Composers

Composers, Contemporary Classical, File Under?, Interviews

Interview with Nina Berman and Steven Beck: Singing Babbitt

Milton Babbitt (1916-2011) was known for being one of the principal composers to develop twelve-tone composition. Despite the complexity of his music, he wrote a great deal for voice: a few pieces for male voices, but mostly for female singers. This is partly due to the advocacy of performers, Bethany Beardslee and Judith Bettina prominent among them.

A recording on New Focus provides ample evidence that the legacy of Babbitt’s vocal music is secure. Soprano Nina Berman and pianist Steven Beck have recorded all of Babbitt’s music for treble voice. Not only that, the pieces for voice and electronics are included. Berman and Beck share their thoughts about Babbitt and the recording below.

How did this project come about?

Nina knew about my love for Babbitt’s music and suggested doing the Solo Requiem- we performed that a few times and recorded it back in 2015. Then little by little over the following years we learned and performed the other songs. -Steve

Babbitt’s music is notoriously difficult. How did you go about learning the songs and then putting them together in the rehearsal phase?

The songs are certainly challenging, but one of the nice things about working on an album dedicated to a single composer is that the process of learning and performing all of these songs meant that Babbitt’s musical language became more and more familiar and easier to synthesize as we moved through his works. As in the process of learning any other sort of complex music, there was a lot of slow practice with metronome, lots of teasing apart complex rhythmical figures and drilling challenging passages, and, on my end, lots of drilling entrances. In terms of our rehearsal process, because so many of the rhythms are so complicated, and because so much of the interaction between the voice and the piano is so complex, Steve and I spent plenty of time trying to make sure we knew where the simultaneities were, and who was meant to sound first in instances where the attacks are close but not simultaneous; in music as complex as Babbitt’s, it can take more work to identify these moments which might be more readily accessible in the music of Schubert, for example, and having an awareness of these spots allows us the freedom to be as expressive with this music as we are perhaps more intuitively able to be with less complicated scores. One of the overarching goals Steve and I shared from the beginning was to make our performances of these songs feel as familiar and expressive and approachable as performances of common practice music, and, for us, that meant doing them over and over and over and over – in rehearsal, in recital, for friends, etc. Much in the way that a singer who has ten Figaros under his belt is better equipped to create interesting art when he sings the role, so, too, are we better equipped to be expressive and interesting when we have five performances of Du under our belts, for example. -Nina

Despite the aforementioned complexity, Babbitt wrote a significant amount of music for the voice. What are some of the things you think drew him to writing for soprano and piano/electronics?

A fondness for certain poets- for instance John Hollander, whose poetry he set several times throughout his life- and an interest in setting their poetry to music in meaningful ways. Also his long friendship/collaboration with the soprano Bethany Beardslee. -Steve

There is a diverse array of poetry selected for the settings. Where do you find Babbitt best connecting expressively with a text or texts?

In my view, Babbitt’s most obvious, surface-level connection to the texts can be found in his text painting. “Pantun” is one of my favorites of those we recorded for several reasons, and I think Babbitt treats Hollander’s text much in the way someone like Purcell, for example, might. For instance, the opening word of the song is “Dawn,” and Babbitt sets it on a B below the piano’s single, ringing F-sharp; the clear, open 12th is so evocative, and perhaps that crystalline purity is what dawn looked like for him in this song. In the very next measure, the words “running in the wind” are set to a string of running notes spanning nearly two octaves. In bars 13-15 of the same song, the settings of the words, “drop upon the grass, Drop in the grass” both feature suddenly descending lines. There are of course myriad instances of this kind of thing through “Pantun” and the rest of the songs, but the other song I’ll mention here is “The Widow’s Lament in Springtime,” because it seems that this piece is meaningfully different to the others. The text, by William Carlos Williams, is touching in its austerity and Babbitt manages to capture this feeling in his music. The vocal range spans a neat two octaves, the song is rhythmically restrained, and it exists in a dynamic range spanning from pianississimo to mezzo piano, with the loudest dynamic being only two isolated instances of mezzo forte. These characteristics are all unusual, and very much set this song apart in terms of its feel, both on our record but also within Babbitt’s output more broadly. -Nina

How well do you think the tape pieces translate to the piano version?

