Composer, conductor, and pianist Richard Carrick has been named chair of Berklee’s Composition Department. Carrick is a 2015-2016 Guggenheim Fellow and co-founder and co-artistic director of the contemporary music ensemble Either/Or. He succeeds Arnold Friedman, who had been the department’s chair since 2012. Friedman remains on the faculty.
Carrick recently moved to the Boston area after living in Kigali, Rwanda, on a Guggenheim Fellowship in Musical Composition. In Rwanda, he was commissioned to pen a new official arrangement of the country’s national anthem for the Rwandan Military Band. During this time, he premiered five works in New York, Boston, Tel Aviv, and Kigali. Carrick has taught in South Korea, Japan, the U.K., Rwanda, and Israel through the Very Young Composers program, and returned to South Korea last year as a Gugak Korean Traditional Music Fellow.
“I’m thrilled to be joining the Berklee community and especially the versatile, diverse, and talented Composition Department,” said Carrick. “I look forward to finding more professional and educational opportunities for our students in the ever-changing musical world of concert music.
His latest release, Cycles of Evolution, incorporates pieces commissioned and performed by Musicians of the New York Philharmonic, Either/Or, Sweden’s Ensemble Son, Hotel Elefant, and DZ4. Carrick conducts or performs on all works on the CD, which includes his ‘apocalyptic’ multimedia piece, Prisoner’s Cinema. His recordings also include Flow Cycle for Strings; and Stone Guitars,which garnered acclaim in both the new music and guitar worlds. American Record Guide said, “It may change your perception of electric guitar.”
Either/Or has been called “first rate” and “a trustworthy purveyor of fresh sounds” by the New York Times, and won the 2015 Chamber Music America/ASCAP Award for Adventurous Programming. Carrick has worked with celebrated composers including Helmut Lachenmann, Chaya Czernowin, Iancu Dumitrescu, Elliott Sharp, George Lewis, Alvin Lucier, Anna Thorvaldsdottir, and Rebecca Saunders.
“Dr. Carrick brings a perspective and set of experiences that our faculty and students can connect with immediately,” said Larry Simpson, Berklee senior vice president for academic affairs/provost. “He is fluent in the language and ways of the academy and equally accomplished in the world of composing and sustaining creative enterprises that move forward an art form in competitive environments. He also has extensive international experience that will prove valuable to faculty and students.”
Carrick has taught composition at Columbia and New York Universities and has presented master classes and lectures throughout the U.S., Europe, and Asia. He was a cornerstone of the teaching artist faculty for the New York Philharmonic, through which he has mentored hundreds of young composers internationally.
A U.S. citizen born in Paris of French-Algerian and British descent, Carrick received his B.A. from Columbia University, PhD from the University of California, San Diego, and pursued further studies at IRCAM and the Koninklijk Conservatorium in The Hague.
Berklee’s Composition Department provides a thorough course of study in all areas of traditional and contemporary musical composition, including writing techniques, orchestration, and score preparation; and advanced training in instrumental, choral, and musical theater conducting. A faculty of 40 active composers and conductors, many with national and international reputations, prepare students for careers as professional writers and conductors. Although sharing similar methods with departments such as Jazz Composition, Songwriting, Film Scoring, and Contemporary Writing and Production, the Composition Department is mostly concerned with concert music. The department also works with creative multimedia, from traditional opera and theater to contemporary electronic and mixed media
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On September 15-18 at Spectrum, Collide-O-Scope Music begins its eighth season with a Festival celebrating the music of Robert Morris. A wide range of works will be featured, for electronics, piano, small chamber ensemble, and string quartet. In addition to Collide-O-Scope personnel, there will be guest performers, notably JACK Quartet. I recently interviewed Morris about the upcoming concerts: our exchange follows.
How did this Festival of your music come about?
Out of the blue, on April 20, 2015, I received an email from Augustus Arnone proposing this festival of my music. I had never met Augustus nor heard him play in person, but I knew of his great pianistic talent and industry in playing the complete works of Milton Babbitt and the complete “History Of Photography In Sound,” by Michael Finnissy. I knew also of his new music ensemble called Collide-O-Scope. He proposed that the festival should feature my piano works (of which there are many), my small ensemble pieces, some of my electronic works, and string quartets, which would be played by the JACK Quartet. The members of the JACK were once students at Eastman where I teach, and two of them had studied composition with me. They have premiered two of my string quartets: Arc (1988) and Allegro Appassionata (2009) written for them. They will also play my most recent quartet called Quattro per Quattro (2011).
Why was Spectrum picked as the venue?
