Composition-intensive post-rock …
Mogwai’s eighth studio album, Rave Tapes, has to be taken with a handful of ironic humor. The thought of the Glasgow collective hosting raves leads one to imagine the horrified attendees, mellow thoroughly harshed, streaming away en masse in search of various 12-step program meetings. That said, Rave Tapes does incorporate a few elements that resonate with rave culture, albeit thoroughly re-purposed. Analog synth sounds abound, as do heavy beats, amalgamated into doom-laden grooves. Thus, Mogwai’s brand of “rave” doesn’t channel or celebrate the ecstatic. Rather, it extols resilience and seems tailor made for the grimly obstinate.
In addition to the usual fierily dynamic instrumentals, such as “Mastercard” and “Remurdered,” there are some gorgeous darkly hued songs here; in particular, “Blues Hours,” in which hushed vocals are juxtaposed against powerful guitar riffs and cathartic crescendos. Spoken word commentary, about the lyric content of Led Zeppelin’s “Stairway to Heaven” of all things, is similarly accompanied on “Repelish.”
However, some of the most thrilling music-making on Rave Tapes is found on “The Lord is Out of Control,” built with a layered approach that starts with a ground bass that is embellished with layer after layer of heavy rock melodies and angrily distressed synths. It might not get woolen cap clad heads bobbing in unison, but Mogwai’s music is eminently stirring in other ways.
House of Solitude at the Atlas Performing Arts Center. Photo by Jill Steinberg.
This coming February, composer Paola Prestini and I will present the world premiere of House of Solitude, an installation concerto, at Krannert Center in Champaign-Urbana. We have been working together on the piece since 2010 (Paola as composer and me as performer); this premiere seemed like a good moment to share with the community a short article about how the piece came together.
Our collaboration began in 2010, when I asked Paola to contribute a piece to my Journaling series (an ongoing series of concerts focusing on contemporary music for violin and electronics). At the time, Paola was finishing up some work at the Sundance Institute Film Music program, and she had assembled a collection of short field recordings that she was calling “the Sundance stems.” These included a recording of a man singing, various sounds of nature, and horses running. Using these samples as a point of departure, Paola created a wonderfully lyrical and expressive piece for violin, pre recorded tracks, and a motion sensing violin bow called the K-Bow. Invented by Keith MacMillan, the K-Bow is a blue-tooth enhanced violin bow that enables the performer to use physical motions to manipulate sounds in real time. It was brand new technology for Paola and me, and we had fun figuring out how we were going to use it in the piece.
That initial segment, which ended up as the last section of the completed piece, was presented at the Stone in August 2010, as part of Journaling. In the audience that evening were to visual artists, both friends of Paola: Carmen Kordas and Erika Harrsch. Both Carmen and Erika expressed interest in creating video to go with Paola’s music. Around this time, Paola had been considering developing it into a larger, two-part piece called Labyrinth, so she decided to ask each of the artists to contribute video : Carmen to the first part, and Erika to the second. She decided to make the first section a concerto for violin and electronics (House of Solitude), and the second section a concerto for cello and electronics (Room No. 35).
The next stage of evolution happened in March of 2011, when we presented 20 minutes of the piece at Cal State Fullerton. In preparation for that show, we went into the recording studio and really fleshed out the backing tracks, syncing the music to the first 20 minutes of Carmen’s gorgeous video. Paola added more field recordings to the sonic environment: the sound of an EKG machine, more nature sounds, my own voice, and some recordings of everyday objects. She began to call the piece an “installation concerto,” branding a new hybrid genre that combined aspects of installation art with aspects of the classical concerto. Over the next two seasons we presented this version of the piece in New York (River to River Festival), Washington, DC (The Atlas Performing Arts Center), Zimbabwe (Harare International Festival of the Arts), and Maine (Bay Chamber Concerts). By the end of this run of performances, Paola and Carmen had added 10 minutes of music and video (making the duration 30 minutes), and I refined my improvisations and honed my use of the K-Bow.
