Chamber Music

Chamber Music, Click Picks, Composers, Concerts, Contemporary Classical

Steve’s click picks #38

Our regular listen to and look at living, breathing composers and performers that you may not know yet, but I know you should… And can, right here and now, with so much good listening online:

sound. from SASSAS (Los Angeles)

Rüdiger CarlIn 1998, L.A. artist Cindy Bernard and friends started a series of concerts and installations that became the non-profit organisation SASSAS, the Society for the Activation of Social Space through Art and Sound. Their goal is “to serve as a catalyst for the creation, presentation, and recognition of experimental art and sound practices in the Greater Los Angeles area”.

Most of the concerts are held at the landmark Schindler House, a mid-century experimental home that has sliding walls opening the whole structure up to the back garden area. It provides an airy, casual and free-flowing space for both the artists and audience. Lately SASSAS has also been able to run a few concerts as well at both the Ford Ampitheater and REDCAT.

Mitchell/JarmanThe list of performers is long and varied, from Pauline Oliveros and James Tenney to Chas Smith and Rick Cox; Roscoe Mitchell and Joseph Jarman to Jessica Rylan and Tom Grimley; Harold Budd, Petra Haden, Tetuzi Akiyama, Phil Gelb, etc… even my much-admired internet buddies Johnny Chang and Jessica Catron. If you’ve been spending all your time sitting in the concert hall listening to Wuorinen, here’s you’re chance to loosen up — and catch up — on all kinds of other vital forms of new music in the here-and-now.

Because SASSAS hasn’t just been presenting these concerts; they’ve also been pretty diligent about documenting them with recordings, photos and even video! The link in the title of this post will take you to the sound. mainpage. There you’ll see links to streaming Quicktime archives of many of these concerts, plus scrapbooks of notes and photos from them as well. And over on YOUTUBE, you’ll find another whole archive of video, that’s just begun and is sure to grow.

Chamber Music, Classical Music, Composers, Contemporary Classical

El paseo de Buster Keaton

Did you ever wonder why doctors think it’s a good idea for a bunch of sick people to wait together for their exams in a small, overheated, unventilated room?  Or why drugstores invariably put the cough medications in the aisle where people are waiting to pick up their prescriptions?  No?  Well, I do.  Think of these things, I mean.

But, I  digress and I’m late checking in today.   Here’s a new rule for those of you with frontpage posting ability.  If you don’t see something from me by noon Eastern, feel free to jump in there and mix and stir.  If you don’t have frontpage posting rights, let me know and I’ll sign you up.

Okay, here’s some exciting news.  Marvin Rosen is going to be airing another piece from last year’s Sequenza21 concert on his Classical Discoveries program.  On Wednesday, Marvin will be playing David Toub’s Objects in observance of WPRB’s first membership fund drive which is this entire week.  That, I guess, makes David the Andrea Bocelli of WPRB.

Marvin is scheduled to be airing Objects during the latter part of the 7:00 o’clock hour but the time may be slightly changed if the begging gets too exciting.

And if you happen to be near Indiana University on Thursday or Friday night this week don’t miss  the collegiate premiere performance in concert of the chamber opera Ainadamar or Fountain of Tears by Osvaldo Golijov.  Our amiga Carmen Helena Téllez, director of the IU Jacobs School’s Latin American Music Center (LAMC), and of the Contemporary Vocal Ensemble, will conduct the production which will take place on Oct. 11 at 8 p.m. in Auer Hall, with a repeat performance on Oct. 12 at 8 p.m. The performances are free and open to the public. 

CDs, Chamber Music, Classical Music, Composers, Contemporary Classical

Woke Up. It Was a Chelsea Morning.

The Metropolis Ensemble is getting set to record the complete collection of chamber orchestra concerti of Avner Dorman with producer David Frost but you don’t have to wait to hear it; the best little orchestra in New York will be performing the same repertoire live and in color next Thursday night, October 11, at  the Angel Orensanz Foundation Center for the Arts (172 Norfolk St, between Houston and Delancey), commencing at 8 pm.  On tap are the American premieres of Dorman’s Concerto in A and Concerto Grosso, the New York premiere of Piccolo Concerto, and an encore performance of Mandolin Concerto. Soloists Mindy Kaufman of the New York Philharmonic, Avi Avital, and Eliran Avni will join the Metropolis Ensemble led by conductor Andrew Cyr.  If you haven’t heard the Metropolis in action you’ve missed something pretty special.  These cats seriously cook.  (Just showing my age for a moment.)