Spectrum is a New York City performance space that is well known for presenting progressive art and music. Collide-O-Scope has played there many times. In the last five years, more intimate informal performances spaces, by contrast with concert halls, are becoming the norm for new music concerts and events. This is perhaps a tradition that stems from the old NYC downtown music venues of the 1980s and 90s for alternative and improvised music.
What will the pieces for electronics be like? How do you think they will resonate in an intimate environment like Spectrum?
The electronic/computer music pieces are not that loud as such things go. One of the two pieces called Mysterious Landscape is quite intimate in character, while the other piece, Entelechy 2012 for piano and electronic modification, is sometimes brash and dramatic with subtle, timbreally unique gestures often including microtones, vibrati and glissandi—categories of sound impossible to produce on acoustic keyboard instruments.
These two pieces, both composed in 2012, complement each other in other ways. Mysterious Landscape is an improvisational electro-acoustic piece lasting about 30 minutes to be played by one or two performers. It complements my desire to connect music with nature as in my outdoor pieces. Here the sounds and processes of nature are brought inside a performance space so that natural sounds—birds, insects, frogs, mammals, wind, and water-—are mixed together with computer-generated sounds to project a serene sonic environment that reflects on a peaceful relation of humans to nature. I will play the piece with a video slideshow using landscape photographs I took in the southwest and eastern United States, south India, Sri Lanka, and Kyoto, Japan.
Entelechy 2012 is quite a bit more abstract in structure and design. It also involves indeterminacy, but of the composed type; in this case, two isomorphic, composed out structures are played against each other in a different coordination from one performance to another. This underlying structure is based on a ring of 24 elements that include all the permutations of four elements once each. This ring guides the timbres, gestures, and pacing of the piece. However it does not produce a sense of stability or unity in any of the performances. Rather the composition is designed to be radically impermanent, providing surprising and novel experiences as it moves on, as much as in jerks or surges as ebbs and flows. Incidentally, The word “entelechy” was coined by Aristotle to refer to the condition of a thing whose essence is fully realized, implying an actuality that directly stems from some potential idea or concept. Augustus will play the piece with sound modifications that are not controlled by a live performer.
Both pieces use MAX-MSP patches
More on these pieces can be found on my website:
Do you enjoy being part of the performances of your electronics installations?
Yes, I do. I enjoy improvisation, on one hand, and being in control of the nuance of the electronic sounds, on the other.
You’ve frequently composed for piano. What draws you to the medium?
I began playing piano before I could read music and took lessons. Even today, I improvise as much as I play written-out compositions; however in recent years, I play for myself only. Thus the piano has been the instrument on and from which I get musical ideas of all sorts, and is often the medium in which I try out new compositional ideas and modes of expression. I like to contrast the percussive and dynamically mobile character of the piano—which you find most prevalently in jazz of all types–with the colorful and intimate resonances found a good deal of new music. You might say, Bartok, Stravinsky and Babbitt versus Debussy, Boulez, and Feldman.
The piano program contains the premiere of a new work, Foray (2016). What were some of the compositional ideas you worked with in this latest piece?
Foray was directly influenced by Augustus’s playing, which I finally heard live last spring in a Collide-O-Scope concert featuring the music of Milton Babbitt and some younger composers. His remarkable ways of voicing and articulating piano sound made a big impression on me. So in mid-July an idea for a piano piece popped into my head and the character of the piano ideas was something I thought Augustus would like to play, so I dedicated the piece to him. The basic idea of the piece is that an opening series of ten chords arranged in an arc (maybe a rainbow, since each chord is of a different harmonic “color”) each generate music in subsequent sections of the piece. Thus the form is the arc followed by ten sections in different registers and densities. As the music goes on, the derivation of the music from the chords gets progressively more complicated and obscure in the way the music is parsed, registered, and embellished. The process is from isolated objects to mixtures and blends—an entropic process.
By the way, the other pianist on the program, Margaret Kampmeier, is also playing music I dedicated to her: from my Nine Piano Pieces.
Have your works been performed before by Collide-O-Scope Music? What does their ensemble bring out in your work that perhaps others don’t?
Well, not exactly. Some of the players who are members of Collide-O-Scope as well as guest artists on this festival have played and recorded my music. Sunghai Anna Lin (violin), Margaret Kampmieier (piano), Marianne Gythfeldt (clarinet) and Tara O’Connor (flute) were once members of the New Millennium Ensemble that played and recorded my sextet Broken Consort in Three Parts, as well as other pieces over the years. These are wonderful musicians who understand how to interpret the multiplicity of structure and expression in my music.
Could you tell us a bit about the ensemble works that will be heard on the festival?
