The Brand Library in Glendale was the site for an evening of piano music by Steve Moshier on Saturday, October 25. Cynthia Law performed three Moshier pieces, including the premiere of Into the Safety of the Abyss (2014).
The concert opened with Unchained Melody: Eight Bagatelles for Piano (1999) and the first of these began with a series of strong, decisive chords that invoked an important, stately feel The opening passages were repeated in the higher registers, slightly subdued, before returning to the powerful lower chords. The second bagatelle was softer but along the same lines, as if a development on the opening theme. It featured a bit more complexity as well as counterpoint that produced a sense of rolling motion.
Other movements of the Eight Bagatelles for Piano were variously fast and running or featured melody and counterpoint that smoothly changed between the left and right hands. The forth bagatelle, Andante non troppo e grazioso, was perhaps the most characteristically Moshier – starting out slowly but with an exotic feel, turning more introspective with a question and answer dialogue in the passages. The contrast in dynamics in this section were nicely accented by Ms. Law and there were a number of sections that featured well-played counterpoint.
Bagatelle 7 featured a series of light arpeggios that gave a feeling of uplift with a counter melody that contained an elegant, distinguished polish reminiscent of a Beethoven sonata. The final bagatelle started as a fast, irregular series of notes – like code carrying some message. This was accompanied by a series of bright chords that gradually turned warm, followed by some nice syncopation in the right hand. The piece finished strongly in the deep lower registers , recalling the declarative feeling of the opening movement.
The music of Steve Moshier is most closely connected with the Liquid Skin Ensemble and this piano music was recognizably similar, with its precisely regular rhythms and crisp minimalistic repetition. Ms. Law provided an accurate, even reading – exactly what this music requires. The piano filled the recital hall with a big sound that was especially effective in the lower registers.
The 2014 Ojai Music Festival opened on Thursday June 12 to begin 4 days packed with informative talks, movie screenings, parties and concerts. The Festival’s Music Director this year is Jeremy Denk and the resident musical groups included The Knights orchestral collective and the Brooklyn Rider string quartet. Friday night’s concert was built around an examination of the Classical period and featured a Haydn string quartet as well as the world premiere of a new opera – “The Classical Style” – by Jeremy Denk and Steven Stucky that was commissioned by the festival for the occasion.
The concert began with Haydn’s String Quartet in G minor, Op. 74, No.3 (1793), performed by Brooklyn Rider. Right from the opening passages of the 1st movement the light, bouncy rhythms combine with the classical harmonies and familiar Haydn wit to produce a lively and optimistic feel. As the instruments took turns developing the theme there was a sense of increasing fussiness that added to the fun. The playing was light and precise, setting just the right mood for the evening.
The second movement was more stately and slower – almost hymn-like – but easy and flowing. This turned a bit darker towards the middle, but soon returned to the lighter feel of the opening, giving a sense of resolution. The ensemble playing was impressive here and the ornamentation in the upper parts nicely done.
The third movement, in the traditional triple meter, was faster and featured close harmony. The balance and dynamic control were outstanding and the bright feel reinforced the sense that this was music that does not take itself too seriously. The final movement was faster still and had a dramatic feel that turned brighter with a series of bouncing rhythms that suggested a sort of gallop, hence the nickname of this Haydn string quartet as the “Rider”. This work is typical Haydn – bright, optimistic and not too serious. The precise and agile playing by Brooklyn Rider caught the essence of this piece exactly and it was an ideal prelude to the opera that followed.
Not being able to make it to Ojai, I listened to the concert as it was streamed on the Internet. The quality, both audio and visual, was excellent and there were no drop-outs or interruptions of consequence. The seeing and hearing are much like being in one of the back rows of the Libbey Bowl and was actually an improvement over my usual seating out on the lawn.
The streaming provided another benefit – a televised interview of Steven Stucky during intermission by Fred Child of American Public Media. The subject of the interview was the music for The Classical Style: An Opera (of Sorts). This is a comedy based loosely on The Classical Style by the late Charles Rosen, a textbook first published in the early 1970s and widely influential in the field of musicology. The libretto, by Jeremy Denk, was taken in part from the Rosen book but the opera also includes the personalities of Mozart, Beethoven, Haydn, Robert Schuman, Charles Rosen, and characters like the Tonic Chord, Dominant Chord, Sub Dominant Chord and the Tristan Chord as well as a host of supporting characters. The plot revolves around Haydn, Mozart and Beethoven returning to earth to reclaim their musical relevance and to rescue the classical style from academic over-analysis by appealing to musicologist Rosen. There are also scenes involving the several musical chords in a bar, and other assorted comic vignettes and sketches derived from musical theory and history.