Meanwhile, Miller Theater opens its new Composer Portraits series tonight with a program devoted to the music of Esa-Pekka Salonen.  Performers include Darrett Adkins, cello; Tony Arnold, soprano; the wonderful Imani Winds; Blair McMillen, piano and artistic director and Jeffrey Milarsky, conductor.  Unlike dilettantes like, say Michael Tilson-Thomas, Salonen is a serious composer and I want very much to love Salonen’s music someday.  I’m not there yet which is probably my failing rather than his.

Speaking of liking something, Tina Turner’s cover of Edith and the Kingpin on Herbie Hancock’s River: The Joni Letters is nothing short of revelatory.

UPDATE:  This just in.  Frank J. Oteri writes:

Thanks to fellow Sequenza21 blogger Elodie Lauten, the 2005 Lithuanian premiere of my Fluxus-inspired performance oratorio MACHUNAS, created in collaboration with Lucio Pozzi, will be projected on a wide screen at the Hamilton Fish Branch of the New York Public Library, tomorrow – Saturday, October 6, 2007 – at 2 PM. Admission is FREE.
Chamber Music, Classical Music, Composers, Contemporary Classical

The Intimate Side of Philip Glass

Turning 70 is a big deal for most people, and especially so for Philip Glass, whose birthday is being celebrated worldwide big time. He’s just been feted in New York by Music At The Anthology (MATA), and Groningen, Holland, is putting on a Glass Festival.  The composer and The Philip Glass Ensemble performed his massive compendium of minimalist moves, Music in 12 Parts (1971-74), this summer in the Hague and the San Francisco Bay Area pays its homage with the world premiere of his SF Opera commission, Appomattox, this coming Friday, October 5.  

Glass is such a big name, and  pervasive influence–I caught a chord progression in a dance mix lifted straight from him in a bar–that it’s almost hard to see the trees for the forest.  But Glass emerged clearly from that penumbral place in Philip Glass: An Evening of Chamber Music, which kicked off San Francisco Performances’ season at Herbst Theatre on Friday night.  And all the frenzied Zeitgeist schtick on Van Ness– couples out on first — will there be a second?– dates, bobbing heads on cell phones, opera patrons running to catch the curtain, and monster traffic–was happily left outside. 

Glass, mike in hand, (“is it me, or the machine?) began by announcing a program change. He’d begin with 4 sections of the 5-part  Metamorphosis (1988), for solo piano, and not play either of the 2 Etudes (1994) planned. Metamorphosis, though it uses material from the composer’s score to Errol Morris’ doc The Thin Blue Line (1988), takes its title from the Kafka short story of the same name, for which Glass wrote scores for concurrent theater productions in Brazil and the Netherlands. And though the music stands proudly on its own, its lines and harmonies suggest the haunted atmosphere of Kafka’s tale–Gregor Samsa’s alienation from the world, and his dogged journey to a kind of transcendence. 

And Glass, sitting erect at his Steinway concert grand Model D, brought its many beauties to light–the poignant hesitations in #1 struck the heart, he made the massive floating harmonies in #2 acutely affecting through discreet pedalling, his attacks gave the bell-like paralllel chords of #3 power, and his command of color gave #4 its dramatic weight. Glass has spoken of his drifting sense of meter, and this was certainly apparent throughout; pianists like Alec Karis and Michael Riesman would surely have been metronomically regular. Metamorphosis has sometimes been described as Satie-like, though the equally private worlds of Schubert’s Impromptus and Brahms’ Intermezzi, come strongly to mind. My first encounter with Metamorphosis live was when Glass played the entire set ,as Molissa Fenley danced, at The Unitarian Church, which is a little more than a stone’s throw from Herbst.  But what sticks most is how the music the composer has written in the intervening years has colored his gestures when he plays this piece now.  

Next came the West Coast premiere of Songs and Poems for Cello, which Glass wrote for NY-based new music star Wendy Sutter of Bang On A Can fame, who plays a wide range of works from uptown –actually West Village people like Elliott Carter–to downtown composers. This is a thoroughly demanding piece, which Sutter played from memory, and which, with its sense of duende–Lorca”s term for anything  springing from deep within– seemed to evoke music as various as Bach, bits of the Suites for Cello (BWV 1007-12), and Brandenburg 6 (1721), as well as Ravel’s Sonata for Violin and Cello (1920-22), and Dohnanyi’s Cello Sonata (1899), which Martha Graham choreographed as Lamentation, without ever resembling any of  these.  Its seven sections–applause broke out in one–were mostly grave, intense, deeply sonorous, and completely lacking in easy effects.  Sutter negotiated its myriad technical–long sustained lines, double-stopping, pizzicati, and focus on different registers, usually sequentially–and expressive difficulties with almost superhuman ease.  