Traces (1990) for flute and piano was commissioned by the National Flute Association in 1990 as a contest piece. As the title suggests, the piece moves forward by tracing and retracing various melodic lines in the piano by the flute and vice-versa,
Raudra for flute alone was written for Elizabeth Singleton in 1976. It takes its name from the fourth of the nine “rasa’s” of Indian music and dance, connoting the mood of fury and anger. I’m looking forward to Patricia Spencer’s performance.
Along A Rocky Path (1993) was composed for the Arlington Trio (violin, clarinet and piano). Like many of my pieces, Along a Rocky Path reflects aspects of natural landscape—especially less frequented and more rugged terrain. Shortly after completing the piece in January 1993, I came across a poem of the eighteenth-century Japanese poet, Uragami Gyokudo, from which I took the title of my trio.
There is no heat on this rocky path,
The sound of the water from a mountain stream is most pure,
By the red leaves, I know there must be a man’s hut nearby;
My traveler’s path is hidden in the white clouds.
Over the twisting path hang the waterfalls of Mount Lu,
The plank roads of Szechwan cross the steep mountains.
There is no need to bemoan the journey:
Wherever I chant my poems is home.
Out and Out (1989) was composed for Marianne Gythfeldt in the spring of 1989. It concerns the interplay between the two instruments; the clarinetist and pianist interact to shape the musical continuity, often doubling each other’s notes and rhythms. The resulting demarcation of one musical line by another affects every aspect of the piece, producing exceedingly great reaches of reference, pulling together music from every part of the piece.
Drawn Onward (2014) is a recent work for violin and piano written for the Irrera Brothers, an emerging violin/piano duet. The title of the piece involves a palindrome that is embedded in the following longer palindrome: “Are we not drawn onward, we few, drawn onward to new era?” The idea of a symmetry inside another symmetry is at the heart of the composition. For instance, each of the two players has their own musical materials, but the violin material is embedded in the piano material and vice versa. Since the two performers from whom I wrote the piece are brothers, I thought that working with mutually embedded materials an apt way of composing a piece particularly for them.
Did the JACK Quartet work with you when they were at Eastman?
As I mentioned earlier they did as composition students, but they were not the JACK Quartet yet. You can read about the interactions we have had in the following interview article: “Interview with the JACK Quartet, John Pickford Richards, Ari Streisfeld, Christopher Otto, Kevin McFarland, And Joshua B. Mailman,” Perspectives of New Music, (2014) 52/2.
String quartets often are particularly significant pieces in composers’ respective outputs. How would you characterize the quartets that will be heard on the festival?
Although I wrote a string quartet in 1976, Arc of 1988 is my official first quartet. Due to the difficulty of the music, I had to wait 21 years before it was played. The JACK decided to learn it in 2008 and have played it here and there since then. The second quartet, Allegro Appassionata, was written for the JACK in 2009 for a special concert at the Tank in NYC. The third, Quattro per Quattro was premiered and recorded by the Momenta String Quartet in 2014 with Benjamin Boretz’s string quartet, Qixingshan. Now I will hear the JACK’s interpretation!
Are these quartets significant in my output? I think yes: they are all extended, ramified compositions; each embodies a harmonious relation between singular compositional craft and intense emotional particularity; each is quite challenging for the performers. But as your question implies, string quartets are considered the high-water mark for composers of all stripes. I can only hope my quartets will be appreciated as such.
Sep 15 – 8:00 pm
Robert Morris Festival, Concert I – Electronic Installation Works
Augustus Arnone, piano, and Robert Morris, Electronics
Mysterious Landscape (2012)
(pre-concert discussion with Morris at 7pm)
Sep 16 – 8:00 pm
Robert Morris Festival, Concert II – Music For Solo Piano
Augustus Arnone and Margaret Kampmeier, pianos
39 Webern Variations (2010)
Night Vapors (1967)
14 Little Piano Pieces (2002)
Foray (2016) ** World Premiere
(pre-concert discussion with Morris at 7pm)
Sep 17 – 8:30 pm
Robert Morris Festival, Concert III – Music For Mixed Ensemble
Along A Rocky Path (1993)
Out and Out (1989)
Drawn Onward (2014)
Sep 18 – 3:00 pm
Robert Morris Festival, Concert IV – Music For String Quartet
Allegro Appassionata (2009)
Quattro per Quattro (2011)
121 Ludlow St. 2nd fl, New York City
September 15th – 18th
TICKETS: 20$/15$ (students and seniors) OR Festival Pass 50$/40$ (students and seniors)
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Into the Maelstrom: Music, Improvisation, and the Dream of Freedom before 1970
By David Toop
Bloomsbury, 330 pp.
