On Saturday, May 14, 2016 Microfest presented a concert of string quartet music at Boston Court in Pasadena. This is the latest in a series of concerts around Los Angeles featuring music created with alternate tuning. The Isaura String Quartet performed works by Kraig Grady, John Luther Adams, Gloria Coates and a world premiere by Andrew McIntosh.
Chippewayan Echoes by Kraig Grady opened the program, and this began with a smooth melody that started in the violins and was passed around and down to the lower strings. New lines were started and similarly shared, the various instruments weaving the melodies into a pleasing pattern. The harmonies were full and plaintive with perhaps a hint of sadness and solemn introspection. Chippewayan Echoes is a re-imagining of Native American melodies, as Kraig Grady writes in the program notes: “There is no attempt to produce an authentic historical rendition. Such a thing is not even possible. What is sought here instead is an emphasis on their melodic qualities that a translation to string quartet brings forth.” The piece is based on a single seven-note scale, with 7-limit just intonation. The result was a full sound, internally consonant and very smooth to the ear as played by the Isaura String Quartet. Chippewayan Echoes succeeds through the simplicity of its construction and the economical use of natural harmonic materials to impart a convincing encounter with primal sensibilities.
Tread Softly, by Andrew McIntosh, followed and this was the world premiere Tread Softly was written earlier this year for the Isaura String Quartet as a gift from the composer. This piece was originally envisioned as an etude for harmony in just intonation for string quartets, but ultimately became, as Andrew McIntosh writes: “…a small song with speech-like rhythms and miniature arpeggiated melodies.” Tread Softly begins with a sequence of soft tones coming from all the instruments and a bouncy feel – a bit like being on a boat rocking in a gentle swell. If the harmonies sounded a bit unusual, they were always agreeable. The second section sounded a bit more dramatic with some added tension in the chords. A pattern of alternating tones and single pitches prevailed and this produced some interesting harmonies. The last section was lush and flowing, with a settled, comfortable feel. Tread Softly offers a fine sampling of feelings and emotions, artfully expressed through just intonation
The Wind in High Places, by Pulitzer Prize-winning composer John Luther Adams was next, and this three-movement work sets out to sketch some of the more remote places in North America. The music of John Luther Adams is informed by his commitment to environmental causes and a long-time residence in his adopted state of Alaska. Above Sunset Pass is the first movement and the title refers to an isolated opening in the Brooks Range near the Arctic coast. This begins with high, needle-sharp tones in the first violin and sustained tones from the other strings, entering in turn, that evoke the sense of blowing wind in a mountain pass. The entire piece is played on open strings and this contributes a wide, expansive feel that adds to the feeling of majestic inaccessibility. As the pitches descend, inviting harmonies develop that are remarkable for their cordial warmth – the landscapes throughout this piece are never portrayed as harsh or inhospitable.
Peter Maxwell Davies died about two months ago. I started writing this the week that Max died, but was unable to finish it before now.
I met Max Davies in 1973 at Tanglewood. I had graduated from New England Conservatory in the spring. I had failed to get into any graduate school, which was a sort of minor scandal at NEC. Gunther Schuller was president of the conservatory and also ran Tanglewood, so I got into Tangelwood as the booby prize. Max was the big composer who was there most of the summer. When we met I showed him my music and told him my sad story. Later when I had gone with David Koblitz to see him at the house in Lee where he was staying, he told me with a great deal of urgency, “You need to get out of the country as soon as possible. London is good. You should go to London.” I called my teacher Mac Peyton to see what he thought about that, and he said I should get some guarantee from Max about studying with him if I did go. When I asked Max he said, “I don’t teach, but if it’ll help you you can say you’re studying with me.” So I went. It’s not at all exaggerating things to say that Max changed my life.
Max was at the time thirty-nine years old. Eight Songs for a Mad King had been played for the first time four years before. He had just recently written The Hymn to St. Magnus, which was his first big piece connected to Orkney, which he had only recently moved to (while maintaining, at the time, houses in England). The Devils and The Boyfriend, the movies of Ken Russell for which he had written the music, had both been released two years earlier. I have on the bulletin board next to my computer a snapshot somebody took of Max in the composers’ class. In that picture he has a bushy hair cut and is wearing a white tee shirt and striped pants, he’s standing with his hands turned forward. He might be playing the jester in a production of Taverner, his opera which had been staged at Covent Garden a year earlier. In person he was almost always in motion, almost as though he was a dancer, and his eyes were always flashing.
