Photo: Marco Borggreve
Stile Antico in Concert
October 13, 2018 Church of St. Mary the Virgin
By Christian Carey
NEW YORK – The first concert in Miller Theatre’s 2018-19 Early Music Series, given in midtown at the Church of St. Mary the Virgin, presented the acclaimed choral group Stile Antico from the UK. They have made regular appearances on the Miller series. As is their custom, Stile Antico sang without a conductor in a semicircle facing front. The occasional setup change consists of singers changing formation and, in pieces in which the full ensemble isn’t required, “extra” singers sit down.
They sing vibrantly and expressively with a sumptuous sound. The concert program, titled “Elizabeth I, Queen of Muses,” brought together masterworks of Tudor era polyphony and continental repertoire that had passed through the monarch’s orbit. Several of the latter group of works were taken from a gift from one of the Queen’s suitors, Erik XIV of Sweden: a partbook that included pieces by Lassus, Willaert, and Sandrin. The latter’s chanson Doulce Memoire was particularly fetching, performed with gentle grace. The group also sang three solemn and stolid penitential psalm settings by Alfonso Ferrabosco the Elder, an Italian composer who was a member of the Elizabeth’s court, paid a handsome salary for music and, some say, espionage.
English music formed the bulk of the program. It included a piece from early in the sixteenth century, Tavener’s Christe Jesu Bone Pastor, filled with brightly articulate slices of homophony and soaring passages of imitation. From the other end of the chronological spectrum, early in the seventeenth century, Stile Antico offered jaunty renditions of two of John Dowland’s best known ayres: “Now, O now I needs must part” and “Can She Excuse my Wrongs.”
The choir is one of the best on the planet for works by Tallis and Byrd. Several of these were performed, capturing a gamut of emotions. Byrd’s “This sweet and merry month of May” is a jubilant madrigal greeting to Elizabeth, while his Attolite porta is a richly attired setting of Psalm 23. “O Lord Make thy servant Elizabeth” is an extraordinary piece, and Stile Antico rendered its elaborate Amen cadence with fulsome power and beauty. Ne irascaris is another facet of Byrd’s art. A recusant Catholic, he composed a collection of motets with texts both coded and charged with defiance. Clearly Byrd was graced with Elizabeth’s favor, otherwise he would have been unlikely to get away with daring pieces like Ne irascaris. The Tallis selection on the program was his worshipful, declamatory Abserge Domine. I could have done with three more Tudor motets and no Ferrabosco, but that’s quibbling.
The concert concluded with a group of madrigals written in honor of Elizabeth, taken from “The Triumphs of Oriana,” a collection of 25 madrigals by 23 composers. After sterling renderings of “The lady Oriana” by John Wilbye (Oriana is a poetic title for Elizabeth) and “Fair Nymphs I heard one telling, the last, “As Vesta was, from Latmos hill descending,” by Thomas Weelkes, displayed the group’s vocal prowess at its finest, with high-ranging lines and overlapping melismatic passages converging to thrilling effect. Stile Antico’s annual visits to New York could easily be double or trebled: they have developed a strong following here and the reasons for this were amply demonstrated on 13 October at St. Mary’s.
- Christian Carey writes regularly for Tempo, Musical America, and Sequenza 21.
Þráinn Hjálmarsson
Influence of Buildings on Musical Tone
Caput Ensemble, Krista Thora Haraldsdottir, Icelandic Flute Ensemble, Ensemble Adapter, Nordic Affect
Carrier Records
Composer Þráinn Hjálmarsson’s latest CD, Influence of Buildings on Musical Tone, revels in the exploratory sound world of effects and extended techniques. That said, his work is more than an assemblage of alternative ways to treat instruments. Rather, the technical extensions serve to expand Hjálmarsson’s considerable palette of expression.
The five different pieces on Influence of Buildings each employ a different ensemble. The title work features the Caput Ensemble, while “Grisaille” is performed by the Icelandic Flute Ensemble. Both pieces deal with an upper register melodic line that is slowly bent and distressed until it is entirely transformed.
Kristin Thora Haraldsdottir plays the solo viola work Persona, adopting a penetrating tone and easily reaching stratospheric harmonics and digging in to sections with varying bow pressure. A flair for the dramatic allows this piece to move from pensive to more animated gestures in a captivating meditation. Mise en scéne plays up the percussive capacities of Ensemble Adapter, eventually deploying sustained upper register flute lines against the percussive attacks of harp and percussion and breathy exhalations and plosive pops from bass clarinet. The piece develops into a more harmonic terrain, with shades of spectra creating beguiling verticals.