Even given the relative expanse of a projected two-volume history of improvised music, David Toop has set lofty goals for himself. In volume one, Into the Maelstrom: Music, Improvisation, and the Dream of Freedom before 1970, he discusses a number of musical figures from improvising communities: Derek Bailey, Evan Parker, Steve Beresford, Keith Rowe, Ornette Coleman, and Eric Dolphy are a small sampling of those who loom large. John Cage is a totemic figure discussed from a variety of angles. Such collectives as AMM, MEV, Spontaneous Music Ensemble, Company, and Gruppo di Improvvisazione Nuova Consonanza feature prominently as well. In addition, Toop connects improvisation to a panoply of other reference points, musical and otherwise, such as rock, concert music, fine art, film, and literature. Politics and historical events and their influence on musicians is a particularly well-drawn through line.
One would be hard pressed to take a strictly chronological approach to reading Into the Maelstrom. A great pleasure is the oftimes improvisatory feel of its labyrinthine passages. In this sense it jubilantly resembles the Edgar Allen Poe story from which it takes its title. No matter how far-flung a new passage may at first seem, Toop finds a way to integrate it into the fabric of the book. For the most part, Maelstrom is confined to the genesis and development of free playing in the decades leading up to 1970. Digressions from this era, such as transcribed later interviews and personal anecdotes, are used to provide a more comprehensive portrait of particular figures and incidents. Nor does Toop eschew discussion of earlier figures. Indeed, his profiles of musicians such as Art Tatum, Erroll Garner, and Stuff Smith trace a lineage of free playing, or at the very least playing on the cusp of free, that is farther reaching than is often enough acknowledged. Flashbacks and flashforwards are also employed to tease out thematic issues, such as audience responsiveness (or non-responsiveness, and occasionally dangerous hostility), interaction between musicians (with its own degrees of responsiveness and even dangerous hostility), and, especially, issues of freedom, both in musical and political contexts. Thus, Into the Maelstrom allows us a glimpse into an ever-changing landscape of varying interactions, all of which contribute to the development of improvisation. I’m eager to read its companion second volume.
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Mikel Rouse’s Metronome project has been in heavy rotation around these parts. His latest album, Take Down, had a five-year long gestation. Given the varied reference points, one can hear why. Two parts sci-fi electronica, one part postmodern amalgam (including field recordings), topped off with Rouse’s surefire vocals: most worthy of investigation.
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The Prom on August 20, presented by The BBC Scottish Symphony Orchestra, conducted by Ilan Volkov, opened with the first UK performance of Dérives by Gérard Grisey. It’s hard to believe that it’s taken 42 years for the piece to have been played in the UK, and that it was only the second work of Grisey’s to be played on the Proms. Dérive is scored for two orchestras, one smaller and amplified; the size of the Albert Hall stage made separation and a very clear distinction between the two groups more or less impossible. The work starts with the conceit that the orchestra is tuning (the program notes by Julian Anderson states that Grissey’s intention was to “effect a subtle bridge between what he terms ‘everyday time’ and ‘musical time.’”), but staging it so that it really works seems as though it would also be impossible, since it coincides, as it did on this concert, with the conductor’s arrival on the stage and the attendant applause. Possibly all of that clumsiness was also part of the conception, although that somewhat lessens the subtlety of it . In any case once things get under way there is a prolongation of the tuning A until a loud tutti chord shifts things to Eb, and onto the main agenda of the piece which is the setting up of the overtones of Eb as a base sonority and the glacial slow drifting of the music away from and back to that referent over the almost half hour of its duration. The mesmerizing quality of the piece was faithfully realized with striking concentration and beauty of sound.
A few days later at the Café Otto, Volkov, as a violinist, joined about a half dozen string players and two percussionist for an evening of improvisation. I heard the second half of the evening, which consisted of two blocks, the shaping and pacing of each of which was compelling and satisfying.
The Prom concert on August 24 was presented by the São Paulo Symphony Orchestra and its Music Director Marin Alsop. It opened with Kabbalah by Brazilian composer Marlos Nobre. The title, the program note said, “refers to the ancient tradition of Judaic mystical thought and its interpretation through symbols and ciphers, described as a revelation of God’s wisdom to his creations.” The work is a very colorfully orchestrated and rhythmic, with lots and lots of percussion, evocative and, I suppose, mystical, in a way that its title might lead one to expect. The concert also included only the four minute long Prelude of Heitor Villa-Lobos’s Bachianas brasileiras No. 4. It was too bad they didn’t play the whole piece, since it left the impression that if was felt that a Brazilian orchestra just had to play a piece by the most famous Brazilian composer, but they’d do as little as possible to get by with satisfying that mandate. In fact the piece was quite attractive and I would have been happy to hear more, maybe the entire piece rather than the Rachmaninov Symphonic Dances, which ended the concert.