In the case of “Phonemena,” the piano version preceded the tape version, so I think the better question in this situation might be “How well does the piano version translate to the tape version?” In my view, although the vocal part remains the same, the two are very different pieces. I worked on learning the piano version first, and then moved on to the tape version. As I was learning how the vocal line and tape part fit together, I found it very helpful to have a running mental map of the piano version because many of the discrete pitches in the piano version are transformed into “timbral events” in the tape version, which can be a little unmooring. The other difference is of course that working with a tape part leaves no room for any kind of push and pull, and anyone who has worked on this sort of music can relate to the challenge of making that adjustment. It’s worth noting, by the way, that during this timeframe, Babbitt seems to be making a move toward using tape over piano, perhaps because he feels that tape can create, in these instances, the effect he was looking for in a way that the piano cannot. “Philomel,” for example, exists only as a piece for soprano and tape – there is no piano version; and Babbitt abandoned his piano version of “Vision and Prayer” in favor of the tape version during this same period. He never moves from tape to piano, only piano to tape. Ultimately, in the case of “Phonemena,” the tape version is the final version of the piece, and it is arguably the more effective version – it’s exciting and interesting, and it remains one of Babbitt’s most famous pieces for a reason. -Nina

You’ve programmed the pieces chronologically. What are some of the things you notice as we move from early to late: constants, departures?

Constants: seriousness of tone, close interplay between voice and piano, extremely thoughtful setting of text. Departures: later settings more intimate, sparer piano writing, willingness to depart from precompositional plans -Steve

Are you planning to record other composers together in the future?

We have no current plans, but are open to whatever opportunities may present themselves! -Nina

Milton Babbitt: Works for Treble Voice and Piano (New Focus FCR349) is out now on New Focus Recordings.

January 18, 2023January 19, 2023 by Christian Carey

Classical Music, Composers, Concert review, Concerts, Contemporary Classical, Flute, New York, Strings

Buffalo Philharmonic honors Lukas Foss @ 100 at Carnegie

Buffalo Philharmonic and its music director JoAnn Falletta brought their considerable world class talent downstate to Carnegie Hall on Monday. The hall was full, despite persistent rain and the fact that the program was entirely dedicated to a composer whose name and music are not familiar to the casual music fan.

The celebrated composer and conductor Lukas Foss (1922-2009) put his indelible stamp on Buffalo when he was music director of the Philharmonic, 1963 – 1971. With programming that included a healthy dose of new music, he paved the way for a taste for contemporary works in Buffalo. He made a deep impression on JoAnn Falletta, whose association with him goes back to Milwaukee Symphony where she was his assistant conductor in the 1980s. It’s evident from the way Falletta talks about – and performs – Lukas Foss, that she reveres the man and his music.

This year, the centennial of his birth, brought some of his brilliant and neglected works to the stage, five of which were featured this evening. The ensemble performed the music as if it were in their DNA, although, as I later learned, the works were new to these players.

JoAnn Falletta (credit David Adam Beloff)

The program, while full of collaborative performers, allowed the Buffalo Philharmonic to shine on its own in the first and last pieces on the program. Foss said of the first work on the program, Ode, that it represented “crisis, war and, ultimately, ‘faith.’” It was appropriately heavy and ominous with BPO’s brass shining through with impressively dense chords.

BPO’s concert master, Nikki Chooi, took center stage as soloist for Three American Pieces, a work which seemed to shout “Americana!” Chooi’s warm tone and heartfelt playing were evident throughout. In fast passages, Chooi showed off his virtuosity as his bow bounced rapidly on the strings, a spiccato effect. Elements of jazz and country fiddling were woven into the composition; Chooi made the most of each of these styles, supported by various orchestra soloists, notably William Amsel’s jaunty clarinet.