The album’s closer is the string trio Lucid/Opaque, performed by members of Nordic Affect. The strings repeat pitch patterns that, while not necessarily tonal in orientation, encompass individual partials of a harmonic series. The overall effect is enhanced by a reverberant space, lending a naturally ambient character to the proceedings, even more so the case because of the number of repetitions of the opening gesture. Gradually, the opening shape is altered, with splashes of string noise and edgy bowing, changes in rhythm, and the overall duration of phrase overlaps developing the character of the main line over time. The material becomes even more forceful as octave displacements, notably a low cello line and repeating altissimo violin notes, are added. Here, and elsewhere, Hjálmarsson’s Influence of Buildings on Music Tone demonstrates a judicious approach to the selection of material that is then most imaginatively deployed and developed. Recommended.
Supersilent
14
Smalltown Supersound
2018
On Friday September 28th, Supersilent – the experimental trio of Arve Henriksen (trumpet, voice and electronics), Helge Sten (Electronics), and Ståle Storløkken (keyboards and electronics) – released a fourteenth album, their second for the label Smalltown Supersound. The group is best known for performances of “slow jazz:” avant jazz that unfurls at a gradual rate. Supersilent 14 revels in slow tempos, as the track “14.7” (embedded below) demonstrates. However, this time out there are a few other components shifted t0 make for a different listening experience.
The recording’s dozen tracks – labeled with numbers and nothing more – are relatively aphoristic, ranging from the horror movie industrial cast of the one-minute long “14.9” to the comparatively spacious and spacey “14.12,” which clocks in at five minutes and thirty-nine seconds. Thus, “slow jazz” tracks and more primarily electroacoustic soundscapes are allowed limited room for development, instead presented as atmospheres that often seem to begin in progress. Some Supersilent releases have hewed towards a lusher palette than 14, which instead tends towards the edgy. Henriksen’s trumpet is frequently distressed and sometimes subsumed by electronics. Sten, who also releases electronica under the name Deathprod, produced and mixed the recording. His approach revels in noise and overtones in nearly equal measure. The result is an impressive amalgam of both ends of the “sound art spectrum.” Occasional moments of recognizable patterning, like the Middle Eastern scalar passages that supply a coda to “14.4,” sounding all the more remarkable for their relative isolation in the proceedings.
At a certain point in their respective careers, most recording artists find it difficult to come up with fresh ideas. With “14,” Supersilent not only seems to have reconsidered their music afresh; they sound like a group just getting started.
On October 25th, Constellation Records will release Entanglement, the second solo release by Jessica Moss. A violinist and vocalist who is one of the central members of Thee Silver Mt. Zion Memorial Orchestra and co-founder of Black Ox Orchestar, Moss draws upon a prodigious range of influences: from the post-rock and avant-klezmer of the aforementioned groups, to drones and loops reminiscent of post-minimalism. Over the past year, she has honed the material of Entanglement at over eighty concerts, developing a side-long piece, “Particles,” and a suite of four “Fractals.” Impassioned, moody, and slow-burning, her compositions are some of the most compelling fare we have to anticipate this Fall.
Gil Rose directs the Boston Modern Orchestra Project, or BMOP. The orchestra’s in house label, BMOP/Sound, has released a spate of vital CDs of American music. I recently interviewed Rose about recordings already released on the label and a preview of the rest of 2018’s live and recorded events.
In recent years, BMOP has released several recordings that “crossover” into pop, what some writers have described “Indie classical.” Which of these projects do you think have most effectively helped the ensemble to grow musically? Do you approach conducting differently when a groove supplied by a rhythm section or drum kit is part of the proceedings?
Several projects come to mind including Eric Moe’s Kick and Groove both discs we did of Evan Ziporyn’s music and Tony Di Ritis Devolution. I think that when you have a “kit” involved listening is at a premium. At that point its important to share the stage with the drummer and try not to be a groove buster while keeping all the proceedings together. I think there is a lot of trust in the orchestra which empowers the players. That always brings out their best. I think we saw this at its best in our recording of Mackey’s Dreamhouse.