The Prom on August 21 by the Ulster Orchestra, conducted by Rafael Payare, was as much as anything a celebration of and for the orchestra itself. The only professional orchestra in Northern Ireland, it recently survived a near-death financial crisis which almost brought about its dissolution. The assured, alert, and very beautiful playing throughout the concert was a very eloquent demonstration of how much would have been lost in the avoided demise of the orchestra.
The concert included, along with the Haydn C major Cello Concerto, with Narek Hakhnazaryan, soloist, and the Tschaikovsky Fifth Symphony, the first performance of Wild Flow, a BBC commission, from Piers Hellawell, the English composer who has for quite a while taught at Queen’s University Belfast. As a resident who observed the difficulties of what he called in his program note, “the darkest period” of the Ulster Orchestra’s history close hand, he dedicated Wild Flow to the orchestra and its champions. The work consists of five movements, with a central slow movement, a continually expanding and intensifying chorale inlaid with soloistic wind writing, preceded and followed by two fast movements, all of those with a somewhat aphoristic character. Hellawell described the work in his notes, as offering a zigzag progression of mood and events, and that mercurial quality is what lingers strongly in the memory. The music is admirably distinctive and personal, somewhat quirky, brilliantly and colorfully orchestrated, highly rhythmic, and always engaging and appealing. The performance had a liveliness and verve matching that of the music.
Hakhnazaryan played as an encore to his performance of the Haydn, Lamentatio by Giovanni Sollima, which combined singing, folky dance music, and high class pyrotechnics, all of it impressive as display and interesting to listen to.
All of the Proms concerts are available online for listening at http://www.bbc.co.uk/programmes/b0741yk1/episodes/player.
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Thomas Adès is a phenominal musician. The depth of his musical intelligence and power of his insight are impossible to miss. They knocks you down, jumps up and down on your chest, and spit in your eye, and it’s enthralling. The performances of the Beethoven Eighth Symphony and the Prokofiev Classical Symphony which began and ended, respectively, the Prom concert on August 15, on which he conducted the Britten Sinfonia, were both dazzling and incredible satisfying as musical experiences. Given all of that, I would very much like to like his music, and I’ve tried, but, to use a phrase in circulation in American politics these days, I’m not there yet. Certainly not with Lieux retrouvés, the work for ‘cello and orchestra, in which he and the orchestra were joined by Steven Isserlis, which received its UK premiere on this concert. Originally written as a ‘cello sonata in 2009, it was orchestrated early in 2016. As one would expect, the musical means brought into play are at the very least impressive, and there’s nothing lacking in its production. But there is a certain sameness to the movements which apparently are meant to be varied, and the profile of the material is a little flat and indistinguishable from one movement to the next, and not terribly distinguished. Even the deliberately ungainly cancan that concludes the work isn’t that much different really from the evocation of mountains (or of mountain climbing, considering the difficulty of it), or even the (visionary?) fields… Francisco Coll’s Four Iberian Miniatures, for violin and orchestra, with Augustin Hadelich as the soloist, also has technique and polish to spare, as well as color, both orchestral and geographical. It’s faultless, and ultimately not as much fun as it tries to be.
The Prom presented on August 16 by the Hallé Orchestra, conducted by Sir Mark Elder, included the first London performance of Berceuse for Dresden by Colin Matthews, in which they were joined by ‘cellist Leonard Elschenbroich. The work, which is a sort of one movement ‘cello concerto, was commissioned to commemorate the rebuilding and reconsecration in 2005 of the Frauenkirche in Dresden, which had been destroyed by Allied bombing in February or 1945. Its material, both melodic and harmonic, is based on the sounds of the eight bells in the church. The ‘cello plays, almost continually, an impassioned and soaring line, under and around which swirls an increasing animated and accelerating texture which eventually culminates in a recording of the bells themselves. Especially in the Albert Hall, where there were coming from all directions, this was extremely effective and affecting. The Matthews and the Berlioz Overture to King Lear were the first half of a concert which concluded with Das Lier von der Erde by Mahler (whose first movement was presented in a reorchestration by Matthews–trying to keep the orchestra from covering up the tenor; there is some conjecture that Mahler would have done some tinkering with it had he lived to hear the piece). I found myself wondering how bad a performance would have to be before the piece would not have its overwhelming effect. This was a very very fine performance, so there was no finding out about that question this time. The excellent soloists were Alice Coote, mezzo-soprano, and Gregory Kunde, tenor.
That Prom was followed by a late night concert given by The Sixteen, conducted by Harry Christophers, of music by Bach (three of the motets) and works of Arvo Pärt: Nunc dimittis, from 2001 and Triodion, written in 1998, the latter getting its first performance at the Proms. Pärt’s music and its particularly personal sound are both well known, and, for many good reasons, admired. The pieces on this Prom offered no new information about that, merely confirming it. One could not wish for better performances, either of the Bach or the Pärt.