Apart from the varied collection of characters, one of the challenges Mr. Stucky pointed out was the need to write music in the classical style, using the sonata form where appropriate, or in the romantic style during the Tristan Chord scenes. Another challenge was that much of the comedy was based on knowing something about music theory, and this needed to be put across in a way that all audiences could enjoy. The character of Charles Rosen, a close personal friend of Jeremy Denk, was portrayed as something of a hero, bringing order to the comedic chaos around him, and this necessitated a more serious musical sensibility when he was on stage. Steven Stucky, while confident and articulate, nevertheless betrayed the look of a man who had spent the last two years of his life on a large-scale work to be premiered on Friday the 13th. He needn’t have worried.
There is an audience for new opera out here on the prairie. Fargo-Moorhead Opera staged two world premieres this past weekend: Buried Alive (music by Jeff Myers, libretto by Quincy Long) and Embedded (music by Patrick Soluri, libretto by Deborah Brevoort). Both are part of American Lyric Theater’s Poe Project, in which creative teams were commissioned to write operas inspired by the works of Edgar Allan Poe. The operas staged in Fargo used a group of six singers and a chamber orchestra.
Buried Alive is a paraphrase of Poe’s short story “The Premature Burial,” with modern twists. Baritone Christopher Burchett brought a powerful voice to the role of Victor, an artist haunted by nightmares that he would be mistaken for dead and buried alive. Soprano Sara Gartland was his wife Elena, deeply concerned about her husband’s descent into madness. Musically, Myers’s score was deeply affective, with special mention for the trio in the embalming scene (a darkly humorous gigue sung with great panache by mezzo-soprano Jennifer Feinstein, tenor Jonathan Blalock, and soprano Caroline Worra) and Victor’s aria “O death.” On stage but silent for most of the proceedings was bass Nathan Stark’s gravedigger, who provided the narrative frame. (The general manager apologized on behalf of Stark just before the opera, saying he was under the weather. You would not have known this from the performance, however.) Long’s libretto captures the feel of Poe’s original, and in some cases uses words drawn explicitly from the story.
Embedded takes “The Cask of Amontillado” and spins it into a satirical look at TV news, fame, and aging. Caroline Worra showed considerable skill as news anchor Sylvia Malow, the “most trusted name in news.” Jonathan Blalock brought humor, clarity, and a huge makeup case as Sylvia’s assistant Maurice. Sara Gartland was the up-and-coming “reporter on the go,” Victoria Reilly, whom Sylvia (rightly so, as it turns out) views as a threat. Christopher Burchett was the producer for the newscast (and an implied paramour for Victoria, helping her move up the ranks to dethrone Sylvia). Jennifer Feinstein did double duty as the camerawoman for the newscast and as the voice of the GPS (without giving away too much of the plot, a GPS is involved). Rounding out the cast, Nathan Stark played the Italian terrorist Montresor (a nod to the narrator/protagonist of Poe’s short story). This was grand opera in miniature, with Soluri’s inventive score flowing seamlessly to and from cheesy cable-news promo music, a witty and inventive tango involving Sylvia, Montresor, and cell phones, and a soaring aria. This is Sylvia’s story; indeed, the opera is almost a monodrama for soprano, and it was done with amazing skill by Worra, who should be a household name in the world of opera. Librettist Breevort inverts Poe’s original plot – without giving away too much, the alleged victim achieves a triumph of sorts over the killer and other demons.
Both works showed skillful direction both on stage (Lawrence Edelson directed Buried Alive, Sam Helfrich directed Embedded) and in the pit (where maestro Kostis Protopapas led a chamber orchestra of eighteen players). The staging, by Zane Pihlstrom, was contemporary without being overwrought or gimmicky. A group of suspended screens and one larger, more rectangular surface were used to great effect in both works, with Victor’s madness shown in abstract designs and close-ups of a human eye in the first work, and wonderfully meta newscasts in the second (I wish CNN would run a story on a fight for the remains of Edgar Allan Poe!).
As many major American opera companies are leaving the scene, perhaps it will be up to these smaller companies (F-M Opera’s annual budget is less than $500,000) to maintain the long tradition of commissioning new operatic works. Audience response was overwhelmingly positive, and the Reineke Festival Concert Hall on the campus of North Dakota State University was filled to near-capacity. There was nothing parochial or low-rent about this production. There is an audience for new opera, and perhaps it is in unexpected places like Fargo.
Next week is the third annual Composers Concordance Festival in New York City. They’ve called it ‘Timbre Tantrum,’ organizing the concerts by instrumental family:
Dec. 1 – 3pm ArtBeat
with Glen Velez, Lukas Ligeti, Peter Jarvis.