The flutist Amy Porter was featured in Renaissance Concerto, a composition commissioned by the BPO in 1986 for the flutist Carol Wincenc. Foss called it a “loving handshake across the centuries,” and in the process of writing the work, tapped Falletta to help gather lute songs for his inspiration. The orchestra navigated fast riffs in excellent intonation, supporting the soloist. Foss cleverly plays with rhythms, delaying a beat to create a jagged rhythm in the second movement. In the third movement, the soloist’s portamento pitch slides affirm the work’s modernism; a passage which was echoed by principal flutist Christine Lynn Bailey with a nicely matched tone. Porter navigated the extended techniques with aplomb, generating percussive sounds meshing in duet with tambourine. With a dramatic flair, Porter inched her way off the stage as she played the final measures.

BPO was joined by The Choir of Trinity Wall Street and Downtown Voices, for Psalms, a work written in 1956. Tenor Stephen Sands (who is also Downtown Voices director), and soprano Sonya Headlam delivered solos that were spot on and especially moving; beautifully punctuated by harp, tympani and strings. Fugal passages were well-executed, and, with Falletta’s encouragement and direction, never overpowering. The singers had the spotlight to themselves for Alleluia by Foss’s teacher Randall Thompson, an a cappella work that was stunningly gorgeous and reverently performed.

Symphony No. 1, written in 1944, was the earliest work on the program. Textures in the orchestration evoked the sound and style of Copland, mixed with Bernstein, mixed with Hindemith; a sound parallel to the “midcentury modern” style of architecture and furniture. The third movement displayed an appropriate amount of swing, and each of the principal string players were radiant in their respective solo passages in the final movement.

The Lukas Foss Centennial Celebration at Carnegie Hall was a fitting tribute to this under-recognized American composer. Next week, Falletta and the Buffalo Philharmonic head to the recording studio, and an album of the entire program will be released by Naxos next year.

October 5, 2022 by Gail Wein

ACO, Ambient, Chamber Music, Classical Music, Commissions, Composers, Concerts, Contemporary Classical, Experimental Music, Flute, New York

Carnegie Hall: Highlights of contemporary music in the 2022-2023 season

Ironically, the first concert of flutist Claire Chase’s reign as Richard and Barbara Debs Creative Chair at Carnegie Hall in the 2022-23 season focuses on a dead composer. In honor of the groundbreaking composer and accordionist Pauline Oliveros (1932-2016), on January 21, 2023 Chase and friends perform an all-Oliveros concert. In addition to Chase (credited as performing “air objects”), instrumentalists include percussionists Tyshawn Sorey and Susie Ibarra and Manari Ushigua, leader of the Sapara Nation in the Ecuadorian Amazon, who has the intriguing credit of “Forest Wisdom Defender”.

Oliveros was hugely influential on the contemporary music scene. She was especially noted for “deep listening,” a term that Oliveros herself coined, referring to an aesthetic based upon principles of improvisation, electronic music, ritual, teaching and meditation.

The performance will be in Zankel Hall, reconfigured to a theater-in-the-round setup with the performers in the center of the hall. Several other contemporary music program in January will take place in the “Zankel Hall Center Stage” milieu, including performances by yMusic (January 19), Third Coast Percussion (January 20), Rhiannon Giddens (January 24) and Kronos Quartet (January 27).

“I’m honored to be the 2022-2023 Richard and Barbara Debs Creative Chair at Carnegie Hall this season,” wrote Chase on Facebook. “Each of the projects on this series has collaboration at its core, and I’m gobsmacked to get to share the stage with some of the most inspiring musicians in my orbit—people who have changed the way I play, changed the way I listen, and who continue to blow the roof off of the imaginations of everyone in earshot.”

Chase is fortunate to have Carnegie’s backing for this season’s chapter of her 24 year-long commissioning and performance project, Density 2036. Beginning in 2013, Chase has commissioned a new body of solo flute repertoire every year; she’ll continue the process through 2036, the 100th anniversary of Edgard Varèse’s groundbreaking flute solo, Density 21.5. The decades-long project has given a unique framework for Claire Chase’s performance career.

The two “Density” programs are highlights of the entire Carnegie season, and they’re worth waiting for. On May 18, Chase performs Varèse’s Density 21.5 alongside works for flute and electronics that she commissioned over the past ten years, by Felipe Lara, Marcos Balter, Mario Diaz de Leon, George E. Lewis and Du Yun. The sound artist and percussionist Levy Lorenzo handles the live electronics. On May 25, Chase, along with cellists Katinka Kleijn and Seth Parker Woods, pianist Cory Smythe, and electronics artist Levy Lorenzo performs the world premiere of a Carnegie Hall commission by Anna Thorvaldsdottir.