The main business on the Prom on August 17, presented by The West-Eastern Divan Orchestra, conducted by Daniel Barenboim, with Martha Argerich as soloist, was music by Lizst (Piano Concerto No. 1) and Wagner (several orchestra excerpts), all of which received magisterial and moving performances. That was all preceded by Con Brio: Concert Overture by Jörg Widmann, with which there was very little connection, either thematically or in character. Widmann was one of five composers commissioned by Mariss Jansons to write pieces “reflecting on” specific Beethoven symphonies; his particular task was to deal with Symphonies 8 and 7. The connection in fact seemed a little tenuous, but the piece was lively and engaging, elegantly and very effectively orchestrated, and thoroughly professional in every way, with near-quotes and maybe even quotes here and there from the works being reflected on. I was reminded of what Virgil Thomson wrote once about the Egmont Overture: it was the perfect hors d’oeuvre: nobody’s appetite was harmed by it and nobody missed much by missing it. That seemed to be exactly the spirit in which it was offered here. This was the first performance on the Proms of the revised version; the original version had been played in the 2009 Proms. The playing of it was in every way beyond reproach.
On August 19 the BBC Symphony Orchestra, along with the BBC Singers, and a cast featuring soprano Karita Mattila, conducted by Jiří Bělohlávek, present a concert performance of The Makropulos Affair by Leoš Janáček. An opera about the effects and costs of excellence and the diva who goes through three hundred years and innumerable lovers and admirers while obtaining it, the opera is captivating and full of wonderful music, and, over the course of its three acts builds a dramatic and music trajectory that is increasingly intense and ultimately overwhelming. Presumably the unique texture and particular rhythmic quality of Janáček’s music is related to that of the Czech language, but they’re noticeable here, especially for the role they play in driving the span of the piece. It’s hard to imagine a more vivid and compelling performance of the opera, even staged, than this one. Matilla, who was at the center of it all, was spell binding.
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On August 21, 2016 the Ruth B. Shannon Center for the Performing Arts at Whittier College was the venue for a much-anticipated appearance by the distinguished composer Harold Budd. A fine Sunday crowd filled the auditorium, with many coming from a considerable distance to be part of this rare event. Mr. Budd was joined by Bradford Ellis and Veda Hille and the concert consisted of a single piece, Aurora Teardrops, that extended for 75 minutes. Prior to the beginning of the concert, a video of some California desert scenes by Jane Maru was projected on a large screen above the stage.
Harold Budd and Bradford Ellis arrived on stage and seated themselves behind separate keyboard/synthesizers while Ms. Hille took her place seated in front of a music stand and a boom microphone. The opening video complimented the music perfectly, which began with pure electronic sine tone, soon joined by a another in harmony. A series of cool, sustained pitches followed, creating a thin, ethereal feel – like looking at the stars in the clear desert night. There was no beat to the music and only a very slow-moving melody, but it cast a precise sense of distance and isolation, yet was absent of any trace of melancholy. After some minutes of this Veda Hille began the poetic narration with the words “Sundown, dark and dreamy…” capturing the mood exactly. The words were distinct and clearly heard above the soft background, like distant mountains in the desert etched against a gauzy blue sky.
The specific and concrete nature of the spoken verse added a sense of balance and structure to the free-form flow of the music. The poetry, written by Mr. Budd, continued in sections of a few minutes each, followed by an interlude where only the music was heard. Each segment of poetry sketched out a short vignette of a reminiscence – of living and loving in an earlier time – as if the composer was looking back on his life in a dream. The music was constant in character, though never tiresome, and framed the spoken memories with a warm glow. All of this was in accord with the insightful description of Budd’s music given in the program notes: “Like a number of Californian composers of his generation he has an interest in the more meditative forms of music, in the idea of a controlled musical environment, and in a sense of non-doctrinaire spirituality.” Ms. Hille occasionally sang a few words or hummed along with the music, adding an intimacy to the spoken verse.
The most touching poetry dealt with the relationship between Budd and his significant other. These sections are filled with a longing for a deeper connection – perhaps like the relationship a composer has with his art – but a relationship that is unattainable with another human. There is no sense of resentment in this, but rather a sadness in the realization that even the closest human relationships can only be conducted at a certain distance. In “So many centuries and I still think of you…” the feeling becomes even more poignant, reflecting loss, and deep bass tones are heard at intervals giving a darker and more profound color to the music. Towards the end of the piece “In tears and tatters” seemed to cry out with emptiness and longing, cementing the strongly empathetic connection with the audience, who remained completely engaged throughout. At the quiet conclusion of the work there was a prolonged silence, followed by a standing ovation.