People often talk about a sort of twelve-tone, or at least modernist, anti-tonal (whatever that means) orthodoxy holding sway at that time in a way that I don’t exactly recognize from my experience, or at least from my memories, but, even so, Max’s willingness to concern himself with and incorporate into his music popular elements like Foxtrots (something very much on his mind and in his conversation at the time) as well as very old elements like isorhythms and plainsong (which he also talked about a lot) was striking and refreshing and seemed very much in contrast to the sort of world view of what music could be and what kind of serious music could be written that I had come to be accustomed to, even at a not very ideological place like NEC. The power and greatness of his music and his musical mind were also inescapable and enthralling.
As it turned out I did do something which amounted to studying with Max. I lived in England for two years, and I saw him about once a month the first year and once every other month the second. A lot of those times I would go to the restored mill that Max had in Dorset and stayed a day or two, during the course of which I would show him what I was writing and get feed back. We also talked a lot, obviously. I can’t imagine the amount of foolishness Max had to listen to, which he treated seriously and with a lot of patience. I also went to lots of rehearsals of his–I remember particularly one where he was conducting St. Thomas Wake with one of the London orchestras at the Cecil Sharp House, very shortly after I was first in London, and a Fires of London rehearsal at the Craxtons’ which was prior to their recording The Hymn to St. Magnus. I also went to lots of performances of Max and the Fires. I went to hear them do The Hymn to St. Magnus at the Aldeburgh festival, not being able to sleep the night before due to excitement. A performance that Colin Davies conducted of Worldes Blisse in the Festival Hall also stands out in my memory.
At the end of the two years I was in England I was a student in Max’s composition class at Dartington Summer School. The course was two weeks; the first week was devoted to analysis. We looked at the Sibelius Seventh Symphony (I was amazed that we were looking at the music of composer who, in my training at NEC, was either ignored or despised) and Max’s Second Taverner Fantasia. Everybody in the class also presented their music, and Max’s comments, which usually included some kind of on the spot compositional exercise that had been prompted by some issue with the piece being presented, were deeply insightful and exciting. The second week of the course The Fires was in residence and each of us wrote a piece that week in which we conducted the Fires. Every night there was a concert, and that year these included the Lindsay Quartet playing Tippett quartets, and the Composers Quartet playing the absolutely brand new Carter Third Quartet, with Carter himself being there. There was also a lot of time in the pub with the other members of the class, including Philip Grange, now one of my best friends, who had just finished high school and who, like me, was there for the first time. The whole experience was thrilling. I was back at Dartington for a number of summers–I can’t remember exactly how many. When William Glock stepped down as director of Dartington, Max became director. He continued teaching, but in a more limited way. One summer there was joint course with Tony Payne, whose wife Jane Manning was also on hand teaching voice classes. That summer Max taught, with Hans Keller, an absolutely thrilling and never to be forgotten analysis class. The first week was on the Mozart G major String Quartet K. 387, the second the Schoenberg Second Quartet. At their concert at end of the first week the Endellion Quartet played the Mozart, and at the end of the second Jane and the Chillingirian Quartet played the Schoenberg. The sense of excitement that built over a week of serious analysis and discussion, mostly by Max and Keller, leading to actually hearing the piece, in each case brilliantly performed, at the end was something that I will never forget. I also still remember vividly insights from both Max and Keller, and moments from the class. One particularly when Hans Keller said that every composer’s first quartet has too many notes, “including yours,” he said to Max, who agreed. One summer there was a joint composers and conductors class with Max and John Carewe, who at the time was conducting the Fires.
I obviously kept in touch with Max aside from Dartington. On election day in 1976, I drove to Poughkeepsie to hear a concert by the Fires on tour. When I saw Max there he told me that he’d just finished an hour long piece called Symphony, a startling development at the time. I went to New York to hear a rehearsal of Stone Litany (for some reason I don’t remember I couldn’t stay for the performance) as part of the New York Philharmonic’s New Romanticism festival, whenever it was. I went to two of the Magnus Festivals in Orkney, (among several visits to Orkney) and heard first performances there of Into the Labyrinth and the Violin Concerto –now the first Violin Concerto–(with Isaac Stern as soloist and Andre Previn conductor–which had the feel of being about the most important thing that had happened in Orkney since the murder of St. Magnus), and a wonderful and hair raising performance by Max and the Royal Philharmonic, I think, of the Beethoven Seventh Symphony, which they had apparently rehearsed for fifteen minutes. Max was also in Boston several times. In 1983 he came for a concert of his music and mine (done several times) on which Mary Sego and I did the first American performances of The Yellow Cake Review, staged by Peter Sellers (Richard Dyer, probably accurately, described my playing as ‘wan,’ and pointed out how gracious Max was to agree to have his music played with mine and that it was to my music’s disadvantage). Max was also the Fromm composer at Harvard one term (I don’t remember the year, but I do remember that he came almost immediately after the first performance of the Third Symphony), and he was also in Boston several years later to conduct the Boston Symphony in his Second Strathcylde Concerto and works of Mozart. The last time he was in Boston was for the NEC Preparatory School Contemporary Music Festival in which he was the featured composer. On one of the concerts he conducted students in his Renaissance Scottish Dances. He told me after that concert that he decided he wouldn’t do any conducting at all after that. Whether or not that was actually the last time he conducted I can’t be sure.
