they recognized any of these songs from the first set. In response to a few fans cheering, he laughed and said he wasn’t sure if it was a good thing or a bad thing, but that was the point of the album. I spent much of this set thinking about Daves approach to the electric guitar. I feel like this guitar sound was very important to Daves’ concept for this album. Honestly, I feel like Daves is experimenting with something in this configuration, though I’m not sure exactly what it was, or if it was entirely successful. This band brought something heavy and raw to these songs that the bluegrass band simply couldn’t. That being said, the guitar completely dominated these songs, with a thick layer of distortion not adding to the music, but instead keeping me from it.
Orchids and Violence is currently available from Nonesuch Records.
(This is an expansion of an earlier post for a concert ultimately postponed due to snowstorm Jonas in January)
Augustus Arnone performs a double bill of Milton Babbitt’s solo piano works including the complete Time Series, at Spectrum, Sunday March 6, at 12-5 pm (12 and 3:30)
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 his 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 2008. In honor of the Babbitt centenary, Arnone is performing the entire set again (this time spread over three concerts) at Spectrum on Ludlow in NYC. Due to a postponement caused by storm Jonas in January, Arnone is performing the second and third concerts in one afternoon this weekend!
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). Arnone’s performance 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. This much constitutes concert II, the first half of this Sunday’s double bill, which starts at 12 noon.
In the final concert (concert III) which starts at 3:30, Arnone presents a variety of works spanning nearly all of Babbitt’s professional career, from the mid 1940s through the remainder of the 20th century and beyond. Tutte Le Corde (1994) represents Babbitt’s most streamlined and ingratiating late style, which is a nice inclusion for the final recital of the series. On this recital we’ll also be treated to some of Babbitt’s wittiest and pithiest: Minute Waltz (1977) and It Takes Twelve to Tango (1984), which are perhaps the only Babbitt works to clearly project rhythms associated with a familiar genre. It Takes Twelve to Tango leaves us unsure whether to imagine a single 12-legged Argentinian dancing spider or a communal square dance gone dodecahedral! Either way, brilliant sparks fly from these eccentric collisions of tradition and avant garde.
Babbitt’s Three Compositions for Piano (1947), the earliest work in the series, is to my ears the closest Babbitt ever came to neo-classicism, its first movement being a clean perpetuum mobile and its second movement a veiled tribute to Schoenberg’s expressive piano textures. While Duet (1956) is the closest Babbitt ever came to a lullaby, his Semi-Simple Variations, of the same year, is perhaps his jazziest jaunt on the ivories, an adventure amusingly exploited in the Bad Plus and Mark Morris Dancers’ adaptation.
Of course the series wouldn’t be complete without Babbitt’s most uncompromising trailblazing Partitions (1957) and Post-partitions (1966). Nowhere is his engenius originality more startlingly on display than in these works. In Partitions in particular, the activation and deactivation of various high, low, and middle registers of the piano guides the listener through an uncanny but navigable maze of contrapuntal intricacy.
Between the two concerts, at 2:30, will be an interview-discussion between me and Indiana University composer-theorist Andrew Mead, a former student of Babbitt’s at Princeton and author of the acclaimed book An Introduction to the Music of Milton Babbitt (1994, Princeton University Press) and many articles. This will also be an opportunity for questions from the audience. Whether you’ve been merely curious about Milton Babbitt’s music and legacy, or are already a long-time follower, this is an opportunity to spend part of the afternoon in the good company of Babbitt’s music and its admirers.
Augustus Arnone: The Complete Piano Works Of Milton Babbitt, Concerts II & III
Sunday March 6, concert II at 12 pm; pre-concert discussion at 2:30; concert III at 3:30.
$20, $15 (Students/Seniors) for each concert or $30/20 for both concerts.
This week in New York, Austrian Cultural Forum celebrates the music of Georg Friedrich Haas. Haas, currently MacDowell Professor of Music at Columbia, is a thoughtful and innovative composer. The two programs curated by ACFNY, both free (with reservations), are excellent opportunities to hear two different facets of his creativity.
On Wednesday February 24th at 7:30 PM at the ACF, JACK Quartet performs String Quartet No. 3 In iij. Noct., a piece that occurs in total darkness.