As the performers returned for a well-deserved curtain call, Shane Cadman, manager of the Shannon Center described the complicated series of events that brought this concert to the stage. Mr. Budd had withdrawn from performing and composing, but was prevailed upon by his son to complete the poetry and music of Aurora Teardrops. With Cadman’s help this was realized in Southern California at Whittier College, despite a number of setbacks and postponements. Aurora Teardrops touches a common emotional chord in all of us, from a perspective that only a man of Harold Budd’s age and experience can provide. We are indeed fortunate that he has made the effort to bring this extraordinary work to us.
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The Locrian Players present music from the past decade. The repertoire that their curators find is always a fascinating listen and often includes several premieres. Check them out (for free) on Friday.
Friday, August 26 at 8PM
- Derek Bermel A Short History of the Universe
- Martin Suckling Visiones after Goya**
- Elliott Carter Figment IV
- Royden Tze Starscape***
- Jonathan Dawe Silent like the Snow
- Julian Grant Know Thy Kings and Queens
- Louis Conti Ohne Heimath
* World Premiere ** U.S. Premiere *** New York Premiere
10th Floor Performance Space, Riverside Church
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Photo: Armen Elliott
To celebrate this year’s fiftieth anniversary season, Lincoln Center’s Mostly Mozart charged International Contemporary Ensemble with performing fifty new pieces over the course of the festival. Numbers 45-49 were presented at Merkin Hall on Tuesday, August 23rd. The fiftieth, music by Tyshawn Sorey celebrating Joséphine Baker, was slated for the 24th.
Tuesday’s program consisted entirely of concertos. In some cases, the composers used the term rather loosely, creating amorphously constructed entities rather than the formally distinct works one might expect in the genre. Nearly all were longer than their advertised times: starting at 7:30 PM, the first half alone was ninety minutes. At the concert’s conclusion, we dashed out the door for our train at a few minutes before ten. This loquacity did not always show the works in their best possible lights: all of the composers created fascinating sound worlds, but some tightening of construction would have served several of them well. Karina Canellakis, a prominent young conductor and violinist with an impressive pedigree in both areas, assuredly led ICE. With elegant gestures, she assumed a calming presence amid the maelstroms of complexity being wrought onstage.
The entire program was reordered, but the audience was guided through the changes by brief remarks from the stage by flutist Claire Chase and each of the composers (all four were present — a rare treat). The best piece on the program was also presented first. Marcos Balter’s Violin Concerto displayed formal clarity, abundant virtuosity, and a fascinating use of small percussion instruments (played by the ever nimble Nathan Davis). Violinist David Bowlin played one cascade after another of high harmonics and multi-stops with scintillating aplomb.
In Anthony Cheung’s Assumed Roles, violist Maiya Papach was given a more challenging set-up in which to operate. An unorthodox ensemble grouping, which included several instruments that played in or near the viola’s register and an electric guitar, meant that Cheung had to be judicious in his choice of demeanor for the soloist. He decided to have Papach vacillate between “roles,” working with the ensemble, playing prominently in front of them, and sometimes disappearing beneath their billowing sheets of sound.
The premiere of Dai Fujikura’s Cello Concerto featured a labyrinthine structure. Soloist Katinka Kleijn’s supple tone was challenged by often piercing responses from the ensemble. Cast in a single expansive movement, it was sometimes difficult on first hearing to follow the thread, but several signposts — sections where the cello played open strings and prominent harmonics — helped one to be reoriented.
Wang Lu’s Cloud Intimacy is designed to feature all the members of its ensemble in spotlight moments. It is also meant to be a commentary on technophilia. One heard the tapping of computer keys and ICE musicians got to ham it up with cell phones; the piece ends with a “selfie.” The soloistic aspects of the concerto were less prominently dealt with than the depiction, or distraction, of “Tinder.” However, guitarist Dan Lippel did get a chance to “rock out,” which he did with abandon.
The evening culminated with the US premiere of Fujikura’s Flute Concerto. Written for Chase, it contains many of her signature extended techniques: beat-boxing, multiphonic glisses, harmonics, and pitch bends. It also requires her to employ an array of instruments, from piccolo all the way down to the enormous (and voluptuous sounding) contrabass flute. Interestingly, rather than relying on its strident altissimo register, Fujikura features the underutilized lower register of the piccolo. Cast in five sections, the movement between instruments by Chase helped to delineate the piece’s form. The Flute Concerto has two versions, the chamber one heard here, and another in which Chase is accompanied by full orchestra, already premiered and recorded for Sony/Minabel. The chamber version was plenty for the intimate environs of Merkin Hall and proved to be an ebullient showcase for Chase.