The last time I saw Max was at a concert in a church in Yorkshire, part of the North York Moors Chamber Music Festival in August of 2014. The concert, which was quite long, included Max’s Sixth Naxos Quartet. It was Max’s 80th birthday year, and I had seen him several time in London around Proms concerts which had pieces of his. Max had been very seriously ill with leukemia not too long before that, but he seemed quite healthy and, at that concert, very rested and very happy with the performance of his quartet. That happy memory is commemorated by a photo of Max, Philip Grange, and me taken after the concert.
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This just in via email from Other Music,one of the premiere (and one of the last) record stores devoted to experimental music left in New York City.
It is with heavy hearts that we share the news that after more than 20 years in New York City, Other Music will be closing our doors on Saturday, June 25th. It’s been an incredible run for us, and we cannot thank you enough for the support and inspiration that you’ve given us over these past two decades. We’ve learned so much from you and are so grateful to have had your trust, curiosity, and passion as we’ve discovered and explored so much great music together since we first opened back in December of 1995. Times have changed, and soon we will be moving on, but in the coming weeks we hope you’ll come by and see us, dig through our racks, and reminisce about what has been a truly special era for all of us. We’ll also be announcing more events and celebrations soon, so stay tuned. Once again, thank you, from the bottom of our hearts.
-All of us at Other Music
I’m sad to learn of the passing of Ursula Mamlok, a persuasive composer of elegant post-tonal works. Like Ralph Shapey and Stefan Wolpe, her compositions referred to serialism while also retaining pitch centricity as a unifying principle.One can hear a particularly compelling example, her Concerto for Oboe and Chamber Orchestra, below.
I met Ms. Mamlok twice, once at a concert and once at a grad school audition at MSM. I was struck by her keen intellect and insightful comments.
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.
Those who discount Charles Bradley as a retro act imitating James Brown are missing out on something very special. The sixty-eight year old singer’s latest full length recording, Changes, reveals a mature artist whose vocal powers are undiminished but whose interpretive skills are ever more sharply refined. His accompanists, the Menahan Street Band and Budos Band, create spot-on charts to support Bradley’s singing, at turns muscular and lyrically soulful.
Most of the tracks are originals, and strong ones at that. “Ain’t it a Sin” rollicks rebukingly. “Nobody But You” is a smoothly delivered ballad that explores Bradley’s sweet mid-register before swooping higher to impassioned cries.
What would seem like an improbable source for a cover for Bradley, Black Sabbath’s “Changes,” is instead an album highlight, re-envisioned with supple rhythm guitar, Hammond organ swells, and long, legato horn lines. Bradley delivers the song passionately and expressively, capturing the emotional content of one of Ozzy Osbourne’s signature songs, but placing an entirely individual stamp on it.
Bradley’s Changes is a memorable and energetic outing; recommended.
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.
The brilliant Argentinian composer Osvald Golijov returns to Charleston, SC this year as composer-in-residence of SpoletoUSA’s wildly popular chamber music series. Golijov has been part of the festival’s chamber music series for 20 years through numerous performances of his compositions, including well-loved pieces and world premieres, and through several residencies, most recently in 2011. The 2016 series will feature world premieres of two of his new works–Anniversary Bagatelles (June 3) and Agamemnon’s Aria (June 5), as well as three of his well-known older works, Tenebrae (May 30 and 31), Lullaby and Doina (June 1 and 2), and Last Round (June 2 and 3).
Golijov’s seductive and haunting compositions defy easy categorization. The first couple of sentences in his online biography best describe their roots: “Osvaldo Golijov grew up in an Eastern European Jewish household in La Plata, Argentina. Born to a piano teacher mother and physician father, Golijov was raised surrounded by classical chamber music, Jewish liturgical and klezmer music, and the new tango of Astor Piazzolla.” Imagine a mixture of all those influences and styles in a single superbly-crafted work and you’ll get the gist.
Or better yet, listen to this prelude to The Dreams and Prayers of Issac the Blind, one of his early masterpieces. Go ahead. I’ll wait.
