Author: Paul Muller

CD Review, Contemporary Classical, Experimental Music

Reinier van Houdt & Andrew Liles – AMBIDEXTROUS CONSTELLATION


On August 15 of this year, Reinier van Houdt and Andrew Liles released a new album titled Ambidextrous Constellation. With narration by Ash Kilmartin, Ambidextrous Constellation is a radio play that chillingly incorporates “…lists of gun specifications and transcripts of experiences of gunshot victims.” Although this album is entirely the work of European artists working in Rotterdam, it is sure to have an immediate emotional impact on those hearing it in America.

Reinier van Houdt studied piano at the Liszt-Akademie in Budapest and the Royal Conservatory in The Hague and is a well-known presence in the contemporary music scene. He has performed premiers by Robert Ashley, Alvin Curran, Kaikhosru Shapurji Sorabji, and Charlemagne Palestine, among others, and has collaborated with luminaries such as John Cage, Alvin Lucier and Olivier Messiaen. Andrew Liles is a prolific solo artist, producer, re-mixer and studio engineer, who has been active in recording experimental music since the 1980s.

Ambidextrous Constellation consists of eight short pieces that run between four and seven minutes each. Each track is a mixture of electronic sounds with an overlying narration. The liner notes state that a gun is “A machine without morality or judgment.” and the electronic tones consistently support this. The overall feeling is devoid of any sense of humanity, excepting only the warm voice of narrator Ash Kilmartin.

My World opens the album with a series of electronic whooshes that could be abstract gunshots, followed by series of sinister bass chords. A menacing, matter-of-fact narration follows with no musical tones or singing: “In my world, everything is flat. Nothing moves.” The background sounds are sterile and mechanical with the only human presence being the spoken word. There is the description of a bullet flying towards a head. The electronic sounds now become a series of pulses, siren-like, mysterious and uncertain. We have entered a static world where: “nothing moves, nothing propagates.” My World ends quickly, without any resolution.

Iron Sights follows, and this second track is perhaps the most unsettling piece in the album. It begins with a strong percussive beat and electronic sounds that suggest the rapid firing of a weapon. The narrative description of an automatic rifle follows, deadpan and matter of fact: “L1A1, self-loading. barrel length, 20.4 inches. Rate of fire: 610 up to 775 rounds per minute.” Chilling in its dry, clinical description, the focus of the piece now shifts to the point of view of an automatic assault rifle. “Range 400 Meters. Muzzle velocity 940 Meters per second. Unit cost, 1,300 pounds. Aperture, Iron Sights.” Sustained electronic sounds fill the space between the words, adding to the alien and disconnected feeling.

Finally, a single tone is heard with fragments of unintelligible words that slowly fade into silence. The juxtaposition of cold, alien electronic background tones with the straightforward recitation of the assault rifle specifications make Iron Sights a powerful commentary on our fascination with such deadly weaponry.

Other tracks follow with a similar structure and pattern. The descriptions of the weapons get ever more intimidating. Body, Gas Operated, track 3, opens with mysterious bell tones and low rumbling sounds followed by faint, rapid gunfire in the distance accompanied by a rapid snare drumming. The narration begins “… 45 mm NATO cartridge. Barrel length 11 to 20 inches. Gas operated, short stroke piston, rotating bolt. 850 rounds per minute. Effective firing range: 300 meters.” 1984 To Present, track 5, begins with the sharp noise of static below a strong and rapid tom-tom beat. “Barrel length, 20 inches. Rate of fire: 700 to 950 rounds per minute. Muzzle velocity 945 Meters per second. Effective firing range 550 Meters…” Blackout Detachable, track 6, features the sound of a distant siren as the narration states: “AAC Blackout 300. Barrel length 35.7 inches. Unit cost $2233. Muzzle velocity 940 Meters per second. Rate of fire 800 to 900 rounds per minute. Effective firing range 503 Meters.” The listener feels as if buried under these vast and deadly descriptions of firepower.

Two of the pieces do, however, contain a human perspective. Trapped In A Constellation, the title track, starts with loud and harsh scratchy sounds, followed by lovely bell tones and electronic harmonies. The narration switches to a human point of view: “The habit that binds me to my limbs is suddenly gone – space extends.“ A background of beeps and bloops is heard, combined with ‘spacey’ electronic sounds. “I’ve become infinitely small and fall in all directions… Impossible to escape… I’m trapped in a constellation.” The listener is left with the distinct impression that this is a portrayal of instant death by gunshot.

Someone Else, the final track, is even more graphic. Electronic, alien sounds open this track, providing a remote and distant feel. The narration begins: “Silence. I don’t hear anything… [the bullet] entered my body almost quietly… Must have been very sharp and smooth. After an initial sting, I could feel my muscles contracting. I feel I should not move and stay very still. How do you breathe? I thought the bullet would quietly exit my body… “ Now the solemn electronic tones of a pipe organ are heard – distinctly spiritual. More narration: “Of course I moved eventually and then the real pain started. A dazzling pain that strikes your depths, my cells spitting out its electric suffering.” The music turns darker, with cold, spacey beeps creeping into the warmer pipe organ texture. The organ tones gradually diminish, replaced by distant electronic sounds at the quiet finish. A very moving final track to this very powerful album.

Ambidextrous Constellation is a compelling portrait of the unforgiving existence of the modern assault rifle. The emotional power of this album is all the greater because of the straightforward simplicity of its musical materials and a direct narrative approach. Ambidextrous Constellation is precisely the sort of artistry we need in a society besotted by a fascination with violence, guns and death.

Ambidextrous Constellation is available for digital download at Bandcamp.

by Paul Muller
CD Review, Contemporary Classical, Experimental Music, Microtonalism, Orchestral

Peter Thoegersen – Symphony IV: melodiae perpetuae



Peter Thoegersen has posted a digital realization of his Symphony IV: melodiae perpetuae on Bandcamp. This is an ambitious piece for full orchestra with a running time of just over 52 minutes. Symphony IV is a work in progress; it is intended to be poly microtonal and poly tempic in its ultimate form. The recording posted at this writing is realized in 12TET tuning with various sections of the orchestra heard in different tempi simultaneously. Thoegersen writes: “Each choir of the orchestra is moving separately in Fuxian contrapuntal motions, such as contrary, parallel, similar, and oblique, with respect to tempi changes in the choirs.” Fragments of Gregorian chant from the Liber Usualis form the foundation for the various sections as they ebb and flow throughout this single movement piece. Updates to Symphony IV will be posted on Bandcamp as software improvements and other refinements are implemented.

Peter Thoegersen has devoted much of his career to the exploration of multiple simultaneous tempi that intersect with scales and harmony constructed from micro tonal pitches. He has produced a number of works realized digitally as well as several performed pieces. These have been mostly for smaller and mid-sized ensembles, so the application of Thoegersen’s methodology to full symphonic forces represents a significant escalation of his artistic intentions. Symphony IV, even in its present unfinished form, gives an insight into this process.