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The Last Dance series of events at the wulf continued on Wednesday, August 17, 2016 with experimental music offerings by Carmina Escobar, Casey Anderson and Scott Cazan. The wulf will be moving to new quarters in the fall, closing out a successful eight-year run at the Santa Fe Avenue address in downtown Los Angeles. A good-sized crowd of enthusiasts gathered for an evening of friendly chatter and three pieces of new music.
Carmina Escobar opened, equipped with a microphone, colored lamps and a camera connected to a computer. According to her website: “Her work focuses primarily on sound, the voice, the body and their interrelations to physical, social and memory spaces.”. Rough ambient sounds began the piece, perhaps the roar of a passing jet. Humming was heard, soon joined by more sounds that were variously alien and industrial in character. Images from the PC camera were projected on a screen – indistinct and flesh colored – while the lamp issued a cool green light that flooded the darkened space of the wulf. Singing tones appeared in the audio and these evolved into indistinct words and the occasional shriek.
As the piece proceeded the lamp turned to a blue color and the images on the screen became a bit clearer – parts of a face that proved to be Ms. Escobar, who was holding the PC camera a few inches away from her head. As her voice increased in pitch and volume, these purer tones provided a nice counterpoint to the ambient and alien sounds in the background. An unintelligible speaking voice was heard in the audio that, combined with the fuzzy and partial images on the screen, created a sense of disoriented uncertainty. It was as if your mind and your senses were struggling to arrange this into some kind of context. The images, different colored lamps and new audio continuously arrived in various combinations, challenging the comprehension of the observer in multiple ways. The singing voice of Ms. Escobar stood out as the brightest and most lucid sound, offering a welcome connection to the familiar. As the piece neared its conclusion the indistinct sounds dropped away, leaving a loud electronic tone that abruptly ceased. Carmina Escobar succeeds in creating a world of sounds and images that float just beyond our comprehension and grasp, and then gives us the critical vocal landmark to find our way.
Next up was The Argument, a piece by Casey Anderson, who appeared with five other performers in a rough circle, all holding portable transistor radios. Anderson began by reading aloud from a poem – “A Wave” by John Ashberry. The performer to his immediate right listened closely, picking out phrases or fragments and repeating them, even as Anderson continued reading. The next performer in the circle listened to the person on his left and did likewise, so that a sort of ringing of words and phrases took place as the piece progressed. When nothing was being repeated in the circle, the performers played their portable radios. The success and texture of this piece depended on the careful listening and sharp memory of the individuals. An interesting variety of words surged around the circle, sometimes an entire sentence and sometimes just a word or two. Often a phrase would shorten as it worked its way around, diminished by the hearing and memory of those repeating it.
The concentration of the performers and the repetition of the words gave a sense of activity and common purpose to this. The patterns and cadences of the voices suggested an earnest conversation or perhaps an ancient incantation. The sound of the portable radios – tuned to various local stations – added an emotional space to the otherwise intimate feel of the conversation and projected a sense of wider importance onto the proceedings. The Argument is an interesting study of how the sounds of the spoken word can transmit feelings and emotion, even when divorced from context or content.
The final piece for the evening was Network Dilation by Scott Cazan and this was realized with a violin, a computer and two large speakers placed about 20 feet apart. The piece began with a series of electronic beeps and chirps that was soon joined with a sort of clatter that gave a strong sensation of movement and energy. It was a bit like being inside an old school pinball machine. Although this was loud, it did not overwhelm and the addition of a booming bass tone lessened the sense of randomness by producing a regular beat. The violin was fitted with a pickup and the energetic bowing by Cazan produced a continuous series of complex squeals and squeaks that resembled the sounds of a working metal lathe. These higher pitches formed a nice melodic counterpoint to the bass and the overall feel was brightly optimistic.
As regular increases in pitch and volume continued, there was a sense of mounting excitement along with the feeling that the whole process was going slightly out of control. Yet even as the sounds intensified, the various elements held together in a kind of primal harmony. After peaking with a very powerful sound, the piece decelerated and gracefully slowed to a stop. Network Dilation is crafted from sounds that are partly alien, partly electronic and partly identifiable – but the sum of these – remarkably – is completely musical.
The Last Dance series continues through the end of this month. New concerts are being programmed for the fall and the wulf will continue to provide events and music in various venues around town. A permanent home for the wulf is planned, and new locations are being investigated. For eight years the wulf on Santa Fe Avenue has been an integral part of the new music scene in Los Angeles. Thanks to Mike Winter and Cal Arts for their support and stewardship of this important venue. September will begin a new chapter, continuing a fine tradition.
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