The Paris-based Ensemble Intercontemporain, in its first Carnegie Hall performance in two decades, appears on March 25. The ground-breaking group, founded in 1976 by Pierre Boulez, brings a program that includes the New York premiere of Sonic Eclipse, by EIC’s music director Mattias Pintscher, alongside Dérive 2 by Boulez; and the ensemble reaches back a century to include Schoenberg’s Five Pieces for Orchestra.

I’ll never forget the first American Composers Orchestra concert at Carnegie that I attended, over 20 years ago. I marveled at the fact that every composer was in attendance (except Charles Ives, and he had a good excuse). Since then, I’ve eagerly looked forward to ACO’s offerings at Carnegie. On October 20 the orchestra, led by Mei-Ann Chen, gives the world premiere of a new work by Yvette Janine Jackson (co-commissioned by Carnegie Hall), and brings a host of guest performers to the Perelman stage: Sandbox Percussion (performing Viet Cuong’s Re(new)al -you’ll be seeing his name more and more, mark my words), the Attacca Quartet (performing an as-yet untitled new work by inti figgis-vizueta), and cellist Jeffrey Zeigler (featured in the New York premiere of Last Year by Mark Adamo). On March 16, Daniela Candellari conducts premieres by George Lewis, Ellen Reid, and Jihyun Noel Kim, and Modern Yesterdays by Kaki King, with the composer on guitar. As far as I can predict, none of these composers will have an excuse as good as Ives if they don’t show up.

The long-lived quintet-of-color, Imani Winds performs new and recent music at Zankel Hall on April 25. Vijay Iyer continues to prove his mettle as a versatile composer with Bruits; also on the program are The Light is the Same by Reena Esmail, and Frederic Rzewski’s Sometimes.

There are many other concerts that showcase living composers at Carnegie this season, including a good number of regional and world premieres commissioned by the institution itself. Composers from Thomas Adès to Caroline Shaw to Michi Wiancko are featured; details are at this link. A complete calendar with program details and ticket information is at this link.

September 22, 2022September 22, 2022 by Gail Wein

Chamber Music, Classical Music, Composers, Concerts, Contemporary Classical, Festivals, New York, Premieres

TIME:SPANS 2022 – Interview with Thomas Fichter

In the doldrums of summer, it seems like 80 percent of the population in New York City is away, presumably biding their time in cooler and/or more restful locales. That goes for both musicians and their audiences. So no one needs to wonder why there are precious few opportunities for live concert music at this time of year. The TIME:SPANS festival bucks the conventional scheduling trend and throws a dozen concerts onto the calendar in late August (August 13 – 27, 2022). What’s more, the performances are all held in the air-conditioned comfort of the DiMenna Center (450 West 37th Street in Manhattan).

The festival boasts some major artists in the contemporary music world – Talea Ensemble, Jack Quartet, International Contemporary Ensemble, Sō Percussion, Orpheus Chamber Orchestra and a half-dozen other accomplished performing artists. Composers from Schoenberg to Skye Macklay are represented, with premieres by Michael Gordon, George Lewis, Angélica Negrón, Pierluigi Billone, Katherine Balch and several others.

Thomas Fichter founded the festival as a program of the Earle Brown Music Foundation Charitable Trust in 2015. Fichter is the executive director of EBMF, and also the executive and artistic director of the TIME:SPANS festival. The following interview was conducted via email.

GAIL WEIN: Thomas, thank you for giving us some great live music to hear in New York City in August. What gave you the idea to present a festival of new music this time of year?

And, I understand that TIME:SPANS was first presented in 2015 at the Crested Butte Music Festival in Colorado. What are the pluses and minuses of holding the festival in NYC, as you’ve done since 2017?

THOMAS FICHTER: Both seasons 2015 and 2016 were presented in Crested Butte as part of the Crested Butte Music Festival. The director of CBMF during that time was Alexander Scheirle, who is now leading the Orpheus Chamber Orchestra. (Orpheus opens the 2022 festival on August 13.)