In a conventional 19th century symphony, there is typically a sonata structure so that the various sections of the orchestra pass around a common theme and introduce variations. Symphony IV is nothing like this. From the very beginning we are immersed in a great wash of sounds and all the parts of the orchestra seem to be playing at once. This might seem to be a recipe for sonic chaos, but it proves to be more engaging than distracting. Different sections of the orchestra are often heard crossing through each other, and this creates an intriguing kaleidoscope of textures that are continuously unfolding as the piece progresses. At times the great wash of sound might remind of a piece like Becoming Ocean, by John Luther Adams. As the sections intersect and collide, snatches of what could be passages from David Diamond’s Symphony I or Bartok’s Concerto for Orchestra might be heard.

The overall feeling in this music changes quickly and can vary from mysterious, to ominous, haunting, grand or tense. The Gregorian chant fragments embedded in this piece provide a solid foundational gravitas throughout. Often a single section, usually the brass or percussion, will rise to the top of the texture and dominate briefly. The strings provide a restrained background against which the other sections can emerge and contrast. A piano line of single notes will occasionally rise up over the woodwinds to trigger the memory of a piano concerto. The dynamics rise and fall, often depending on which section is dominating. The timpani often heralds a tutti crescendo that ends with a bold trumpet call. It is perhaps the employment of full orchestral forces that allow the listener to pick out favorite or familiar-sounding phrases. But these come in the absence of a conventional structure and so are enjoyed without any framing context. This uncertainty increases the engagement of the listener.

How far into the unorthodox will Symphony IV ultimately travel? Only time will tell, but the journey will doubtless be full of surprises and worth following.

by Paul Muller
CD Review, Contemporary Classical, Experimental Music, Microtonalism

Dave Seidel – Intercosmic

Dave Seidel has released Intercosmic, a new album of electronic music featuring tracks recorded in studio and in a live performance at The Wire Factory in Lowell, MA on June 7 of this year. Over the years, Seidel’s works have exhibited a long evolution from classical drones to the present mix of industrial and synthesized electroacoustic music. Seidel has an extensive background in experimental music, beginning as a guitarist in the 1980s downtown New York minimalist scene and later performing in various festivals throughout the US.. Since 1984 he has concentrated on the composition of drone and microtonal electronic music. Seidel is based in Peterborough, New Hampshire and Intercosmic is his latest offering.

Sundering Void is the first track on the album and this begins with a deep buzzing A/C hum, as might be expected from La Monte Young. Other harmonics enter, both lower and higher with the lowest being almost a rattle. These sounds build in volume and as the piece proceeds, new sounds enter and exit, gradually changing the texture. Most of the sounds are in the lower registers and the overall effect is like that of intimidating industrial machinery. When this piece was performed live at The Wire Factory, it must have been quite a visceral experience.

Sundering Void, as part of an album with the title Intercosmic, it would seem to imply a great empty place, filled with a few spacey beeps and boops, Almost the exact opposite is true. This piece does evoke a vast cosmos, with sounds that are commensurately impressive, but their character is drawn from familiar 20th century mechanical processes. About 4 minutes in, for example, some continuous high pitches enter, like the sound of a failing wheel bearing. By 6 minutes, there is a sound like the shrieking wind. Everything sounds vaguely out of control and about to self-destruct. These are all powerful elements, but are part of a familiar sonic vocabulary that make for a more intense depiction.

Halfway through the piece, a low rumble dominates the texture and faint sounds of sirens are heard, wailing in the distance. The middle registers become great swooshes of sound and the overall feeling is unsettling. There is a sense of movement in all this, as if a great energy is being expended to travel through the inter-cosmos. This is enhanced at about 12:30 when a few spacey sounds are heard above the roar, providing a glimmer of cosmic feeling. There is little sense of direction or purpose at this point – all is consumed by a loud thunder of sounds in acknowledgment of the dynamic power needed to reach interstellar space.

By 19:00, higher pitched sounds now dominate as if we are in free fall. Perhaps the end of the journey is at hand. There is only a rough rumbling in the lowest registers. The deep sounds continue to fade away leaving just a few descending notes at the finish. Sundering Void is great ride, the more so because it speaks to us in familiar sonic language.

A Furious Calm is the second track on this album and is more harmonically centered. Seidel writes in the liner notes that this piece is: “ My version of a chaconne, an application of a bit of Henry Cowell’s ideas for rhythm… Written using a seven-note subset of a microtonal Meta-Slendro scale. Some effects are digital, but all sound sources are analog, as are some of the effects.” A Furious Calm is organized in four layers, each with its own combination of synthesizers, drones, modulators and synthetic percussion. The piece opens with a lovely drone in the middle registers as additional sustained tones enter in harmony. The overall result is warmly atmospheric and surreal. Deeper bass notes are soon heard, providing a solid lower foundation. Some percussion enters, sputtering against the main harmonic texture and adding a sense of randomness to the mix. As the piece proceeds, the sounds become fully organized, expressing a sense of purpose that borders on menace. As the dynamics build, there is a feeling of grandeur as might be experienced in the presence of a large pipe organ.

By 9:00 the texture starts to thin a bit, with higher, swirling tones heard above. The dynamics slowly decrease, implying distance. At the finish, the swirling tones dominate and then fade away. A Furious Calm is an impressive combination of raw power and delicate microtonal harmonies that combine into a wide variety of textures, organized into a series of effectively layered sounds.

Intercosmic continues to confirms Dave Seidel’s mastery of alternate tuning and electronic synthesis.

Intercosmic is available for digital download from Bandcamp.

by Paul Muller
CD Review, Contemporary Classical, Just Intonation, Los Angeles

Brightwork Ensemble – My Dancing Sweetheart

Microfest Records has released My Dancing Sweetheart, a new album that features music by composers Ben Johnston, Bill Alves and Helmut Oehring. The performers are all first-rate Los Angeles musicians and include Stacey Fraser, vocals, Aron Kallay, keyboards, Shalini Vijavan, violin and Nick Terry, percussion. Subtitled “Just Songs”, My Dancing Sweetheart is an accessible and engaging introduction to the world of Just Intonation and contemporary tonal palettes.

Just Intonation is a tuning system that is based on optimizing the frequency ratios between the notes in the scale. Our conventional 12 Tone Equal Temperament tuning, by contrast, assigns specific frequencies to each note, allowing fixed pitch instruments to play in any key and transpose music easily. This simplifies harmony and chord progressions and has been the standard tuning system for western music since the mid-19th century. By fixing the frequency of notes, however, the Equal Temperament system compromises somewhat the intervals between the notes in the scale. Just Intonation tuning addresses this but requires the re-tuning of the instruments to a specific fundamental frequency. The advantage lies in that the resulting scale tones are more closely related harmonically and bring out the purity and consonance of the intervals.

American composer Harry Partch (1901-1974) was an early champion of Just Intonation and he built a number of experimental instruments to perform his works. Other composers followed during the 20th century, including Lou Harrison, Ben Johnston, Pauline Oliveros and James Tenney. Experimentation has been a consistent feature of the Los Angeles new music scene in our 21st Century, and the performers on this album have many years of concert experience playing in alternate tuning systems.