When she first started the piece, Paola had recently read Octavio Paz’s famous work, The Labyrinth of Solitude. Her title for the two concertos, Labyrinth, was a allusion to the existential labyrinth of which Paz writes. Together, Paola and I contemplated how the “labyrinth” of an individual’s inner world manifests itself externally in acts of creativity and ways of relating to others. We were beginning to think of the piece as a concerto for violin and “multiple selves,” a concept that Paola and I agreed was deeply connected to the image of an inner labyrinth. I enjoyed how the idea of multiple selves resonated with the object relations branch of psychoanalytic theory, an area I was beginning to explore. For me, the piece became not only an exploration of the idea of multiple selves, but also a musical depiction of the struggle to bring together disparate internalized figures and fragments of the self into a cohesive whole. The drama became the search for clarity through the realization of personal truth.
This coming performance at Krannert Center on February 1 will be the world premiere of the complete piece. For this show we will be joined by some illustrious new collaborators, including director Michael McQuilken, videographer Brad Peterson, lighting designer Yi Zhao, sound designer Dave Cook, EDREAM, and Michael Winger. The second part of the entire work, Room No. 35, will be presented, featuring Maya Beiser on LED cello (conceived by Erika Harrsch and Maya Beiser, created by Erika Harrsch), and video by Erika Harrsch. Room No. 35 is based on the writing of Anais Nin, and approaches the concept of multiple selves from a different angle.
After the performance of the original 10 minute section at Journaling. From left to right:
Dongmyung Ahn, Amy Kauffman, Jeff Ziegler, Cornelius Dufallo, Paola Prestini, Alanna Maharajh Stone, Corey Dargel.
Labyrinth brings together two “installation concertos,” two different performers who use technology, two technological innovations (the K-Bow and the LED cello), two visual artists, and two different stories that both deal with the concept of the divided self, into one evening length multimedia piece.
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File Under ?’s Best Recordings of 2013 (in no particular order)
Yvar Mikhashoff, Panorama of American Piano Music (Mode)
Robert Levin and Ursula Oppens, Piano Music 1960-2010 – Bernard Rands (Bridge)
New York Polyphony, Time Go By Turns (BIS)
Julia Holter, Loud City Song (Domino)
Jennifer Koh and Shai Wosner, Signs, Games, and Messages (Cedille)
Christopher O’Riley, O’Riley’s Liszt (Oxingale)
Boards of Canada, Tomorrow’s Harvest (Warp)
Oneohtrix Point Never, R Plus Seven (Warp)
Lewis Spratlan, The Architect (Navona)
Julianna Barwick, Nepenthe (Dead Oceans)
Stile Antico, The Phoenix Rising (Harmonia Mundi)
Gloria Cheng, Calder Quartet, The Edge of Light – Messiaen/Saariaho (Harmonia Mundi)
Pierre Boulez, Complete Works (DG)
Phosphorescent, Muchacho (Dead Oceans)
The Knife, Shaking the Habitual (Rabid)
Ian Pace, The History of Photography in Sound – Michael Finnissy (Métier)
Chris Thile, Sonatas and Partitas, Vol. 1 – J.S. Bach (Nonesuch)
BMOP, Lamia – Jacob Druckman (BMOP Sound)
Joshua Perkins et al., Inuksuit – John Luther Adams (Cantaloupe)
Jeremy Denk, Goldberg Variations – J.S. Bach (Nonesuch)
Ensemble musikFabrik, Tongue of the Invisible – Liza Lim (Wergo)
Tim Berne’s Snakeoil, Shadow Man (ECM)
Craig Taborn Trio, Chants (ECM)
Carolin Widmann, Frankfurt Radio Orchestra, Violin and Orchestra – Morton Feldman (ECM)
Matt Mitchell, Fiction (Pi)
Bryn Roberts, Fables (Nine Eight)
Caroline Chin and Brian Snow, Tre Duetti – Elliott Carter (Centaur)
R. Andrew Lee, November – Dennis Johnson (Irritable Hedgehog)
Spektral Quartet – Chambers (Parlour Tapes)
Kronos Quartet and Bryce Dessner – Aheym (Anti)
New York Virtuoso Singers – 25×25 (Soundbrush)
Above: From the first European recording of the complete Ives Violin Sonatas, by János Négyesy and Cornelius Cardew
Those of us who knew him will miss his personal warmth and humor, and the joy he took in making music. This was originally posted by Rand Steiger on Facebook, and it’s so good I’m sharing here:
It is with deep sadness that I write to inform you that the great violinist János Négyesy passed away today due to complications that arose during cardiac surgery. Professor Négyesy was 75 and had been a member of the UCSD faculty since 1979. He is survived by his wife, Päivikki Nykter.