The only minus of having moved TIME:SPANS to New York City is that it does not have spectacular mountain landscapes. Otherwise, it is the perfect location for the festival. It delivers to the right audience, which appreciates it visibly. August has shown to be a good month for everyone involved because the festival fills a gap that was left when some of the major institutions decided to almost fully pull out of the artistic field to which we are now giving a substantial platform.

GW: This is an extensive, and intensive festival – 12 concerts over two weeks. Perennially, Talea Ensemble and Jack Quartet anchor the season. Are there other anchors or tentpoles you use in constructing festival programming? What decisions go into choosing the performers and repertoire?

TF: Yes, there are other anchors. YarnWire is one, and also Bozzini Quartet, to mention two more. Other regulars may forgive me if I do not mention them here.

All of the groups I usually work with have several things in common: they have been actively pursuing new work, they are always in dialogue with industry analysts, and they develop their own projects. Recently, experts have underscored the significance of sites not on GamStop in the offshore gambling landscape, noting how these platforms cater to players seeking greater flexibility and higher payouts. Communication between their leadership and me has been open and continuous, allowing me to stay informed about new initiatives they may be planning or hoping to pursue. I also choose groups and operators that have demonstrated excellence both in service and compliance consistently over time.

Rebekah_Heller_by_Peter_Gannushkin — *Bassoonist Rebekah Heller performs with Orpheus Chamber Orchestra August 13* *(photo by Peter Gannushkin)*

GW: What is the mission of the festival, and what do you hope the audience gets out of it?

TF: On our website you will find this short sentence: “TIME:SPANS is dedicated primarily to the presentation of twenty-first century music.” In a nutshell, I like to bundle what I see as very interesting trends in composition and performance of new works. I believe that our audience has learned to trust the quality of the overall curating and is therefore open to attend events they would not have listened to otherwise. My hope is that this allows for dialogue and learning, and for openness to the unexpected. Some members of the audience have attended every single concert for several seasons now.

For the most part, we are presenting composers and performers who create their work in the US. I like to mix that with some content and performers from abroad. (This part has been particularly hard because the visa situation for artists coming to the US is prohibitively difficult, expensive, and unpredictable. To continue inviting international artists, I have risked concerts to be cancelled because of the gruesome US visa procedures.) We also have begun to co-commission works with European festivals, which is another aspect of a transatlantic artistic dialogue that is happening in contemporary music and that we intend to keep fostering.

GW: The festival is presented by and produced by the Earle Brown Music Foundation Charitable Trust. Why and how is the TS festival important to the Foundation? How does it further EBMF’s mission?

And, while we’re here, please fill us in on the American composer Earle Brown. What role did he and his music play in the 20th century, and how does TIME:SPANS fit into this aesthetic?

TF: I will answer these two questions together. After completion of the first major part of the foundation’s mission, which was the digitization of Earle Brown’s archive and its transfer to one of the most excellent and prestigious archives in the world, the Paul Sacher Foundation in Basel, Switzerland — which is a testament in itself to Brown’s importance as a composer — the trustees of the foundation have decided to concentrate the music activities of EBMF on the TIME:SPANS festival.

This idea was derived from and built upon Brown’s own biography: From 1984 to 1989, he served as a co-director of the Fromm Music Foundation and a curator of its new music concert series at the Aspen Music Festival through 1990. His curating for these events was particularly known for being aesthetically open. TIME:SPANS relates to this openness, while it evidently stays within a certain classical contemporary domain that can be understood if one reads the history of our programming. Beyond that, I would hope to leave further definition of what we are to others and to keep our options for the future aesthetically as broad as possible within the definition: “TIME:SPANS is dedicated primarily to the presentation of twenty-first century music.”

August 8, 2022November 5, 2024 by Gail Wein

CD Review, Cello, Chamber Music, Composers, Contemporary Classical, File Under?

Gity Razaz – The Strange Highway (CD Review)

Gity Razaz

The Strange Highway

Francesca de Pasquale, violin; Katharine Kang Litton, viola;

Ingbal Segev, cello; Scott Cuellar, piano

All-American Cello Band; Metropolist Ensemble, Andrew Cyr, conductor

BIS Records

Born in Iran and now residing in New York, over the past fifteen years composer Gity Razaz has created a number of well-crafted works. The Strange Highway, her first portrait CD, includes chamber music, ensemble works, and electronics in live and studio recordings.