I found BMOP’s Wayne Peterson recording to be fascinating, both because theIre isn’t a comparable disc of his orchestra music and because of the history of his Pulitzer prizewinning piece “The Face of the Night, The Heart of the Dark.” At the time that he won the award, there was some controversy because Ralph Shapey was one of the other finalists and was told his work was rejected in the finals after being recommended by the music subcommittee. He got mad and was very public about it. Listening to the two pieces, they are certainly different but are in the same pocket, relatively speaking: One wonders what all the fuss was about Peterson winning. Did you two discuss the Pulitzer situation at all or do you have any insights?
I never have discussed the Pulitzer “incident” with Wayne. I think the piece is a knockout all by itself. It’s those American orchestral “Tone-Poems” that was likely to be forgotten in spite of the Pulitzer history. Robert Erickson’s Aurorus in the same ilk. There are MANY others. Great works that have been left behind because they require a virtuosic orchestra to pull off but major American orchestras are unwilling to take them on for reasons that personify the stagnation of our orchestral culture.
Paul Moravec’s ‘secular oratorio’ seems to share an affinity with some British pieces in a similar vein: Tippett and Vaughan Williams, for example. Was that on your mind at all when preparing the piece for recording? Congratulations, by the way — it seems like a very challenging work — tough vocal parts as well as an ambitious orchestration — and BMOP/NEC pulled it off without a hitch.
I think you are right to point out the connection to English Music. Though the piece is written for full orchestra it relies primarily on the strings. It gives it a sheen that makes it very exposed for the singers. Also the the vocal writing is tricky because the tonality is extended in the direction of chromatasicm which makes the tunig hard for the singers while they still have to sound lyrical. The subject matter is a challenge as well. The piece luckily (through clever design) has a few lighter moments as well as a good bit of hope to go along with the considerable pathos.
For Innova, BMOP and you recorded Ann Millikan’s “Symphony,” which deals with someone close to her battling cancer? Will you please tell us a little more about the impetus for this piece and the way in which you interpreted its very personal story?
Ann approached BMOP about making a recording of what for her was a very personal work. We were honored that she thought of us. Although the piece is dedicated to, and about someone who died, it actually is more of a portait of his interests and activities. It sort of functions as a celabration of his loves and life. I tried to bring out the character of each movement and how they related to the subject.
Del Tredici’s Child Alice is one of an extensive series of his pieces that are based on Lewis Carroll? How do feel that his take on the stories of ‘Alice in Wonderland’ and ‘Alice Through the Looking Glass’ are inhabited in the music of “Child Alice?” What did you do to prepare yourself and the musicians for dealing with the particular sound world and quirky expressivity of the piece?
I think the Alice stories and characters gave David the chance to deal in a kind of deep psychological exploration while at the same time show his sheer showmanship. His understanding of how music works at technical and sonic level when married his great sense of theater and sheer insanity creates an experience that you can’t prepare for. All I told the players was buckle up as your about to go several Rabbit Holes at the same time.
Looking ahead to 2018, what are some of the recordings and activities to which BMOP listeners can look forward?
In 2018 we have a full slate of concert and releases. We did a tribute to Joan Tower in February, In April were world premieres by Lei Lang, Anthony Di Ritis, Huang Rou followed by performances at the Library of Congress and June in Buffalo. Upcoming releases include works by Charles Fussell & Peter Child the complete orchestra works of Leon Kirchner, a great Chen Yi CD and Tobias Picker’s Fantastic Mr. Fox and a few other surprises.
Information about BMOP’s first Fall concert is below.
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Boston Modern Orchestra Project (BMOP) Kicks Off 2018-19 Season with Four Boston Premieres
When: Friday, October 19, 2018, 8:00pm
Where: NEC’s Jordan Hall, 30 Gainsborough Street, Boston
Who: Boston Modern Orchestra Project led by conductor Gil Rose with soloists Hannah Lash (harp) and Colin Currie (percussion)
What: Four Boston Premieres:
Steven Mackey – Tonic
Hannah Lash – Concerto No. 2 for Harp and Orchestra
Hannah Lash, Harp
Harold Meltzer – Vision Machine
Steven Mackey – Time Release
Colin Currie, Percussion
Christopher Fox
Headlong
Heather Roche, clarinets
Métier CD
MSV28573
Composer Christopher Fox has crafted an imaginative output, employing diverse approaches and many different technical resources. His latest Métier CD, Headlong, is devoted to clarinet music, for instruments of varying sizes. Heather Roche is the stalwart interpreter of these pieces. Her own versatility and facility with myriad extended techniques make Roche an ideal performer of Fox’s music. Indeed, the clarinetist’s website serves as a compendious catalog of techniques used to play contemporary works. This recording serves as an ideal accompaniment to her web-based pedagogical forays.