János Négyesy was born in Budapest, Hungary and studied at the Franz Liszt Academy of Music and later at Detmold in Germany. He left Hungary in 1965 and from 1970-74 was concertmaster of the Berlin Radio Orchestra. He lived and worked in Paris, Vienna and New York before joining the UCSD faculty in 1979. Long an advocate of new music, Mr. Négyesy appeared at major festivals throughout the world. In addition to performing, recording and teaching he wrote a definitive study of contemporary violin techniques, and was an innovative visual artist working with computer graphics.
Some of Négyesy’s landmark recordings included the first European recording of the complete Violin and Piano Sonatas of Charles Ives with pianist Cornelius Cardew and recordings of works specifically dedicated to him by important contemporary composers such as Attila Bozay, Carlos Fariqas, Vinko Globokar, Hans Otte, Isang Yun and his UCSD colleague Roger Reynolds.
Négyesy had a long friendship and collaboration with John Cage, who dedicated his piece One6 to him. Négyesy gave the world premiere of Cage’s Freeman Etudes I-XVI in Torino, Italy in 1984 and XVII-XXXII in Ferrara, Italy in 1991. He then produced a double CD of the complete Etudes in 1995 on Newport Classics Records. The complete Bartôk Duos for two Violins – with Päivikki Nykter – was released by Neuma Records in June 1993. Dedications – with solo works written especially for Mr. Négyesy by current and former UCSD students was released in June ’96 and a CD with solo compositions by Bartôk, Berio and Xenakis was released in Winter 2000, on Aucourant Records and Neuma Records, respectively.
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Ted Byrnes, Nicholas Deyoe and John Wiese joined forces on Tuesday, December 17, 2013 for an evening of improvisational music featuring percussion with guitar and electronics in a concert titled 2 Duos of Varying Volumes But Similar Intensities. About 25 people, a near-capacity crowd for the renovated loft space that is the Wulf, heard three different offerings in two duo configurations that included a wide variety of extended techniques.
Ted Byrnes is a drummer/percussionist living in Los Angeles via the Berklee College of Music in Boston and who is working now primarily in free improvisation, electro-acoustic music and noise. Nicholas Deyoe is a composer and has also conducted the La Jolla Symphony as well as Red Fish Blue Fish. John Wiese is a Los Angeles-based freelance musician and has toured extensively in Europe and Australia.
The first piece – Duo 2 – had Ted Byrnes stationed behind a more-or-less familiar drum kit, but with a number of unusual found objects within arm’s reach. Nicholas Deyoe accompanied on an acoustical guitar and began the piece with a loud shout. This was followed quickly by the application of palm fronds on the tom-tom and this produced a soft, pleasantly organic sound. Guitar chords joined in as well as a variety of slaps, plinks and more exotic sounds that were conjured by an animated Nicholas Deyoe.
As the piece progressed Ted worked through a series of objects directly on the drum head – pot lids, sheet metal plates, a hollow metal cymbal stand – these were struck with drum sticks, brushes, and even the performer’s knuckles. A cymbal was removed and placed on the snare drum head and played with brushes, producing a wonderfully complex sound. Dice were heard knocking within cupped hands. Even with all the movement that was required to sustain the sound, you could see the precision with which each object was obtained, incorporated in the percussive mix and then returned, with the flow of energy never lessening. The result of all this was a sort of rolling sea that came in waves of varying dynamics and intensity. Less a rhythm than a wash of percussive sounds, some familiar and some almost industrial in character, but all suffused with great energy even in the quieter moments.
The second piece – Duo 1 – combined Ted Byrnes with John Wiese on electronics. John was equipped with a sound board that allowed him to mix about a dozen different sounds that originated from a laptop computer. An amplifier and a series of speakers completed this set up. The electronic sounds added a solid foundation against which the sharp sounds of the percussion could offer some interesting contrast. Long booming sounds, screeches and squeals provided a continuous electronic texture while the ever-energetic Ted provided a varied mix of rapid percussion. To my ear the drumming seemed just a bit more conventional and offered a point of reference to the sometimes alien sounds coming from the speakers. But overall the balance with the electronics seemed just right and very effective. At times this piece was full of roar and commotion, but never seemed stressed or distorted. Duo 1 concluded nicely with disarmingly warm tones from the electronics that faded to silence.