The St. Lawrence String Quartet, whose violinist Greg Nuttall, is the program director of the annual chamber music series, has had a rewarding musical partnership with Golijiv since 1992. The quartet (Nuttall, Owen Dalby, Lesley Robertson, and Christopher Costanza) has performed and recorded many of Golijov‘s compositions, including Lullaby and Doina for its celebrated recording Yiddishbbuk in 2002. (My favorite recording of contemporary chamber music, for whatever that’s worth.)
Nuttall, whose official title is the not at all cumbersome “The Charles E. and Andrea L. Volpe Director for Chamber Music for the Bank of America Chamber Music series,” is a perfect program director and host–knowledgeable, entertaining, funny, sartorially splendid–for the series. All told, 11 programs for the 33 concerts will be performed at this year’s Spoleto Festival USA from Friday, May 27 through Sunday, June 12.
Each of the 11 chamber programs in the 2016 series features Nuttall’s signature eclectic taste with compositions spanning more than 300 years, and his skill in assembling distinguished musicians from around the world. Returning artists include pianist Inon Barnatan, violinist Benjamin Beilman, baritone Tyler Duncan, bassoonist Peter Kolkay, double bassist Anthony Manzo, pianist Pedja Muzijevic, flutist Tara Helen O’Connor, clarinetist Todd Palmer, violinist/violist Daniel Phillips, pianist Stephen Prutsman, oboist James Austin Smith, violinist Livia Sohn, the St. Lawrence String Quartet (Nuttall, Dalby, Robertson, and Costanza), and cellist Alisa Weilerstein.In celebration of Spoleto Festival USA’s 40th season, the St. Lawrence String Quartet —the Arthur and Holly Magill Quartet in Residence—will be part of the Bank of America Chamber Music series for the entirety of the Festival.
Each of the 11 programs will be performed three times with two performances daily at 11:00am and 1:00pm in the 463-seat Dock Street Theatre at 135 Church Street. The series is also recorded and broadcast by South Carolina ETV Radio and syndicated nationally and internationally by the WFMT Radio Network. Check out the schedule, order some tickets, and get on down here.
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Anthony Braxton: composer, sopranino, soprano, and alto saxophones, iPod;
Taylor Ho Bynum: cornet, flugelhorn, trumpbone, iPod;
Mary Halvorson: guitar, iPod;
Jessica Pavone: violin, viola, iPod;
Jay Rozen: tuba, iPod;
Aaron Siegel: percussion, vibraphone, iPod;
Carl Testa: bass, bass clarinet, iPod
“As a culture, we are slowly moving away from target linear experiences that are framed as stationary constructs that don’t change on repeated listening, to a new world that constantly serves up fresh opportunities and interactive discourse. American people have made it clear that the new times will call for dynamic inter-action experiences.”
Compositions 372, 373, and 377 are the next phase in Braxton’s use of recorded sounds as part of the musical fabric of his work. Each of the musicians playing on the recording is not only responsible for their respective instruments; they are each also equipped with an iPod on which they can call up past Braxton recordings to add to the proceedings. While one might expect a fair bit of chaos from this approach, the results are surprisingly focused. Recorded when Braxton was sixty-five, his skills as a player remain undiminished in their vitality and improvisational acumen. Correspondingly, his collaborators possess, to a person, both strong vantage points and enviable chops.
The compositions on display here are filled with swaths of variegated textures. One of the cool things about the addition of the iPods is that different instruments than those possessed by the live cohort get to take solo turns. Thus, we hear voices and piano interject asides amid the vigorous exertions of the players. As a trope on listening in the digital age, with the dangers of information overload and the distractions of an increasingly saturated environment rife with visual and sonic information competing for attention, this current Braxton project is certainly a successful experiment. But the ability of the players to pace their exchanges, exquisitely varying the saturation level of the discourse, also allows listeners a way to recalibrate that is most musically compelling. Recommended.
Congratulations to composer and multi-instrumentalist Henry Threadgill, who has won the 2016 Pulitzer Prize in music. One of the original AACM members, Threadgill’s recent work has been distinguished by an intervallic approach to improvisation, in which each member of the band has a limited catalogue of intervals that they can perform, with the sum total creating intriguing harmonic and contrapuntal materials.
In for a Penny, in for a Pound, the prizewinning work, features Zooid, the band with which Threadgill has worked for fourteen years, using just such an approach to making music. In addition to two short movements, Threadgill has composed long movements that each successively feature a different member of Zooid.
Threadgill’s latest recording, Old Locks and Irregular Verbs, features Ensemble Double Up, the first new band with which he has recorded in fifteen years. It includes pianists Jason Moran and David Virelles, alto saxophonists Roman Filiu and Curtis MacDonald, cellist Christopher Hoffman, tuba player Jose Davila, and drummer Craig Weinrib. Cast in four movements, it is dedicated to the late Butch Morris, channeling some of his “conduction” style of improvisation.