My Dancing Sweetheart is subtitled “Just Songs” and so it is appropriate that the first two works on the album, Calamity Jane and Ma Mie Qui Danse were composed by tuning pioneer Ben Johnston. Kyle Gann, composer and student of Johnston, has stated that: “Not all musicians realize it, but Ben Johnston, was a major figure in the Midwestern new music world in the 1970s and ‘80s, comparable to John Cage on the East Coast or Lou Harrison on the West. He looms even larger in the world of microtonal music, for his string quartets, sonatas for retuned keyboard, and other works are among the most compelling works ever written in alternate tunings.”

Composed in 1989, Calamity Jane is based on a series of fictional letters by the notorious wild west character to her daughter. These are a series of short pieces – all less than three minutes – sung by soprano Stacey Fraser, accompanied by Aron Kallay, Shalini Vijavan and Nick Terry. What does alternate tuning bring to Johnston’s music? As John Schneider explains in his eloquent liner notes: “The addition of these new notes provides the composers with an extraordinary new palette of melody and harmony, supported by a retuned piano, and in Calamity Jane, an equally facile violin.”


Johnston, however, does not overwhelm the listener with the unorthodox. Like Harry Partch before him, whose music was inspired by a lighthearted look at depression-era life on the road, Johnston begins Calamity Jane with something familiar: a 39 second soprano solo in a quiet, confessional style. “No. 1 Freely, Like Speech” is a short letter to Janey, Calamity Jane’s young daughter, that lovingly describes her family resemblance: “I like this picture of you: your eyes and forehead are like your father, lower jaw, mouth and hair like me.”. Ms. Fraser’s poignantly expressive vocals here are approachable and compelling, establishing an intimate human connection that carries through the entire work.

More letters follow describing various episodes, and these can be energetic, playful or solemn. “No.2 In Motion with a beat”, is an action filled letter to Janey explaining how Calamity met her father, Wild Bill Hickok, during a shootout near Abilene, Kansas. The stirring vocals are augmented by piano, percussion and violin, establishing an undercurrent of tension and movement. The dynamic balance of the ensemble is ideal; the sound engineering by Scott Fraser is up to his usual high standards. The vocals throughout are critical and are allowed to dominate.

“No. 4 Rather Slowly, but moving forward”, is just that, with the accompaniment in alternate tuning, There is a lovely violin line along with a programmable keyboard that nicely matches the mood for this piece. Ms. Fraser’s vocals have strength in every register and make for a solid exposition of the complicated narrative. “No. 5 Lively but not too fast” has a country music flavor, and describes a dust up in the Deadwood saloon between Calamity Jane and some judgmental local women. A nice beat and a wandering violin line by Ms. Vijavan frame the exuberant vocals.

“No. 6 Waltz-like” is a bit more matter-of-fact and describes the tricks and stunts Calamity performs as part of Bill Cody’s Wild West Show. This piece features a solid beat in the accompaniment in a lively tempo along with agile singing by Fraser.

“No. 7 Slowly” is Calamity Jane slowly singing her recipe for a cake, with most of the lyrics consisting of a simple list of ingredients. The vocal pitch rises with each item listed until Ms. Fraser is singing in a very high register, but she never loses power or control on the ascent. The movement concludes with “This cake is unexcelled and will keep good to the last crumb 20 years.” The final movement is “No. 8 Freely, like Speech” and closes out the diary of letters by Calamity Jane to her daughter. This bookends the first movement with a vocal solo lamenting Calamity’s coming blindness in old age. Sweetly and expressively sung, this is introspective and especially poignant.

Calamity Jane has all the elements of an appealing story: drama, excitement and intrigue populated by likable and colorful characters. The use of alternate tuning never seems to intrude on the narrative, and compliments what is a fine ensemble piece, artfully performed. The dominance of the vocals forge a special human connection with the listener, masterfully sung by Stacey Fraser. Calamity Jane nicely threads the needle between what a listening audience will enjoy and what they might learn about contemporary alternate tuning.

The second Ben Johnston work on the album is Ma Mie Qui Danse, written in 1991. For inspiration, Johnston travels to the opposite end of the personality spectrum, away from the irrepressible Calamity Jane, reaching out instead to adorable innocence. The text of Ma Mie Qui Danse is taken from audio recordings of Johnston’s three year-old granddaughter who, as children often do, sang her own improvised poetry. Building on this, Johnston also included some appropriate selections from the works of Emily Dickenson. This piece is performed as a duo with soprano Stacey Fraser and Aron Kallay on the keyboard.

“No 1. Sprightly” is the first movement, and introduces the granddaughter. A bouncy piano accompaniment provides the launching pad for a number of short, jumpy phrases in the vocals. The singing is agile and angular, full of the starts and stops of toddler enthusiasm, as can be seen from this fragment of the text:

“cause we go a seek and we go very boy
oh, did you remember him’
he was tamer me
and he had and he greet me
for six hundred money
and dream
Mister dream
how he gave me Santa”

Other movements based on the Emily Dickenson texts are more reserved, as with movement “IV. Slow and Tranquil”, The singing here is both forthright and mature, and in a more conventional style.

“A bird is of all beings
The likes to the dawn.
An easy breeze does put afloat
The general heavens upon.”

As the movements proceed, the contrast between the broadly expressive Dickenson and the enthusiastic outbursts of youth constantly refresh the ear, enhancing the feelings expressed by each. The accompaniment and the alternate tuning compliment the emotional force of the singing. The last movement, powerfully sung with a spare accompaniment, sums up the perspective of Ma Mie Qui Danse:

“The child’s faith is new
Whole – like his principle
Wide
Like the sunrise
On fresh eyes
Never had a doubt
Laughs at scruple,
Believes all sham but Paradise!”

Ma Mie Qui Danse is a delightful musical pairing of youthful exuberance and mature reflection.

Bill Alves has contributed two works to the album, Time Resonances (2012) and A Sonatina (2016). These are both single-movement pieces of about 7 minutes each. Alves is a composer and educator, as well as the co-author of a scholarly biography of Lou Harrison. He is co-director of Microfest, the annual festival in Los Angeles dedicated to microtonal music.

As Alves explains in the liner notes, Time Resonances is “…a technological elaboration of a medieval musical genre known as a ‘mensuration canon,’ a piece in which the melody is combined with itself but at a different speed.” Stacey Fraser performs all the parts separately, and these are then combined electronically at different lengths but with no change in pitch. Time Resonances opens with gentle bell tones in various registers. Sustained vocals enter, creating lovely chords that mix well with the bell tones. There are no lyrics in this, just abstract ahhhs and ohhhs. The tempo is moderate with independent vocal lines soaring and gliding in and around each other. The feeling is gently mystical with a sense of standing outside of time. The dynamics rise and fall but only moderately, producing graceful tides of sound. Interesting harmonies develop and subside, slightly dissonant at times. The singing is disciplined and the electronic processing precise. Time Resonances masterfully combines the abstract with the human voice to evoke in the listener a glimpse of the infinite.