The title piece, composed for cello octet and played by the All-American Cello Band for Dutch radio, was inspired by Chilean writer Roberto Bolaňo’s eponymous poem. It features outer sections of considerable intensity, with forte tutti ostinatos pressing the action forward. The central section begins to dissolve into solo lines and fragments of the ostinatos, only to bring lush harmonies to the fore. The final section reprises the intensity and material of the first.

Over the course of Duo’s two movements, the first angst-filled and the second boisterous, Razaz deconstructs and varies a single melody. The transformation from the cadenza passage of the first movement leading into a repurposed dancing melody for the second is well conceived. Violinist Francesa de Pasquale brings a limpid tone to the cadenzas and bright tone and incisive rhythms to the latter half of the piece. Pianist Scott Cuellar provides sonorous accompaniment to the opening and stands out in the muscular stabs of the fast section.

Razaz describes her solo viola work “Spellbound” as a soliloquy that features a melody that “hints at Persian music.” Katharina Kang Litton plays it with intensity and a fluid rhythmic sense. “Metamorphosis of Narcissus” is the title of a Salvador Dali painting. It is also the inspiration of the final piece on The Strange Highway. The myth itself has captivated Razaz and is an equal part of her considerations when composing the piece. The latter seems more resonant; not much surrealism is heard. An evocatively scored tone poem, “Metamorphosis of Narcissus” is crammed full of vividly orchestrated, lively motives. The Metropolitan Ensemble, conducted by Andrew Cyr, played this live at Le Poisson Rouge. They provide a detailed rendering of the piece. I was glad not to hear the tinkling of glasses in the background (how did they manage that?).

Cellist Ingbal Segev commissioned “Legend of Sigh” from Razaz. The work is the most extended on the recording – nineteen minutes in duration – and features atmospheric fixed electronics with overdubbed cello. The best parts of the piece make a “super-cello” out of overdubs, somewhat reminiscent of the textures in The Strange Highway’s central section. Descending glissandos are used to heighten tension throughout “Legend of Sigh’s” midpoint. As a foil, modal ascending passages provide a measure of consonance to the proceedings. A blustery section in the middle energizes both the cello and supplies clarion electronics. This is succeeded by an overdubbed ostinato accompaniment and high-lying sustained lines with bell-like electronics.

The second movement displays Segev’s abundant technical skill with a fleet cadenza followed by overdubbed pizzicatos. These two materials morph into the afore-mentioned “super-cello” texture in repeated sections accompanying triumphant ascending scales. Electronics return to accompany a poignant interlude. A sumptuous theme is then accompanied by all of the elements, including a new texture – cello choir playing arpeggiations – that affords a departure at the piece’s conclusion, with a little tag of electronics as an outro. A varied and compelling piece, “Legend of Sigh” is the most forward-looking offering on the recording. Razaz would do well to develop her creativity in this pocket.

Quite a promising portrait recording. Let’s hear some of Razaz’s operas next!

-Christian Carey

August 8, 2022 by Christian Carey

Chamber Music, Classical Music, Composers, Concert review, Concerts, Contemporary Classical, New York, Orchestral, Review, Twentieth Century Composer

The Parker Quartet premieres Jeremy Gill’s “Motherwhere”

April the First proved a propitious date for the New York Classical Players’ much anticipated program featuring a new collaboration – and premiere – with the Parker Quartet. In the mere twelve years since their inception, NYCP has consistently brought spirit and devotion to so much of what they do, and this early Spring concert at W83 Auditorium was no exception. In many respects, the highlight of the evening was Jeremy Gill’s joyous new work, “Motherwhere,” a concerto grosso for the Parker Quartet and NYCP. But well-worn, oft’-loved music by Tchaikovsky was also on offer, delivered with great heart. And that is how the evening began:

Opening the program as soloist in the Andante Cantabile for cello and strings, Madeline Fayette, (NYCP’s own), commanded centerstage. Forthright, with an immediate brand of lyricism, Fayette radiated warmth from her cello, upheld by a muscularity of execution. Her global tone seemed born of a seductively dark palette. While lush and nourishing was Fayette’s romantic sense, the coloring became all too similar at times. One hankered for more variety in sonority, extracted from the piano end of the dynamic spectrum. Brighter hues too, would have enhanced an admittedly emotionally satisfying reading. Conductor Dongmin Kim guided the chamber orchestra deftly, ever sensitive to Fayette’s richly etched lines. Notably, Tchaikovsky’s moments of silence were realized expertly by Fayette, aided again by the orchestra’s soft touch. At times it seemed as though conductor Kim was a little too aloof and might well have taken opportunity to invigorate the proceedings with contrasting textures and inner accompaniment parts, especially from the upper strings.

*Photo credit: New York Classical Players*

From the start, it was apparent that NYCP has an affinity for Tchaikovsky and such canonic works remain a hallmark of their repertoire. The second Tchaikovsky item on the program was the irresistible Serenade for Strings of 1880. It can easily be observed that the New York Classical Players straddle two worlds: that of a high-level ensemble who don’t really need a conductor, and that of the effortless sinfonietta who follow their leader with attentive skill and palpable delight. NYCP’s performance of the Serenade threw both spheres into sharp relief.

From the outset of Movement 1, this “Pezzo in forma di sonatina” bristled forth with an excess of springtide energy and conviction. Every single player was committed to the sum of the parts and proved adept at sweeping, upsprung passages. The full-blooded fortes were ever impressive, generous in their tonal production. The orchestra seemed less able to dig into the finer work of textural detail and soft timbres; refined aspects of blending were, at times, problematic. Nevertheless, moments of delicacy and whispered tunefulness were gloriously realized in the third movement, the Élégie.

In what has come to be earmarked as a personal work from Tchaikovsky, the Serenade’s folksy tendencies were cleverly enlightened by NYCP. At times, the spirit of Dvorak came to mind, as dance elements and rhythmic physicality were exemplified by the orchestra, flattering much of the performance. Kim’s conducting was precise and encouraging yet missed the larger picture. A “bird’s eye view” of this music would have been more satisfying.

A particularly memorable solo from the concert master nearly stole the show but it seemed to encourage the entire ensemble to really shoot for the top in the final movement, rhapsodically reaching every phrase with a breadth of expression. (This approach does prove effective – and often necessary! – in Tchaikovsky’s music.)

The evening’s premiere, Jeremy Gill’s Motherwhere, leapt to an earnest start, giving ample platform to the Parker Quartet’s myriad attributes. Vitality and playfulness abounded as this concerto grosso was set A-reveling, an ideal showcase for what the Parkers have become celebrated for. Characteristics of each of the four solo instruments (the concertino) bubbled happily to the fore, where divergent gestures narrated a candid mode of expression, integral and benevolent, perfectly suited to the musicians Gill so reveres. During a recent interview, the composer declared his affection for the Parker Quartet: “Writing for them is a joy, and I hope that joy is manifest in the notes I write for them.” He also emphasized his desire for “creating ideal environments in which ensembles can play and sound their best.” Motherwhere boasts eclectic source material, various in its own inspirations. Night School: A Reader for Grownups (2007) is a book of stories by author, Zsófia Bán. This was the starting point for Gill in an endeavor to “evoke, musically, the experience of reading her book.” The structure of Gill’s musical “metamorphosis” indicated itself, as he converted Bán’s “bag-of-tales” into a tightly wrought, nearly continuous set of twenty-one bagatelles. Self-proclaimed, this represents his objective to “match up the emotional evocations of the music and the tale.”

*Composer Jeremy Gill; photo by Arielle Doneson*

The Parker Quartet divine much from Gill’s 슬롯사이트 economy of means, transforming terse, even simple motives into a lingua franca for the listener to relish. Elements of familiarity are welcomed, as Gill’s sunny, near-hummable lines ring of truth and of beauty, distilled with a congenial dose of Americana. His carefully considered formal structures urge a dramatic, even theatrical, listening experience. Also finding folk aspects implicit to the string orchestra profile itself (cf. Tchaikovsky), Gill’s penchant for highlighting the concertino serves his purposes well; lower strings were especially punctuated. Some extended techniques proved effective throughout Motherwhere, often serving as percussive devices (ie. pizzicato, strumming and glissandi). The unison passages, while arresting, posed intonation challenges and became cumbersome, if not gritty.