Four interconnecting episodes, or “Tissues”, from Godfrey Reggio’s third and final installment in the QATSI trilogy, Naqoyqatsi (2002), scored here for Glass, piano, Sutter, cello, and PGE percussionist Mick Rossi, followed. One was struck by the cello writing’s resemblance to that in Songs and Poems for Cello, the ultra soft sounds from the keyboard, and the floating sounds Rossi achieved on marimba and celeste. Naqoyqatsi never got the attention it deserved in its initial theatrical release, though Glass’ tour with his ensemble here last year–the film and score were performed by him and his PGE live at Davies–helped to right that wrong. 

Equally atmospheric were the last two offerings–The Orchard, a kind of slow sarabande from Glass’ score for JoAnne Akalitis’ 1991 theatre production of Genet’s The Screens, transcribed here for piano, cello, and percussion, from its original incarnation for flute, clarinet, piano, percussion and cello, and Closing, from Glass’ 1981 record debut on CBS, Glassworks, misunderstood as a pop/crossover piece then, and probably now as well, which Glass and his two fellow musicians played with both point and affection. “How can such a quiet person write such powerful music?” I said to my companion, who sat stock still, hands folded, throughout. Who knows?  But this concert proved beyond the slightest doubt that Glass has always been and remains a chamber musician intent on speaking to his listeners in the most intimate terms. Appomattox, which struck this listener as almost unbearably intimate, when he heard most of its first act at a Sitz-Probe 2 September, will likely fall into this exalted class

Chamber Music, Classical Music, Contemporary Classical

Cage at 95; Bowles & Oteri at 8:30

Tomorrow would have been John Cage’s 95th birthday and to mark the occasion, Avant Media Performance is staging two multimedia realizations of works by Cage at the The Kitchen,  512 West 19th St. beginning at 8.

Four6 (for any way of producing sounds) will be performed in an electro-acoustic realization featuring Patrick Davison, video; Randy Gibson, electronics and percussion; Mike Rugnetta, guitar; and Megan Schubert, voice. The second half of the concert promises to be a real hootenanny with Winter Music, Atlas Eclipticalis, and Song Books realized for singers, actors, videos, and lighting being performed simultaneously. Randy Gibson’s “One Wall – for John Cage” will be also be premiered, assisted by Mike Rugnetta and Guy Snover.

To really make it a special day, Frank Oteri and I are going to be live (or as live as it is possible to be having gotten up at 5 o’clock) on Marvin Rosen’s Classical Discoveries program tomorrow morning in Princeton from around 8:30 am to 11   Don’t know what Frank has planned but I’m hoping to get Marvin to play as much music from the S21 concert last year as we can squeeze in.   If you’re awake and in the mood, you can listen in on the Internets.  I will playing the pieces in the order that I enjoyed them so if you want to see who Daddy likes best you’ll have to tune in. 

Chamber Music, Classical Music, Contemporary Classical

Oteri & Bowles–The Reunion Tour

Marvin Rosen has a terrific Classical Discoveries program coming up next Wednesday.  His guests from 8:30 am until 11 will be the legendary Frank J. Oteri and…umm, me.  That assumes, of course, neither of us oversleeps and misses the train to Princeton.  (Neither Frank nor I can operate an automobile, which is a hallmark of the true New Yorker.)   

As many you know, I’m sure, Wednesday is the birthday of an unlikely pair of composers–John Cage and Amy Beach.  What only Frank would know is that it is also the birthday of 1952 Pulitzer Prize winner Gail Kubik and 2000 Pulitzer Prize winner Louis Spratlan.

Marvin has asked us to bring along recordings of some favorite pieces (fairly short, I’m guessing).  Who has some recommendations? 

Classical Discoveries is broadcast on WPRB 103.3 FM in Princeton, NJ, and online at www.wprb.com each Wednesday from 6 to 11 am. For more information you can email Marvin at clasdis@cs.com.

Chamber Music, Classical Music, Composers, Contemporary Classical

I Know I Am

As those of you who come round here regularly know, I’m not a composer or musician but I am an experienced listener with limited patience for things that take too long to get to the point.  As a practical matter, that means that music I’ve never heard before has about 30 seconds to grab my attention.  I’ll listen to the whole thing but if doesn’t have that “Holy shit” thing happening in the first few bars, chances are the earth is never going to move for me.  Call it the Jerry Principle:  musical masterpieces announce their masterpiece-ness in 16 bars or less.  Go ahead, prove me wrong.