The second Alves piece, A Sonatina, draws its inspiration from the poetry of Gertrude Stein. Alves writes in the liner notes about Ms. Stein: “At times, she went even further, making language into a fascinating abstraction, which has long appealed to me as a composer, as has her musical perspective of language, her use of repetition, and the seeming simplicity of her supposed ‘difficult’ works.” All these elements can be found in A Sonatina, performed by Stacey Fraser, Aron Kallay and vocalist Donna Walker.

The piece begins with a string of high piano notes in a fast repeating phrase, simple at first but slowly gaining more structure and complexity. The vocals enter, first spoken by Donna Walker and then sung by Fraser as a sustained melody. The active piano accompaniment by Aron Kallay is controlled and decisive, contrasting nicely with the expressive singing. About midway through the piece, solitary deep notes from the piano add a welcome foundational counterpoint to the continuing melody. A Sonatina is beautifully reflective, and artfully marries the text of Getrude Stein to some really lovely music.

The final work of the album is Die Stille Stürtzt (2015) by German composer Helumt Oehring. This work is sung solo by Ms. Fraser. Die Stille Stürtzt translates in English as The Silence Falls, and is inspired by the poetry of Hungarian exile writer Ágota Kristof. The liner notes explain that the text is “…the search for identity in an unfeeling world.”

The singing is slow and expressive, residing mostly in the lower soprano registers. The sound is lush and lovely, with the soloist easily carrying the entire piece. Sung in German, the language perfectly compliments the sensitivity of the text. The feeling is intimate and slightly wistful:

“The silence tumbles down in the trees, the pale forest
Crooked to the earth and your white face
tired, somewhere you are thinking of me, the one,
who loved your eyes closing from the inside.”

Die Stille Stürtzt manages to bond German and Hungarian sensibilities into a solemn musical formulation that is immediately understood in any language.

The ‘Just Songs’ of My Dancing Sweetheart offer an accessible connection to the experimental past, and brings a new appreciation for Just Intonation and other alternate tuning systems that stand at the cutting edge of contemporary music.

My Dancing Sweetheart is available on Spotify. The album was produced by Aron Kallay and includes a 55 page file that includes the track listing of the album, liner notes, the complete texts for all the pieces and a wealth of background information on the composers and the performers.

by Paul Muller
CD Review, Contemporary Classical, Los Angeles, Organ

Peter Garland – Plain Songs

Cold Blue Music has announced the release of Plain Songs: “Love Comes Quietly”:(after Robert Creeley), a new CD album by composer Peter Garland. As the title explains, Plain Songs consists of seven movements of pipe organ music inspired by the poetry of Robert Creeley. The album artfully blends the simple plainsong traditions of the early church with the later development of the pipe organ. Peter Garland is quoted in the liner notes: “I wanted to write an organ piece that would be intimate and mostly quiet, emphasizing the nature of the organ as a wind instrument capable of long, sustaining tones. I wanted the musical textures to be open and transparent.” Organist Carson Cooman commissioned this work and here performs Plain Songs, including the selection of stops that create the textural and timbral context for each movement.

The historical form of plainsong is the chanted liturgy of the early Western Church and by the ninth century was the prevailing form of music sung in the Latin Mass. It is monophonic, unmetered and typically unaccompanied, yet the emotional force of plainsong chant remains undiminished over the centuries. The later development of the pipe organ adds the possibilities of harmony, color and nuance to church music. From venerable musical materials, Garland has brilliantly created a powerful work that quiets the restless soul.

“Movement 1”, the first track of the album, immediately demonstrates how Garland has artfully mixed the historical traditions of plainsong and pipe organ. The piece opens with a range of soft, flute tones, starting deep in the bass register and rising upwards into the treble. The tempo is deliberate and the notes are generally sustained, creating an engaging series of slowly changing harmonies. The feeling is introspective and reserved; there is none of the fancy keyboard technique from, say, the Baroque. “Movement 1” could be a comforting prelude to a memorial service. In much of Plain Songs the pipe organ is acting as a synthesizer with the graceful unfolding of beautiful chords that vary in timbre and color.

“Movement 2” has a sunny feel with the notes heard primarily in the higher registers. The chords are thinner and the sounds are sharper, suggesting a sense of purpose. There is more boldness in the stop selection. Again, there are no fast tempos or complex technique; this music moves within a more restrained perspective. “Movement 3 – Variations on ‘Lament on the Death of Charlemagne” has an early medieval feeling. There is more movement in the notes and the suggestion of a warm melody in the middle registers. A soaring, repeating phrase breaks out above – like an arcing ray of light blazing across the moving melody below. A suitable tribute to the first Holy Roman Emperor.

The other tracks follow a similar pattern – moderate tempo, solid chords and engaging timbral variations. “Movement 4” brings a light, refreshing feel with sharp, bright chords in the middle registers. Darker notes below make for a good contrast but overall there is a sense of confidence and hope. Towards the middle of this movement the entry of flute stop tones thins the texture while adding new forward energy. A return to the opening timbral mix completes the piece with a satisfying structural closure. “Movement 5 – The Maze of Longing” features a procession of high, bell-like tones with an independent string of lower notes in gentle counterpoint below. The result is both comforting and hopeful. “Movement 6” begins with a series of broadly rising arpeggios that evoke the image of summer flowers reaching to the sun. The arpeggios then reverse direction, falling in pitch to create a more reserved and introspective feeling. The moderate tempo and rhythms propel the piece resolutely forward, but without haste or stridency.

“Movement 7 “Stone./ like stillness” completes the album with solid chords forming a declarative melody. There is a noble feeling to this and a sense of royal presence. At times the sounds even suggest a bright fanfare. Strong notes in the lower registers add a foundation of gravitas while flute tones in the upper registers add to the regal feeling. The last half of this movement has a very big sound, filling the ear with powerful, full chords. There is a palpable sense of the majestic, even as the piece winds down to softer sustained tones at the finish.

In Plain Songs, Peter Garland has brilliantly combined the simplicity of plainsong with the harmonic and timbral possibilities inherent in the pipe organ. Often the most compelling music is the result of simple musical materials carefully crafted to evoke deep emotion. The works of Pauline Oliveros come to mind, as do many others. We tend to think of plainsong as being limited by the early medieval imagination and that subsequent historical developments have ‘improved’ the art. Plain Songs offers a compelling counter to this view. Too often the clutter created by the ever increasing complexity of performance obscures the profound message in the underlying music. In Plain Songs, Peter Garland has given us a more direct musical connection to the emotional support we are longing for in this uncertain age.

Plain Songs: “Love Comes Quietly”:(after Robert Creeley), is available directly from Cold Blue Music and Bandcamp, as well as numerous CD retailers.



by Paul Muller
Concert review, Contemporary Classical, Los Angeles, Ojai

Ojai Music Festival – June 6 Evening Concert

The Friday evening concert was titled The Holy Liftoff, continuing the theme from the morning. There was a solo viola piece by Leilehua Lanzilotti, the USC Cello Ensemble led by Seth Parker Woods, with music by Sofia Gubaidulina, Julius Eastman and Terry Riley. The ever reliable Steven Schick conducted and the JACK Quartet joined with Clare Chase in the final work.