The third piece of the evening had Nicholas Deyoe on guitar rejoining Ted Byrnes in a final duo. There were some amazingly high sounds produced from a single guitar string combined with the usual activity in the percussion that at times seemed an virtual avalanche of sound. The drumming again sounded a bit more traditional and the dynamics in this piece were more noticeable. Although similar in texture to the first piece, this last duo surged in and out a bit more regularly – like watching the whitecaps on a choppy sea.
The percussion techniques used in this performance are interesting because all the extra found objects could have just as easily been hung separately to be struck individually, but Ted Byrnes has chosen to make them integral to the drum kit and applied them together. This produces many unusual sounds to be sure, but also mixes the familiar and the unfamiliar in a more calculated and artistic way. These pieces pushed the limits of rhythm, texture and density in new directions and invite the listener to rethink previously implicit musical boundaries.
The Wulf will present another concert of duo improvisational music on January 29, 2014 at 8:00 PM that will feature Bonnie Jones and Andrea Neumann, whose work ” is a rich contradiction of textures and timbres with each artist committed to both defining and expanding the definitions of their music through long-term collaboration.”
Photo: Ryuhei Shindo
A bit of cheering for the “home team,” as ACME played on our last Sequenza 21 concert.
Last Friday, December 13, Symphony Space’s In the Salon Series celebrated Lutoslawski’s centenary with American Contemporary Music Ensemble (ACME) – for this concert comprised of Caleb Burhans and Caroline Shaw, violins, violist Nadia Sirota, and cellist Clarice Jensen – and Lutoslawski scholar and composer Steven Stucky. Symphony Space’s Artistic Director Laura Kaminsky was on hand for an onstage conversation about Lutoslawski with Stucky.
As I mentioned in my Musical America review of In the Salon’s previous installment, a concert featuring piano music by Bernard Rands, these events are my favorite kind of outreach: the programs are well-curated with fine music, and the conversational tone of the interview doesn’t lead to the participants ever talking down to the audience. Instead, they had substantive things to say about the music. Like Rands, Stucky is an excellent talker; the many residencies he’s held have served him in good stead; he knows how to connect well with an audience. It was also impressive to learn from someone such as Stucky, who has the details of seemingly each piece in a composer’s catalog and the biographical details surrounding them at his fingertips. Kaminsky was well-prepped too.
ACME played three pieces by Lutoslawski and two by Stucky. Stucky acknowledged that the works selected, a string quartet titled Nell’ombra, nella luce and Dialoghi, a set of variations for solo cello, owe a debt to Lutoslawski: but not in any sort of overt troping or near-quotation. Instead, both composers are interested in exploring texture, in evolving timbral events, and both have the capacity for great delicacy contrasted with ferocious musical passages.
Dialoghi, in particular, with its myriad effects and considerable technical demands, was an excellent showcase for Jensen.
The cellist was still more impressive in Lutoslawski’s challenging and mercurial Sacher Variations, embodying the work with commitment and impressive authority. Occasionally I found the composer’s earlier, folk-music inspired duo for viola and cello, Bukoliki, to be rendered a bit coolly. ACME’s performance of Lutoslawski’s String Quartet, a punctilious and often craggy high modernist masterpiece, was in contrast a visceral experience; in its best passages, redolent with searing intensity.
One hopes that Kaminsky will continue to organize In the Salon events; they are a bright spot on the Upper West Side’s musical landscape.
On Tuesday December 3, 2013 the Los Angeles Philharmonic New Music Group presented LA Now: Four New Angeleno Composers, the latest in the Green Umbrella series of new music concerts. Curated by no less an eminence than John Adams, works by Sean Friar, Julia Holter, Andrew McIntosh and Andrew Norman were performed for a mostly young and enthusiastic audience that filled three quarters of the Walt Disney Concert Hall.
In the pre-concert panel discussion we learned that over 100 compositions were considered during the selection process and that Mr. Adams sought music that “speaks of Los Angeles” and displayed a sense of provincialism – in the best sense of that word. The composers were each asked to identify what makes new music in Los Angeles unique, and comments such as “freedom to try things”, “dispersed”, “experimental” and “entrepreneurial” were heard. Noting that the musical forces specified in these four pieces were generally on the small side, moderator Chad Smith – LA Phil Vice President of Artistic Planning – asked “Is the orchestra still relevant? Do you write music for a full orchestra?” To which Julia Holter quipped “Only if you need to write such a piece to graduate…” and this provoked a knowing laugh from the many music students present. But the mood was upbeat – there is a lively new music scene in and around downtown Los Angeles, and Disney Hall is situated at the center of it.