Most years you’re lucky to hear for the first time one or two compositions that grab you by the throat and won’t let go but in the last couple of weeks, I have encountered three such pieces.

First, there is a new large-scale cantata called Athanor by the 35-year-old French composer Guillaume Connesson, about whom I know little, except that he is obviously not a spectralist.  Based on an allegorical theme that somehow involves alchemy (the French are tedious with their obligatory intellectual pretentions) Athanor is relentlessly tonal and dramatic, recalling the heyday of the big bold orchestrators like Vaughn Williams and Prokofiev.  It is uncool to mention Carl Orff these days but Connesson has that kind of dramatic flair and wastes no time in making it apparent.  Supernova for orchestra, the second piece on the CD, confirms his gift for orchestral drama. 

The second piece is not that new but I just heard it for the first time–Kaja Saariho’s Graal théâtre, for violin & orchestra.  IMHO, as the kids say online, this the first absolute violin concerto masterwork to come along since Berg, or maybe Barber.  Gideon Kremer reaches deep into his considerable bag of tricks for every possible sound (and some that are clearly impossible). The rest of the CD is also marvelous–Dawn Upshaw sings the 5-song set Chateau de L’ame beautifully and Amers, for cello & electro-acoustic ensemble is a suitably gnarly antidote to L’ame’s sweetness.  But, Graal théâtre is one for the ages.

And while we are waving red flags, is there a single note of Osvaldo Golijov that is not destined for immortality?  His latest bid for the magic ring is Oceana, an impossibly beautiful setting of a poem by Pablo Neruda for guitars, percussions, chorus, and solo vocalists–in this case, the wonderful sambanista Luciana Souza.  Easy listening World Music, you say?  Phooey, I say.  Most composers would kill to have written Oceana or the other pieces on the CD–Tenebrae, a two-movement meditation on sadness written for the Kronos Quartet or the Three Songs written for Dawn Upshaw. 

Gramophone’s reviewer quotes an unnamed New York critic (was it you, Alex?) as saying that Golijov’s fans are just waiting for him to write a Very Important Work that will put him in the league with John Adams.  Speaking as someone who has hung on every note since my first spirtually-awakening discovery of The Dreams and Prayers of Issac the Blind, that wait was over a long time ago.

Chamber Music, Classical Music, Contemporary Classical, Festivals

Hello, Nonino

Seems like only yesterday we reported that Matthew Cmiel, one of our favorite boy wonders, had put together a new band called Formerly Known as Classical.  (Actually, it March 15, 2006, but let’s not quibble.) Looks like the group has done okay since last we checked in; on Sunday, August 5, they’re appearing in a concert at the Cabrillo Music Festival with Marin Alsop, the conductor and music director of the Baltimore Symphony and recent MacArthur Prize winner. 

Matthew–now a sobering 18-years-old–will conduct the group in Osvaldo Golijov’s Last Round, an exciting piece of music which gets its title from a story about boxing by Julio Cortazar and is an homage to Astor Piazzolla the late master of neuvo tango.  

Then, recent Juilliard graduate, cellist Drew Ford and San Francisco Symphony Youth Orchestra pianist Preben Antonsen will play Matthew’s piece Macho, Cool and Dangerous, which was inspired by the music of Golijov and Piazzolla.

The concert is Sunday, August 5 at 8:00 PM in the Sant Cruz Civic Auditorium, 307 Church Street, Santa Cruz.  If you’re in the neighborhood, write us a review.

Hey, the Steve Layton Songbook is coming along nicely.  Check out Prufrock (T.S. Eliot) 2007.

Chamber Music, Click Picks, Contemporary Classical

Notes from the Other Underground…

A quick addendum to my recent “click pick” visit to the Eastern Front:

My good and long-time i-friend Rudy Carrera pointed me in the direction of the young Russian composer Dmitry Subochev (b.1981), who’s posted a couple frenetically fun (and challenging) Moscow performances on video at YouTube. Cheglakov and His Shadow was made in collaboration with Subochev’s fellow composer and cellist Dmitry Cheglakov:

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As well, Subochev teams up with Tatiana Mikheeva to terrorize the inside of a piano in Pandora’s Box:

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Whether as something integral or as optional accompaniment, my very really grand prediction is that video will become ever-more essential to both performers and composers, and not just in the “big” places. Bone up now or chew the dust at the back of the pack…