First up was ko‘u inoa by Leilehua Lanzilotti, a composer, violist and interdisciplinary artist based in Hawaii. “ko‘u inoa” means “my name” or “in my name” and is a Hawaiian term freighted with identity, ancestry and community. The piece was inspired by Hawai‘i Aloha, a traditional 19th century Hawaiian anthem. As Lanzilotti explains in the program notes: “Hawai‘i Aloha evokes not only a homesickness for place and sound, but this action of coming together — a homesickness that we’re all feeling right now, where music and human interaction are home.”

ko‘u inoa began with the composer/soloist walking in from offstage playing a low, repeating phrase that was soft and mysterious. Rising tones in this opening created a nice minimalist feel and the timbre of the viola seemed ideally suited to this warmly eloquent music. The texture thickened agreeably as Ms. Lanzilotti double stopped, sounding two notes at once. The piece proceeded as if a natural process was unfolding, understated and beautiful. Optimistic and expressive, the dynamics increased towards the finish without violating the intimate and reserved emotion in the music. The quiet ending was greeting with extended applause. ko‘u inoa and Leilehua Lanzilotti succeeded brilliantly in conveying the sweetness of Hawaiian sensibility in an elegant and intimate viola solo.

Mirage: The Dancing Sun, by Sofia Gubaidulina followed. This was performed by the eight massed strings that were the USC Cello Ensemble, all led Seth Parker Woods of the USC music faculty. The excellent program notes by Thomas May set out the ambitious intentions of the composer: “The late Sofia Gubaidulina’s Mirage: The Dancing Sun, scored for eight cellos, treats sound as spiritual metaphor, evoking the interplay of light and shadow, faith and uncertainty — an expression of her preoccupation with the sacred and the unseen.”

High, squeaky sounds from the upper register of the cello opened Mirage: The Dancing Sun along with some strident pizzicato. Seth Parker Woods played more sustained tones on top of the busy texture, and this established a contrasting and questioning feel. This was followed by lush tutti phrases, lovely in tone and harmony, but with a tinge of sadness that set a contrast with the active opening. Good ensemble playing was on display as the various cello lines began to diverge and intertwine. Woods stayed in a solo role, commenting on the complex phrases coming from the ensemble. The slower tutti passages returned and alternated with active and tense stretches. The cellos were not monolithic and they seemed to act in separate sections of two or three. Now very rapid and chaotic sounds with extremely high notes swirled in an around mid-registers. This was followed by a slower arco section full of warm expression, certainly a expressing a convincing contrast between the forces of light and dark. The dynamics and tempo increased as the cellos soared upward to another section of rapid and chaotic notes. A sudden decrescendo, followed by silence, completed Mirage: The Dancing Sun. Much applause followed, not least for the discipline and technique of the USC Cello Ensemble. This was a challenging piece, ably performed as part of an important music festival.

The Holy Presence of Joan d’Arc, by Julius Eastman followed and the USC Cello Ensemble was augmented by two additional players. Julius Eastman grew up singing in church, attended the Curtis Institute and by the 1970s was a significant figure in the New York Minimalist scene. Sadly, Eastman died penniless and alone in 1990; he was just 49 years old. His music has enjoyed something of revival, sparked by the efforts of composer Mary Jane Leach, who has worked tirelessly to collect and organize his existing scores. Seth Parker Woods was instrumental in bringing Eastman’s Gay Guerilla to the 2022 Ojai Festival in a powerful and memorable performance.

The Holy Presence of Joan d’Arc begins with a series of pulsing declarative tutti phrases from the cellos. There is an ominous feel to this and a single dramatic line of of sustained notes rises above the texture, adding further tension. There is a sense of danger and menace with the edgy, but controlled, playing from the ensemble. The many colors, emotions and contrasts conjured from ten identical cellos was impressive. More tension was added as the piece continued with dissonant and intertwined phrasing, all with that steady pulse underneath. A sudden, expressive cello solo was heard followed by faster tempo and more insistent passages. The pulsating and menacing sections seem to alternate and contend with slower, more reflective stretches. There is a brief Grand Pause, then a final cascade of more chaotic sounds. The piece concludes with a quietly gradual slowdown that leads to a long sustained tone at the finish. All of Eastman’s passion and intensity were on display and this seems the more remarkable as it came from just ten cellos. Much applause followed for the players and the music.

After the intermission, The Holy Lifoff by Terry Riley was the final work on the concert program. This was just one part of a large scale work, still in process. The JACK Quartet and Clare Chase were the performers. The program notes give a clue about what to expect: “Groovy, buoyantly irreverent, and transcendent, The Holy Liftoff reflects what Chase calls ‘a multi-modal way of making music,’ echoing the communal, DIY spirit of Riley’s In C (1964).” Terry Riley, one of the Mount Rushmore figures of American Minimalism, will turn 90 this month and composed this lively piece expressly for Clare Chase. Riley is now living in Japan and could not make the trip to Ojai, but he was connected to the concert by the magic of video streaming. Clare Chase called for the audience to shout out a greeting to him, and this was done with affectionate vigor.

The Holy Liftoff runs to almost a full hour in performance and is a playfully disparate collection of styles, timbres and emotions. There are sections with warm flute passages, stretches that are almost inaudible and parts where independent lines rapidly break out, diverge, then combine again. There are fast and frenetic tempos as well as comfortably placid stretches. One section featured a bright repeating line in the cello with an infectious flute melody joined by a violin in counterpoint. At one point a classic minimalism groove developed, sunny and optimistic. Clare Chase had three flutes at her stand and used them all. She seemed to be playing continuously throughout the entire piece. The JACK Quartet reliably produced lush harmonies as well as rough or squeaky tones, as required.

As the piece barreled to its conclusion, ragged and skittering sounds were heard from in the strings with a strong pulse from the flute. The sound of blowing wind from the sound system evoked a chaotic feel. This was followed by a return to conventional consonance and harmony, even as some chaotic phrases in the strings try to break through. A powerful cadenza full of sharp, spiky notes was issued by the flute and the piece came a sudden finish.

The applause was long and sincere, in no small part for the stamina and endurance of the performers, notably Clare Chase. The Holy Liftoff was a tour de force for the players, a triumph for Terry Riley and a spectacular treat for the Ojai audience.

Photo Credit: Timothy Teague

by Paul Muller
Concert review, Contemporary Classical, Los Angeles, Ojai

Ojai Music Festival 2025 – Morning Concert, June 6

Attending the Ojai Music Festival in person is one of the great musical experiences on the West Coast. The mountains, the town, Libbey Park and great music make Ojai the place to be in early June. One of the festival’s best kept secrets, however, is that the concerts in Libbey Bowl are live-streamed over the internet. Not only that, the sound system is exceptional and the camera work excellent. If you can’t get to the Ojai Festival in person, the next best thing is to watch the streamed video. This is what I did this year and it was a real convenience.