The first piece on the program was Little Green Pop by Sean Friar and the instrumentation consisted of piano, trombone, soprano and tenor saxes, electric guitar and percussion. This seemingly small assemblage produced an unexpectedly large sound, beginning with a run of light staccato tones that evolved into a series of louder chords. The quick tempo and syncopated rhythms were guided nicely by the precise and clear conducting of John Adams. The tones seem to pop out of the instruments, the harmonies and textures changing with almost every beat and this created a kind of pointillist construction of sound that was very effective. At other times, separate lines would pile together combining into a wonderful mash. Cymbals added an element of majesty and motion that eventually culminated in a great blast from the horns. Sustained and quiet tones followed, producing a moment of calm reflection before building again in tempo and volume and leading to a rousing finish. This was a work whose architecture delivered impressive constructions of sound from relatively small musical forces and Little Green Pop was received with enthusiastic applause.
Memory Drew Her Portrait by Julia Holter followed and this was a world premiere commissioned by the Los Angeles Philharmonic. This piece featured a more conventionally arrayed chamber orchestra consisting of flute, oboe, clarinet, bassoon, horn, trombone and keyboard, with a string section consisting of four violins, two violas, two cellos and a double bass – all presided over by John Adams conducting. The composer sang the solo vocals whose text was based on an extended original poem that forms the focus of this work. The opening mournful horn solo immediately sets the tone for this piece – a story of lovers parted. Ms. Holter was mentioned as being in the same league with Joni Mitchell and Laura Nyro in the pre-concert discussion and the comparison is apt, less because of the purity of her voice but more in the way that the music, text and voice are joined seamlessly to propel the serious emotional trajectory of the piece. The voice is an equal partner here and the smooth passages in the orchestra serve to effectively reinforce the mood of the text. The accompaniment is direct and accessible, yet adds the requisite atmosphere to the poignant lyrics. The combination of powerful poetry, insightful orchestration and the strong emotional component in the vocals fully connected with the audience, who responded with sustained applause.
After the intermission, Etude IV by Andrew McIntosh was performed by James Sullivan and Brian Walsh playing clarinet with Mark Menzies on violin. This is a quiet piece consisting of a series of scales that repeat in various combinations of intervals and pitches. This piece employs just intonation – a type of microtonal music that employs tuning based on the natural harmonic ratios of pitches and not the conventional 12 equal divisions of the octave. Etude IV is one of a series exercises that Andrew wrote to help the players practice in these different tunings. In the program notes Andrew states that “…present in the pieces is my fascination with some of the more orderly facets of the natural world so the forms and harmonic constructs of the pieces are often very geometric or symmetrical in some way… In Etude IV (my personal favorite) the symmetry is reflected in time as each phrase goes out of phase with itself…” The sound of this occasionally had an Asian feel and often produced interesting harmonies and timbres as the instruments ascended each of the scale patterns. The hearing was good – even in the higher elevations of Disney Hall where I was sitting – but some of the subtleties of the harmonic interplay were undoubtedly lost given the sizable space; this music is most often performed in a much more intimate setting. On the whole, it was a generally restful and almost meditative experience, a fine contrast to much of what was heard in the first part of the concert. Etude IV is very representative of the work being done with alternate tunings in the Los Angeles new music scene and the structure of this piece also owes something to process, another historical West Coast influence.
The final piece of the concert was Try by Andrew Norman and for this John Adams resumed his role as conductor of a group identical to that of Memory Drew Her Portrait, save the addition of a trumpet. But the sound could not have been more different – Try is a furious, high energy stringendo-on-steroids wall of sound that jumped off the stage and seemed barely contained by even the spacious Disney Hall. Swirling, always moving ,yet able to turn on a dime, this piece most reminded me of the old Warner Brothers cartoon music – and this, of course, is a compliment. The playing was precise and deadly accurate despite the frenetic pace and the ensemble managed to keep a keen edge on the river of sound that was sent flowing from the stage. Percussion and brass added an almost explosive element to the ever-building torrent and just when you were sure it couldn’t get any wilder – it went quiet. Piano and flute traded soft phrases and eventually the piano alone was left to repeat a theme of just a few notes. A slight acceleration in the final phrase, then some quiet quiet chords… and an audience sitting in stunned silence. This piece was an emotional roller coaster ride and received a loud ovation in response. It is hard to believe that the music of Andrew Norman won’t find its way to a movie screen or a TV series sometime soon.