On February 26 at 8 PM at Bohemian National Hall (321 East 73rd Street), the Talea Ensemble presents the following program of large ensemble and chamber works: La profondeur (2009), for lower instruments, I can’t breathe (2015), a US Premiere that commemorates Eric Garner, played by trumpeter Gareth Flowers, tria ex uno (2001), and …wie stille brannte das Licht (2009), featuring vocal soloist Tony Arnold. James Baker conducts.
Eminent composer, college professor, and Lutoslawski scholar Steven Stucky has died, aged 66. The cause was brain cancer. Below, listen to one of his beguiling works, the Notturno movement from Serenade for Wind Quintet.
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.
At 7 PM on Monday, December 7, the Armory will debut a newly commissioned performance series that combines the talents of pianist Igor Levit and artist Marina Abramović. In Goldberg, which runs from December 7-19, Levit and Abramović collaborate to transform J.S. Bach’s legendary Goldberg Variations in a presentation that challenges traditional notions of audience engagement, intimacy, and transcendence.
As the Armory’s publicist describes, “Igor Levit will perform all 30 of the variations on a platform as it slowly moves into the center of the audience and rotates throughout the piece’s progression. Employing elements of the Abramović Method, the work invites a deep and personal engagement with the music.”
Concertgoers will separated from their cellphones and sit in silence for 30 minutes prior to the beginning of the performance, using sound-cancelling headphones to further disengage from city life and facilitate a profound connection to Levit’s performance.
The performances will take place in Wade Thompson Drill hall. More information regarding dates, times, and tickets for the seven performances of Goldberg is available here, on the Armory’s website.
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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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On August 27, 2015, the Locrian Chamber Players gathered on the 10th floor of Riverside Church to present a program of classical contemporary music. The Locrian Chamber Players set themselves apart from other contemporary music ensembles in two ways. First, LCP only programs works that were composed in the last ten years. Second, they withhold the program notes until the end of the concert, leaving the audience members with fewer distractions from directly engaging in the program. As one who often finds himself buried in the program notes, this approach was incredibly refreshing, and successful.
The program opened with Daniel Thomas Davis’ Thin Fire Racing, an art song for mezzo-soprano, piano, and clarinet. The work is a selection from Follow Her Voice, a set of songs based on Sappho’s Fragment 31, here translated into English. Mezzo Jacqueline Horner-Kwiatek’s performance matched the fiery intensity of both Sappho’s text and Davis’ setting. While clarinetist Benjamin Baron and pianist Jonathan Faiman expertly supported her, both were also given moments to shine.
To offer a change in mood, the second piece on the program was Shafer Mahoney’s Shining River. This duet was played by flautist Catherine Gregory and harpist Victoria Drake. In contrast to Thin Fire Racing, Shining River is calm, pensive, and deeply internal. Gregory’s long, lyric lines complemented the gently bumping harp to create the image aptly suggested by Mahoney’s title.
Another Ecstatic Opening Out by Victoria Malawey received its New York premiere. For this piece, violinist Keats Dieffenbach and cellist Kristina Cooper joined Gregory and Drake. The interesting textures and timbres Malawey creates within the ensemble are striking. The sounds of the flute blend almost seamlessly into the violin and then further from violin to cello. A pizzicato cello complements the steady churn of the harp, with Cooper’s timbre seemingly growing out of the colors of the harp.
The first half of the program concluded with Mei-Fang Lin’s Mistress of the Labyrinth for solo piano. In contrast to the melodic and lyrical pieces presented before it, Mistress of the Labyrinth is rough and aggressive, with a dissonant and pointy harmonic language. The piece is labyrinthine, expansive and winding, never fully revealing to the listener exactly where it is leading.
The second half of the concert opened with Cantico dell creature by Caroline Shaw. Another very old text, this piece is a setting of an Italian text by St. Francis of Assisi. While the lengthy text did yield a substantial piece, Shaw’s setting did much to offset the formulaic nature of Assisi’s poetry.
For the finale, Cooper and Dieffenbach were joined by Baron, violinist Anna Lim, and violist Daniel Panner in Aaron Jay Kernis’ Perpetual Chaconne. The omnipresent falling motive that opens the piece creates a sense of perpetuity. As the piece builds and intensifies, it almost seems to exist outside of time. As most of the thematic detail seems to develop and open up upon itself as the piece progresses, in a fascinating way, listening to this piece feels much more like the expansion of the a single moment, the meticulous inspection of a single detail, than a large-scale progression over a long period of time.
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