On Friday, June 6, the first piece up in the 10:30 AM concert program was Pulsing Lifters by Terry Riley, a world premiere arrangement by Alex Peh for a keyboard trio. Pulsing Lifters is just one segment from Riley’s larger work, The Holy Liftoff, parts of which were spread across concerts during the entire festival. As the program notes by Thomas May state: “Open-ended by design, The Holy Liftoff unfolds across a series of modular scores that invite myriad realizations and improvisational approaches.” The performers for Pulsing Lifters were Alex Peh, Corey Smythe and Craig Taborn, manning two pianos, a harpsichord and separate electronic keyboards.

Pulsing Lifters opens with a soft tinkling of electronic notes that evoke an unexpected combination of spacey and organic feelings. The acoustic pianos soon joined in with some leisurely additional notes. Slow, pulsing tones were heard rising up from deep lower registers. Strong harpsichord phrases occasionally added some energy and made for an interesting contrast to the surrounding electronic sounds. It was as if the listener was drifting along in the 21st century and was suddenly yanked backwards 300 years. Terry Riley is one of the founding fathers of late 20th century minimalism, but Pulsing Lifters was clearly something different. As the piece trailed off to its quiet conclusion, one got a sense of just how far Riley has evolved. Approaching his 90th birthday, Terry Riley is still a vital and creative force.

Impressions, by Anna Thorvaldsdottir, followed. This was a solo work for harpsichord performed by Alex Peh. This is a quiet, intimate piece that completely redefines the venerable harpsichord in a way that fully engages contemporary sensibilities. The program notes explain that: “Thorvaldsdottir develops a novel timbral vocabulary using six small superballs, a superball mallet, a small metal object for sliding along the strings, and two electronic bows (E-bows), which produce continuous, bowed-like tones without percussive attack.”

Impressions opens with softly plucked tones, followed by solitary keyed low notes. As the piece proceeds, Peh alternately struck notes directly from the strings or keyed conventional harpsichord tones. Small rubber superballs were rolled across the strings, sometimes singly or several at once. A small metal rod was also used to excite several adjacent strings together. Two electronic bows were deployed on the strings and these produced a lovely arco tone. Slow and deliberate, all of this produced a continuous series of unusual sounds that were completely alien to the normal harpsichord timbre, and this served to expand the listener’s aural palette. Notes struck from keyboard were used sparingly and Alex Peh was kept mostly busy with the strings inside the harpsichord. This piece is largely comprised of a mix of engaging and experimental effects produced directly on the strings. Anna Thorvaldsdottir’s Impressions has gifted our old friend the harpsichord with a 21st century syntax for contemporary music.

Next was Cory Smythe performing Countdowns, a solo piano piece based on the music of John Coltrane. Smythe’s acoustic piano was fitted with a detuning mechanism which allowed the playing of quarter tones from two separate midi keyboards. The result is a seamless blend of conventional and present day sounds.

Countdowns begins with deep chords. Strumming on the piano strings produced dark clusters of tones and soon electronic sounds are heard underneath. There is a heavy feeling to all of this, broken occasionally by some light phrases in the higher registers. Smythe stays active attending to the keyboards, strings and electronics, all more or less simultaneously. The phrases in this mix are occasionally somewhat faster, but seem to come and go without any larger structure. Some of the rapid phrases seem to overlap, reminiscent of Coltrane’s ‘sheets of sound’ style. There was a dazzling flurry of notes at the finish. This piece was inspired by Giant Steps, but there are only flashes of the hard bebop style that we associate with Coltrane. Countdowns seems to be trying to connect directly with Coltrane’s deeper spirituality using 21st century musical syntax, a worthy – if daunting – effort.

The final work on the program was Duo Improvisation for Ojai, performed by Craig Taborn and Corey Smythe. This allowed the two performers to stretch their musical legs in an extended improvisational format. Corey Smythe was again stationed at his formidable array of piano and electronics with Craig Taborn at a second acoustic piano. As Thomas May explains in his Ojai program notes: “Taborn describes their approach as an ‘information-rich, improvisational process’ shaped by structural elements proposed in advance.”



Duo begins with low notes plucked directly from piano strings. Soon, some higher electronics and piano notes are heard, all at a deliberate pace. There is a very experimental feel to this with a variety of tones and timbres that are combined by extended techniques. Soon, a driving pulse is heard underneath with a series of complex phrases from each keyboard. These interleave between each other, occasionally producing a rapid blizzard of notes. At other times the tempo, dynamics and rhythms are more restrained and the feeling is more ominous. Towards the finish, an active and complex texture is heard, with individual notes pouring out of each piano. The dynamics and tempo quickly moderate and the piece quietly drifts along, ending on a deep piano note in the low register. Duo Improvisation for Ojai, is an impressive piece performed by two outstanding talents and was a lively conclusion to a concert filled mostly with introspective music.

The June 6 Friday Morning concert was a polished and innovative start for the day, and included lots of unusual keyboard techniques that were both memorable and impressive.

Photo Credits: Timothy Teague

by Paul Muller
CD Review, Chamber Music, Contemporary Classical

Mara Gibson – Unseen World

Unseen World is a new release by composer Mara Gibson on the Mark Masters record label. The album consists of five works composed between 2020 and 2024 that are inspired by vivid visual art that is both expressive and complex. Various instrumental ensembles are employed including a piano and cello duet, a brass quintet, trumpet duet, woodwind duet and a large chamber orchestra. The meticulous writing present in the scores, the outstanding technique of the musicians and remarkable efforts by the soloists make Unseen World an impressive realization of contemporary musical expression.

The first piece on the album is Swansongs (2022). This is a three movement work that features Albina Khaliapova at the piano and Eduard Teregulov on cello. The piece is inspired by Swedish artist Hilma af Klint (1862-1944), and was commissioned by the performers.

“Hilma’s Symmetry (and Chaos)”, the first movement, opens with a deliberate series of strong and dissonant piano chords that rise successively in pitch. This soon changes to a rapid, running line in the piano accompanied by long sustained tones in the cello underneath. A sense of anxiety builds as the lines weave in and around each other. The cello adds to the tension with sharp pizzicato phrases and bright arco passages. About two thirds through, there is a sudden slowdown, with a mournful cello solo accompanied by single notes from deep in the piano. The movement ends with a solitary low note in the lowest piano register. The piece is just three and a half minutes long and the liner notes suggest that this movement is reminiscent of the “…expressionistic paintings of the beginning of the 20th century.” A very apt description.

“Hildegard”, the second movement, opens with a low growl in the cello followed by a quickly running stream of piano notes in the upper registers. Right from the beginning there is a sense of heightened tension. The cello soon joins in with faster gestures and the lines again weave in and around each other, alternating between conflict and cohesion. The low tones from the cello contrast nicely with the higher moving notes in the piano. About midway, the piano and cello are heard in the same middle/low register and this replaces the tension with a feeling of chaos and confusion. The tempo slows from its frenetic pace, and quietly subdued notes are heard from the piano at the finish. The fast tempo, changing dynamics and complex texture of this movement highlight the seasoned technique that the two musicians have brought to this piece.