LA Now: New Angeleno Composers was an exciting event much appreciated by the sizable audience. Credit goes to John Adams for what must have been no small effort to curate and produce such a concert. Congratulations to all the composers whose work was performed, it was a night to remember.
Concert notes, composer links and more information about this performance are here.
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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
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
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
For more information and to buy tickets, visit:the festival website.
Before JACK Quartet played Georg Friedrich Haas’ “In iij. Noct,” String Quartet No. 3 Tuesday night at the Lincoln Center White Light Festival, the stage crew turned the lights off in the Clark Studio Theater for a test run, so that everyone in the audience could gauge whether they could withstand the extended period of essentially total darknes. The lights were down for one minute, and once the last light went out I counted to myself, “one-one-thousand, two-one-thousand.” By the time I hit twenty, the lights were on their way back up.
That is the profound power that darkness has, it drastically slows our personal sensation of time. It’s in that time-altered environment that we hear the musicians, one each in the four corners of the room, playing Haas’s piece (it’s duration can be flexible but JACK played it for about 70 minutes). The darkness is purportedly no gimmick, it’s at the core of the piece, as Haas described in post-concert remarks led by John Schaeffer. But the problem with the compostion, and it is a serious problem, is that it spends so much thought on darkness and none on time.
As a composition, the String Quartet takes the form of a series of structured cues — it’s fair to consider them improvisatory, but that’s a distinction that can easily shift responsibility away from the composer and onto the players. The musicians have different kinds of musical material to work with, things like sequences of effects, instructions to form chords from a tonic pitch using the overtone series, a notable and glaring quotation from one of Gesualdo’s Tenebrae Responsoria . Playing in the dark, away from each other, they have to come to consensus on each section.
JACKS’ unanimity in this concert was impressive. They’ve played this work almost three dozen times, in Ari Streisfeld’s telling, and although there have been performances in their account where they had to fight over events and direction, this was smooth and assured. But the net effect is that the piece has no form, that it’s a disjointed series of effects — none of them particularly compelling — interrupted by involving tonal material. It’s discontinuous, but there’s no intent to that, no shape, no argument for that structure.
The effects — tricks with the bow, quiet tapping on the fingerboard — evaporate in the dark, though there’s the benefit that the piece doesn’t come off as simplistic horrow music. They don’t linger in the mind, and don’t effectively mark moments in time. When the quartet builds their chords, or when they move via glissandi up and down through pitches, the piece is remarkable. That’s when it builds structure through time, and since it’s working with such a proufoundly altered sensation of the dimension, it starts to open up extraordinary worlds of aesthetic, intellectual and spiritual possibilities.
I get the impression Haas doesn’t hear this, because his instructions let go of all the power in the music. It’s easy, but lazy, to hear his work as avant-garde. He is avant-garde in a bourgeois sense, titillating with sensation. But he’s not in the meaningful sense of an obsessive focus on one single, simple idea, it’s permutations and possibilities. One hour of chord building in pitch darkness, the musicians at the edge of their senses to hit the exact intonation, the audience in constant anticipation of where the music will go and what will happen next, that might be extraordinary. One hour of scrapes and squiggles and some notes — with an entirely superfluous bit of Gesualdo throw in — in the dark, is a gimmick, and ultimatley disappointing.
Hey Jerry. We would love your help getting the word out on the balance of our reading opportunities this year. What’s new is that we are now accepting them by email and also offering the ability to apply for both the Underwood New Music Readings and the New York Philharmonic EarShot Readings that will result in three of the six chosen having their works performed June 5-7 by the Phil either under Alan Gilbert or Matthias Pintscher. I’ll go ahead and say that I think this is pretty cool.
Also, if you can post this opportunity on your site somewhere in addition to blasting the attached pdf, I’ve pasted the link to the page on our site concerning these opportunities.
Many thanks for all your help in getting the word out on these composer opportunities!