Several of the pieces here are ten-minute essays that have time to build and, in places, to breathe (as, one hopes, Roche is afforded as well). Even slightly shorter works like the gentle, fragmentary seven minutes of …Or Just After are given time enough to display significant exploration of the materials used in their construction. Here, there is a contrast between plummy low register melodies and higher single, sustained notes. Gradually and after many iterations, the upper line gains a note or two. This subtle shift in texture feels seismic and changes the registral give and take of the work. Likewise, small shifts are meaningful moments in the six-minute long Escalation. Originally written for Bb clarinet and here played on contrabass clarinet, the piece explores a mid-tempo stream of short phrases of chromatically ascending notes. In this incarnation, the sepulchral register in which these occur accentuates a kind of “walking bass” character that imparts a hint of jazzy swagger.
Some of the pieces include overdubs, either of electronics or other clarinets, and a couple are transcriptions of works originally written for other instruments or else for unspecified woodwinds. Originally composed for oboist Christopher Redgate, Headlong includes an ostinato electronic accompaniment that the composer suggests could sound like video games from the 1980s. The real fun here is the morphing of tempos through three different ratios: 5:4, 9:8 and 5:3. It makes for intriguing interrelationships between the instrumental part and the accompanying motoric bleeptronica. Headlong is an engaging mix of tempo modulation and minimal pulsation that shows a different and appealing side of Fox’s creativity.
On stone.wind.rain.sun, Heather Roche overdubs a duet with herself. The two clarinets converge and diverge throughout, with sustained and repeating notes in one instrument serving as a sort of ground for the chromaticism of the other voice. Registral changes, such as a leap downward to the chalumeau register to add single bass notes to the proceedings, divide the counterpoint further still, at any given moment affording one the impression of three or four distinct voices in operation.
One of my favorite compositions on the CD is Straight Lines for Broken Times, another piece employing overdubs. One track samples bass clarinet playing polyrhythms while the other two explore the “harmonic riches of the instrument,” as Fox describes a plethora of upper partials. Extended techniques are abundantly on offer. Altissimo notes, multiphonics, microtones, and harmonics create a swath of textures. However, the polyrhythmic underpinning assures that the piece feels guided in its course, beautifully shaping what could be a melange of overtone clouds. Straight Lines for Broken Times encapsulates Fox’s proclivity for experimentation in multiple domains: that of the recording medium, a wide palette of pitches that encompasses microtonal harmonics, and fluidly morphing tempos with intricate layers of local rhythms. The result never ceases to be of interest.
Fox and Roche are an ideal pairing. While Fox has a number of CDs to his credit, listening to this one, an ideal future project comes to mind. Next time out, one imagines the composer adding a couple other instrumentalists or a vocalist to the mix to provide Roche with more foils and a few less overdubs. Fox’s ensemble pieces also expansively embrace the musical materials that exemplify today’s experimental wing of contemporary music. With Roche aboard as “team captain,” the result would certainly be another serving of diverting performances.
James Romig
Still
Ashlee Mack, piano
New World Records 80802
Composer James Romig has spent the past twenty years cultivating a body of work that embodies both rigorous structuring and a wide-ranging gestural palette. As is explained in Bruce Quaglia’s excellent liner notes for Romig’s first New World CD, Still, there is good reason for these two aspects to be so important to Romig. His training as a composer was with American modernists Charles Wuorinen and Milton Babbitt, while his background as a performer – a percussionist – included a number of works by minimalists such as Steve Reich.
Extra-musical touchstones also play a significant role as inspirations for the composer. A series of National Park residencies has provided him with natural beauty to contemplate while composing. Abstract Expressionist painters such as Clyfford Still, who is the titular reference point for Romig’s piece on this CD, also enliven his imagination.