The final movement, “Lock and Key”, begins in a completely different direction with soft piano notes. A mournful, sustained tone is heard high in the cello, bringing a painful feel to this. The cello continues in its slow, expressive line with the piano grimly accompanying underneath. The two performers of this piece write in the liner notes: “Hypnotizing harmonies of the movement force the listeners and performers to detach from the fast-paced reality and focus on their inner world.” “Lock and Key” is a satisfying contrast to the first two movements and provides a fittingly solemn ending to Swansongs.


Next is Fight|Flight, (2020), written in close collaboration with the Atlantic Brass Quintet, who premiered the piece in 2022. The piece was inspired by both the human responses to danger and the making of honey by bees. A strong buzzing sound is heard at the opening, produced by the brass players using only their mouthpieces. This establishes the unmistakable context of frenetic flight. Warm brassy tones are soon heard, as if we are in the presence of a large swarm of bees. A sharp and loud trumpet call enters, announcing the more militant ‘fight’ motif. Soon all the brass players are exchanging sharp phrases back and forth, as if sparring. The various horn lines soon dissemble into a general melee. The technique and dynamic interplay in this section is impressive and the result sounds like more than just five players. The congenial mouthpiece buzzing returns in the last minute of the piece, as it slowly fades to its finish. Flight Fight is an inventive combination of the diverse sounds that can be conjured from a single brass quintet.

Pranayama (2021), is a woodwind duet performed by Melody Wan, flute and Thomas Kim on clarinet. The inspiration for this piece comes from yoga breathing practice and the painting “Ringing Lung”, by Anne Austin Pearce. Low, slow clarinet tones open the piece suggesting intentional patterns of breathing. The flute joins in and the flowing tones weave their way through various registers and colors. There is a meditative feel to this with just the slightest tinge of sadness. A rapid trill in the flute, then followed by the clarinet, add some energy and optimism along with loud and quick runs up and down a series of scales. The dynamics rise and fall suggesting the movement of air in breathing. As the piece proceeds, the occasional dissonance and pitch bending add intensity to the textures, matching the fluidity of the visual art. The piece ends as quietly as it started. With its many moods and nuances, Pranayama rests squarely on the virtuosity of the performers, and they do not disappoint.

Snowball (2024), was inspired by a Susan B. Anthony quote: “The older I get, the greater power I seem to have to have the world. I am like a snowball – the further I am rolled, the more I gain.” This piece is for two trumpets, performed by Jena and Matthew Vangjel who recorded this piece just a week before the birth of their second child.

Snowball opens with a muted solo trumpet repeating a line of solid, declarative notes. The second trumpet enters, similarly muted and in the same register with a lovely harmonic interleaving of the two parts. The mute on one trumpet is then changed and this provides a striking contrast in timbre. As the piece proceeds, the mutes are alternately changed – or removed – producing an ever-changing series of surfaces and colors. The tempo and rhythms are steady and direct, but with a just enough complexity to engage the ear. Towards the finish, the dynamic levels increase, bringing out the familiar forward boldness inherent in two solo trumpets. Snowball artfully reveals many surprising sonic possibilities, all lurking in the conventional trumpet.

Escher Keys (2021) is the most ambitious work of the album, a full blown bassoon concerto in three movements with a duration of 26 minutes. The soloist is Darrel Hale and the 39 piece chamber orchestra is conducted by Scott Terrell. Lithographs and a woodcut by the artist MC Escher provided Gibson with the visual inspiration for this piece and the result is a rich mixture of intense abstraction and powerful expression. As the liner notes explain: “Each movement juxtaposes traditional and non-traditional instrumental relationships between Hale interjecting his statements and the orchestra responding with atmospheric tessellations…”

“Ascending and Descending”, the first movement, opens with solemn, sustained tones in the strings with a quiet drum beat underneath. The bassoon enters in the same fashion and immediately rises to the top of the texture. Woodwinds and the brass join in with bold notes of dissonance accompanied by tense rhythms in the strings and anxious tones from the bassoon. Rapid runs by the soloist and short repeating phrases in the orchestra add to the tension. About midway, the tempo slows and the sustained tones briefly return with the bassoon leading the way. An ascending run of pitches in the winds and brass add energy, followed by a lonely bassoon solo that brings an isolated and melancholy feel. The bassoon playing is very expressive here and the solo continues with slowly descending notes to quiet conclusion. A final deep tone is heard in the string bass at the finish.

Movement two is “Three Worlds” and this begins with solitary and tentative growls from the bassoon, slow and sustained at first, but escalating into bouncy and rapid rhythms. Now the bassoon is heard in a higher register, accompanied by the strings and an oboe trading short, snappy phrases. More woodwinds join in and the various lines alternately separate, then join in tutti chords. There is a wonderful mix of cascading and descending pitches always on the move, playfully chasing and swirling around each other. Towards the finish, a solemn bassoon solo produces a more introspective feeling and the piece ends quietly on a low tone. “Three Worlds” exhibits excellent musicianship and coordination between the soloist, especially given the many complex responses summoned from the orchestra.

The concluding movement for Escher Keys is “Day and Night” and “Waterfall”. There is a subtle, rural feel to this, as the liner notes explain: “Beginning in the sky of the first image, the listener moves back and forth, side to side.” The movement opens with high, sustained flute tones that establish an air of mystery. The solo bassoon enters with a moving line – at first with a curious feel, then with bolder declamatory passages. The rapid notes could suggest the activity of birds in a field. Long, flowing orchestral passages are soon heard underneath, suggesting a pastoral river scene. This becomes progressively more complex as the various orchestral sections follow with independent lines that weave in and around the soloist.

After a brief silence there are low, growling tones by the solo bassoon that suggest a bit of sadness and frustration. Warm string tones enter as the bassoon and a solo violin exchange phrases, building tension. A breathy sound is heard from the bassoon, followed by a more conventional, solitary notes. Concerto for Orchestra springs to mind; “Day and Night” delivers a level of atmospheric mystery similar to the Bartok classic.

Strings enter with ascending figures comprised of blurred pitches. Loud percussion and the bassoon are heard in the foreground – more anxious now. The concerto concludes with a long sustained tone in the bassoon and a high, questioning violin note. Escher Keys is abstract music inspired by abstract art. The vivid expression heard in the ear matches the intensity of the optical experience of the eye. The fidelity of the music to the visual is result of Mara Gibson’s masterful score, the precise playing in the orchestra and the virtuosity of soloist Darrel Hale.

Unseen World is available as a digital download or physical CD from Mark Custom.

by Paul Muller
CD Review, Contemporary Classical, Los Angeles

Christopher Cerrone – Beaufort Scales

Beaufort Scales is a new CD by Christopher Cerrone recently released by Cold Blue Music. Commissioned by the Lorelei Ensemble, this album explores the musical expression of the wind at sea in eleven beguiling vocal tracks. The composer writes that each of the pieces “…comment on the state of the weather at one point in time, serving as both a reprieve and a reflection upon the surrounding movements.” Developed in 1805 by British Admiral Sir Francis Beaufort and still in use today, the Beaufort Scale describes the velocity of wind using a value from 0 to 12 to indicate sea conditions from flat calm to hurricane force. The album also contains pieces based on texts from Herman Melville, F. Scott Fitzgerald, Anne Carson and the King James Bible. The eight treble voices of the Lorelei Ensemble bring a high level of virtuosity and a rare purity of tone color to all of the tracks in this album. Beaufort Scales is dedicated to the memory of Ingram Marshall.