Dimenna Center (W. 37th St. NYC)
Dec. 2 – 7pm
ArtBeat (repeat of program)
William Patterson University
Dec. 4 – 7pm Three’s Keys with Taka Kigawa, Inna Faliks and Carlton Holmes
music by Dan Cooper, Milica Paranosic, Gene Pritsker, Sean Hickey, Debra Kaye, Carlton Holmes, Daniel Palkowski and guests
Klavierhaus (211 W. 58th St. NYC)
Dec. 6 – 8pm E-nstallation: Electronics, Fashion and Projections
Music by: Dan Cooper, Milica Paranosic, Gene Pritsker, Svjetlana Bukvich, David Morneau, Daniel Palkowski, Lynn Bechtold
Fashion: Vicky Vale
Projections: Gorazd Poposki
Gallery MC, 549 W. 52nd St. 8th Fl, NYC
Dec. 7 – 8pm Legends
with the CompCord String Orchestra
Music by Dan Cooper, Otto Luening, Milica Paranosic, Gene Pritsker, Dave Soldier and Randy Woolf
West Park Presbyterian Church
165 W 86th St. NYC
Dec. 8 – 8pm
a three-hour marathon of three-minute pieces for fretted strings performed by the composers
Drom NYC, 85 Avenue A
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 thewulf 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 New York Virtuoso Singers, Harold Rosenbaum, Conductor and Artistic Director, will present the third concert of their 25th Anniversary season on Sunday, March 3, 2013 at 3:00 PM at Kaufman Center’s Merkin Concert Hall, 129 West 67th St. (btw Broadway and Amsterdam) in Manhattan. This event, co-sponsored by Merkin Concert Hall, marks NYVS’s return to the venue where they presented their first concert in 1988.
To celebrate their 25th Anniversary, Harold Rosenbaum and the NYVS asked 25 of this country’s most important composers to create new works. The March 3 concert will feature World Premieres of 13 of these commissioned works from Richard Wernick, Ellen Taaffe Zwilich, Aaron Jay Kernis, David Lang, Mark Adamo, Richard Danielpour, Augusta Read Thomas, Thea Musgrave, Joseph Schwantner, William Bolcom, Roger Davidson, David Felder and Joan Tower.
Tickets for the March 3 concert are $25/$15 students. For tickets or more information, call Merkin Concert Hall at Kaufman Center at 212-501-3330 or visit http://kaufman-center.org/mch/.
The other 12 works commissioned works, by Jennifer Higdon, George Tsontakis, John Corigliano, David Del Tredici, Shulamit Ran, John Harbison, Steven Stucky, Stephen Hartke, Fred Lerdahl, Chen Yi, Bruce Adolphe and Yehudi Wyner were premiered on October 21, 2012 at Kaufman Center’s Merkin Concert Hall. All 25 of the commissioned works will be recorded for Soundbrush Records.
Le Train Bleu, conducted by Ransom Wilson, will present Toy Stories, a concert on Wednesday, February 6 – 7:00 PM at DROM, 85 Avenue A (between 5th and 6th) in New York, N.Y.
The evening will feature the World Premiere of Lawrence Dillon’s Seven Stories for soprano and eight instruments. The piece was composed to an original text. The composer writes, “A stuffed animal falls from an apartment window. As it falls, it peers into each passing window, trying to create stories from what it sees.” Read his recent blog post about it at http://www.sequenza21.com/dillon/?p=1962. The new work will be sung by soprano Mary Mackenzie. Visit Lawrence Dillon at http://www.lawrencedillon.com/.
Toy Stories explores mankind’s endless variety of play and playthings. The concert will also include Thomas Ades’ Living Toys, a journey through the fantasies of a child, for 14 instruments, accompanied by a new video by Adam Kendall, Matt Marks’ Sex Objects, a set of three songs about unique characters and their intimate relationships with inanimate objects, with vocal performances by Mary Mackenzie, Matt Marks, and Jeff Gavett, and the World Premiere of Eric Nathan’s Toying, a virtuoso exploration of the full range of possible sounds and techniques produced by the trumpet, played by Le Train Bleu’s Hugo Moreno.