Nowhere in Romig’s output to date is this confluence of influences more apparent than in Still, a nearly hour-long piece for solo piano. One can see the pitch material’s progression in a chart in the liner notes and note the comprehensiveness of its organization. Unlike Romig’s portrait disc Leaves from Modern Trees, where the pieces tend towards tautly incisive utterance, here the progression of pitch material evolves slowly in a prevailingly soft dynamic spectrum. Ashlee Mack, a frequent performer of Romig’s music, provides a sterling interpretation. Slow tempi are maintained no matter what local rhythms (some complex) ripple the surface texture. In addition, Mack voices the harmony skilfully, allowing the piece-long progression to be presented with abundant clarity.
One more composerly ghost lurks in the room: that of Morton Feldman. Also an appreciator of Abstract Expressionism, who created long single movement pieces that transformed slowly and remained primarily soft, Feldman could seem to be Still’s natural progenitor. While surface details and scale of composition are similar, there is a significant musical difference between Feldman’s paean to a painter like Philip Guston and Romig’s reference to Clyfford Still. As pointed out by theorists such as Thomas DeLio, the undergirding of a Feldman piece is indeed subject to an organizational structure. That said, his work seems more intuitive than Romig’s, which is methodical in the unfurling of its linear components and their constituent harmonies. Whether Feldman’s surface in any way inspires the depths of Still, I am not sure; it would be an interesting question to pose to Romig. Either way, Still is his most engaging and beguiling piece to date. One looks forward to hearing more works that accumulate Romig’s proclivity for parks, painters, maximalists, and minimalists; these many ingredients make for intriguing results.
Saddened to learn of the passing of composer and conductor Oliver Knussen. One of the truly great musicians of our time, Knussen had received an honorary doctorate from the Royal Academy of Music, where he was Richard Rodney Bennett Professor of Music, just a few days ago.
A renowned pedagogue as well as a superlative conductor of contemporary music, Knussen held positions with such organizations as London Sinfonietta, Aldeburgh Festival, Tanglewood, BBC Symphony, and Birmingham Contemporary Music Group.
While not as prolific as some of his contemporaries, his catalog included a number of high quality works. Knussen will be remembered for compositions such as his two Maurice Sendak operas – Where the Wild Things Are and Higglety Pigglety Pop – orchestra pieces such as the Horn and Violin Concertos and Fanfare with Fireworks, and his settings of Walt Whitman and, in a Requiem for his late wife Sue, Emily Dickinson and W.H. Auden. Knussen’s final work, O Hototogismu!, consisted of adaptations of 17th-19th century Haiku poems for soprano and ensemble. It was premiered at Aldeburgh in June 2017.
Violin Concerto – John Adams
Leila Josefowicz, violin
St. Louis Symphony, David Robertson, conductor
Some recordings become touchstones in one’s collection. Despite there being several fine renditions out there, the 1996 Nonesuch CD of Gidon Kremer playing John Adams’ Violin Concerto (1993), with the Orchestra of St. Luke’s conducted by Kent Nagano, is an abiding favorite of mine. Now, more than twenty years later, Nonesuch has bested its own best with the release of Leila Josefowicz’s recording of the concerto with the St. Louis Symphony, conducted by David Robertson.
Josefowicz is front and center in the mix. Since the violinist plays nearly constantly in the piece, and tends to evoke the actions of the orchestra more so than one finds in traditional concertos, this seems entirely appropriate. Her rendition of the piece is filled with crisply fluent runs and fluid dynamic shifts. The first movement is appropriately dramatic in cast, the second takes on a poignancy that is most affecting, and the finale is truly a bravura showcase for the soloist. In addition to the vibrant energy of Josefowicz, under Robertson the St. Louis Orchestra gives a performance that is both dynamically potent and attentive to detail.
While repetition remains an important component of Adams’ music, the Violin Concerto is a watershed piece for the composer in that breaks out of the boundaries of post-minimalism into a more versatile gestural language than he had previously used. In addition to this change in rhythmic practice, the concerto features greater chromaticism than one had previously heard in pieces by the composer. He fluently wends his way through a variety of key centers – there are even moments where post-tonality reigns supreme over triadic writing. These facets of his writing have only blossomed in the ensuing years. However, it is pleasing to be reminded of their roots in the concerto, particularly by such a persuasive account of the piece.
This is the label’s thirtieth CD of music by Adams; their connection to the composer dates back to the 1986 recording of Harmonielehre. On June 29th, 2018, Nonesuch will release yet another recording of music by Adams, and a particularly noteworthy one: the premiere CDs of his 2005 opera Dr. Atomic. More about that soon.