The actual Beaufort Scale isn’t just numbers that represent wind speeds. For each number on the scale there is a corresponding description of typical wind and sea conditions. Beaufort Force 0, for example, includes the accompanying description: “Calm; Sea like a mirror. Smoke rises vertically.” A Force 7 wind is described as: “Near Gale; Sea heaps up and white foam from breaking waves begins to be blown in streaks along the direction of the wind.” The album tracks are numbered according to increasing Beaufort Force numbers and the track titles are taken from the relevant Beaufort descriptions of sea conditions. Most of the tracks combine a few of the Beaufort numbers together. Track 6, for example, is titled Steps 4, 5 & 6 Small, Moderate and Large Waves. Of the eleven tracks on the CD, seven are based on Beaufort numbers with the other four being interludes inspired by nautical texts. Track 5, for example, is titled Interlude 2: Herman Melville.

The tracks are generally short, from a little over 2:00 minutes to just under 5:30. All of the music is performed by the eight female voices of the Lorelei Ensemble accompanied only by subdued electronics realized by Chris Cerrone.. The early pieces begin gently according to their lower Beaufort numbers and the intensity gradually increases as the higher numbered tracks are heard. Prelude: Sea Like a Mirror, the first track, reflects Beaufort Scale 0. This begins in a quiet whispering sound, giving perhaps just the slightest suggestion of a breeze. This is soon accompanied by pure vocal tones in sustained harmonies that vary in volume. The singing is lovely with the words “Sea Like a Mirror” repeated in layered phrases. “Calm” is heard towards the finish as the sound of the lapping of small waves returns. Prelude: Sea Like a Mirror is a convincing realization of a calm, mirror-like sea surface.

Other tracks follow a similar pattern. Moving up the Beaufort Scale, track 8 is titled Steps 7, 8 & 9: Sea Heaps Up / Waves of Greater Length / High Waves. This opens with three voices sharply singing “Sea Heaps Up’ in a sort of round. There is a sense of urgency and alarm in the often dissonant harmony and strong articulation. “Waves of Greater Length” is heard in multiple voices with a lovely counterpoint. The singing here is precise and beautifully delivered.

The Interludes are heard as separate tracks between the Beaufort Scale numbers. Interlude 2: Herman Melville, although short at 2 minutes, is perhaps the most overtly nautical. A soft rushing sound is heard on the opening followed by a clearly spoken text: “The not yet subsided sea rolled in long, slow billows.” The spoken words continue – there is no music – and a second voice joins in repeating the words as if an echo. The language of Melville nicely evokes life aboard a 19th century sailing ship. The rushing sounds increase, just before the sudden ending. Interlude 4: Herman Melville, track 9, is just a little longer at 2:11. The text is again spoken but is now more intense, describing a violent typhoon. “The winds started blowing hard and the seas were rough…” Singing begins in gorgeous harmony with a feeling that is both eerie and beautiful. The treble voices here are impressive, as is the careful sound engineering by Mike Tierney and Scott Fraser that perfectly captures the pure tones.

Electromagnetic waves are, arguably, the building blocks of the universe. Beaufort Scales brings a vivid description of waves as we experience them in a natural, physical context resulting from ocean and weather. Another Cold Blue CD, released at the same time is Waves and Particles, by John Luther Adams and this explores the character of waves from an elemental perspective. That waves can be treated from an earthly macro perspective and also at the atomic level is a testament to the great expressive power of the music from these two composers.

Beaufort Scales is available directly from Cold Blue Music, Amazon Music and other retail outlets.



by Paul Muller
Contemporary Classical, Los Angeles, Opera

Synchromy – My Wings Burned Off

Mimi Hilaire

On June 8, 2024 Synchromy presented a workshop reading of My Wings Burned Off, an opera by Jason V. Barabba opera with libretto by June Carryl. This was in conjunction with the 2024 Opera America conference held at various venues all around Los Angeles. The conference is a place for opera musicians, composers, conductors and administrators to meet each year to exchange ideas, techniques and to pitch new productions. This reading of My Wings Burned Off was held in the Grand Rehearsal Hall at the USC Colburn School of Music downtown. A twelve-piece string orchestra was on hand as well as Mimi Hilaire, the soprano soloist, all conducted by Dr. Renee Baker.

The opera follows the heartbreaking story of Oluwatoyin Salau, a young black woman from Tallahassee. She became a leader in the Black Lives Matter movement and who was ultimately murdered at the hands of a black man. Librettist Carryl writes “I want other Black girls and women to know they matter. It meant everything to me that Jason wanted to tell her story again in this beautiful, brutal opera. Oluwatoyin Salau deserved better; she, they, we deserve better.”

My Wings Burned Off is a monodrama in one scene with ten parts. This performance included all of the singing and the orchestral score but there was no staging, scenery or acting. In any case, the music and libretto alone have sufficient power to sustain the relentless story line. Mimi Hilaire displayed an impressive combination of stamina and control, singing for the better part of an hour. The string orchestra included a number of leading Los Angeles musicians and Ms. Hilaire, at times, had to work to keep the vocals in the foreground. The soprano sings the dramatic libretto and the orchestra comments and adds appropriate atmospherics as the text unfolds. There is generally an abstract distance between the voice and the strings, and this highlights the severity of the story line.

The point of view is first person, with furious lines from Ms. Salau such as “What do I got to do to be human? What I gotta do? I can’t go nowhere, I can’t do nothing, can’t say nothing without being BLACK.” Frustration and anger cry out everywhere in the strings, effectively multiplying the dramatic impact of the text. The voice sings “The scream in my throat becomes a roar.” and the accompaniment echoes with a series of high, searing pitches. Whenever Salau mentions her mother, however, the strings turn soft and supportive. The story unfolds in seemingly disjointed sections, and this adds to the tension. This piece hammers the heart like a Baroque Passion, the words and the music delivering unsparing anguish.

For this reading, the full libretto was printed in the concert program and this was a great help. The vocals often occupied the same register as the many accompanying strings and Ms. Hilaire’s rich voice often blended into the mixture. The orchestra was just a few feet from the soloist and a dozen or so feet from the audience, so in an actual opera hall there will likely be enough sonic separation for better clarity. But unless the story is well known in advance by the listener, it would be a challenge to apprehend the dramatic arc without closely following the text. A printed libretto or captions on a projection screen would allow reading the words while hearing the music. This was the most effective way for me to follow the story and appreciate its power.

My Wings Burned Off is as an unflinching look at the hard reality that prevails for young Black activist women in our society today. Oluwatoyin Salau deserved better, as this opera powerfully testifies.

Jason Barabba and June Carryl

Photos courtesy of Synchromy

by Paul Muller