Le Train Bleu is a musical collective formed by conductor and flutist Ransom Wilson. The musicians are among the most exciting young players in New York, and are chosen for their brilliance as well as their expressive qualities. Recently named a resident ensemble of the Galapagos Art Space, the ensemble continues plans to present performances of new and interesting music. The New York Times said of their debut performance: “Under Mr. Wilson’s baton, the Train Bleu ensemble was both incisive and joyous in execution.” In the 2011-12 season, the ensemble presented a 4-concert series at the Galapagos Art Space, as well as collaborating with the Lar Lubovitch Dance Company in a 2-week season at the Baryshnikov Arts Center. They also participated in a 15-month creative residency at the Park Avenue Armory, along with soprano Lauren Flanigan. Visit them at http://letrainbleu.org/.
The New York Virtuoso Singers, Harold Rosenbaum, Conductor and Artistic Director, will present the first concert of their 25th Anniversary season on Sunday, October 21, 2012 at 3:00 PM at Kaufman Center’s Merkin Concert Hall, 129 West 67th St. (btw Broadway and Amsterdam) in Manhattan. This will mark their return to the hall where they presented their first concert in 1988.
To celebrate their 25th Anniversary, Harold Rosenbaum and the NYVS asked 25 of this country’s most important composers to create new works. The October 21 concert will feature World Premieres of 12 of these commissioned works from Jennifer Higdon, George Tsontakis, John Corigliano, David Del Tredici, Shulamit Ran, John Harbison, Steven Stucky, Stephen Hartke, Fred Lerdahl, Chen Yi, Bruce Adolphe and Yehudi Wyner.
Tickets for the October 21 concert are $25/$15 students. For tickets or more information, call Merkin Concert Hall at Kaufman Center at 212-501-3330 or visit http://kaufman-center.org/mch/.
The other 13 works commissioned works, by Richard Wernick, Ellen Taaffe Zwilich, Aaron Jay Kernis, David Lang, Mark Adamo, Richard Danielpour, Augusta Read Thomas, Thea Musgrave, Joseph Schwantner, William Bolcom, Roger Davidson, David Felder and Joan Tower, will be premiered on Sunday, March 3, 2013, again at Kaufman Center’s Merkin Concert Hall.
Poet and Air Force veteran Lynn Hill performs in Holding It Down Photo by Marc Millman Photography
The most recent collaboration of composer/pianist Vijay Iyer and poet Mike Ladd, entitled Holding It Down: The Veterans’ Dreams Project, received its world premiere last week (September 19-22) at The Harlem Stage Gatehouse. This multimedia work, epic in scope, yet poignant in its emotional nuance, is the result of three years of interviewing and collaborating with veterans of color from the recent wars in Iraq and Afghanistan. Holding It Down also marks the culmination of a trilogy of multimedia works by Iyer and Ladd, the others being Still Life with Commentator (2006) and In What Language (2003). Each of the three works examines a different aspect of post-9/11 America, but all three respond to the fear and injustice brought on by what Iyer and Ladd eloquently describe as the “insidiously racialized Global War on Terror.”
Iyer’s through-composed score consisted mostly of highly sensitive and imaginative settings of the poetry of Ladd and two veterans, Maurice Decaul and Lynn Hill, punctuated by moments of virtuosic improvisation by Iyer and members of the ensemble. The poems (performed by their authors) were moving, powerfully honest artistic responses to war and the challenges of coping with trauma. Tim Brown’s video design contributed an evocative visual counterpoint, and the video interviews, conducted and edited by the project’s director, Patricia McGregor, were particularly well timed and interesting. The ensemble, which consisted of Iyer (piano, laptop), Guillermo E. Brown (vocals, electronics), Liberty Ellman (guitar), Okkyung Lee (cello), and Kassa Overall (percussion), provided an intricate, colorful, and at times surreal musical mindscape. One unforgettable moment was Overall’s gut-wrenchingly beautiful drum solo about two thirds of the way through the piece.
The presentation of a continuous 80-minute piece that brings combines music, poetry, video, and drama is no easy task. Careful attention must be given to the balance and interplay of the various media, and the dramatic flow and experiential continuity. Credit must be given to director Patricia McGregor, who forged the elements of this work into a seamless and deeply moving journey. With the exception of two moments when the balance between the ensemble and voices could have been handled better, the production was basically flawless.
With Holding It Down Vijay Iyer and Mike Ladd have offered a model of how artists can present social commentary that is profound yet unsentimental; complex yet focused; provocative yet inviting. While so many multimedia projects these days hurt the genre by dilluting their own impact, Iyer and Ladd have created one in which each medium strengthens the whole. On December 1, 2012, these artists will appear again at The Harlem Stage Gatehouse for a new piece called Sleep Song, in which they will focus on the populace of nations affected by war. Collaborating artists for Sleep Song will include the Iraqi poet Ahmed Abdel Hussein, oudist Ahmet Mukhtar, and guitarist Serge Teyssot Gay.