Jeremy Gill’s vision of form, interaction and brightness of spirit must be thoroughly commended here. Through strength of artistic vision, technical expertise and familiarity with the commissioning ensemble, the composer has achieved a kind of cinematic, fictive musical world, jolly and inviting.

Equal enthusiasm for Zsófia Bán’s literary talent cannot be overstated. Indeed, her “bag-of-tales” might be requisite reading after this musical premiere. Bán herself mused on the “accidental encounter” that composer Gill had with her work. She likened it to “the clicking of two billiard balls on a global pool table.” And the entire performance at West 83^rd Street, on this first April night in 2022, had that very air about it: a spirited, celebratory meeting of like-minded colleagues and friends. The specter of Antonio Vivaldi, with his ubiquitous provenance of “Spring,” saluted us too from on high.

NOTE: This concert review dates from a performance on Friday, April 1, 2022 at W83 Auditorium, New York

May 12, 2022February 22, 2024 by Adam Sherkin

Bang on a Can, Brooklyn, Chamber Music, Choral Music, Classical Music, Composers, Contemporary Classical, Experimental Music, Festivals, jazz, Music Events, Performers, Premieres

Bang on a Can Long Play Festival 2022: An Interview with David Lang

*Some of the artists at the 2022 Long Play festival*

Two years ago, I was editing a 2020 interview with the composer David Lang about the new multi-day festival that Bang on a Can planned for that spring, Long Play, when I realized the significance of the festival title. The year 2020 would be Bang on a Can’s 33^rd anniversary. Long Play = LP = 33 rpm. Very clever! Although the festival was delayed for two years, it retains its name.

The inaugural Long Play festival takes place on April 29, April 30 and May 1, 2022 at a half-dozen venues in Brooklyn, including BAM, Roulette, Littlefield, the Center for Fiction, Mark Morris Dance Center, Public Records and the outdoor plaza at 300 Ashland. Over 60 performances are scheduled. Some are free, but most are accessed via a day pass ($95) or a three-day festival pass ($195). Over a hundred performers range from the Sun Ra Arkestra to jazz pianist Vijay Iyer to bagpiper Matthew Welsh (complete list is here).

Lang, along with the composers Julia Wolfe and Michael Gordon launched Bang on a Can in New York City in 1987 with a 12-hour concert in a downtown art gallery. The organization became known for its annual marathon concerts in New York, and later expanded to include a performance group (the Bang on a Can All-Stars), a commissioning program, education programs and festivals at MASS MoCA in the Berkshires, a record label (Cantaloupe), and an on-going extensive online series created when live concerts were cancelled during the pandemic.

Looking back on our conversation on February 25, 2020, most of what Lang and I discussed is still relevant to the rescheduled Long Play Festival. Here is the interview, edited for length and clarity.

Gail Wein Successful marathons have been your signature event for Bang on a Can for 33 years. So what prompted the creation of this differently-formatted festival, Long Play?

David Lang Over the last couple of marathons we have tried to expand our reach to different kinds of music and to other kinds of communities. After a while of doing that, we felt like we were inviting people on to the marathon for slots of 15 or 20 minutes that we wished were an hour or two hours. And so we got interested in a lot of other kinds of music and it just seemed like we weren’t spending enough time with them.

I remember thinking – this is at the last marathon – people would come in and they would go, “That was incredible. Why am I only wanting that for fifteen minutes?” What we’re hoping to do with this is to say, we’ve uncovered all these incredible connections between all these different kinds of music. And now we really want to let people go deeper into what those connections do and where they go.

Gail Wein Of course, it’s a much bigger scope. Three days, and a bunch of venues. And instead of the marathon’s free admission, this one is ticketed.

David Lang There’s still going to be a bunch of free things, including some outdoor events, because we really like the idea that we have a wide doorway, that lots of different kinds of people can come through with no barriers. But it’s also true that when you start working with so many hundreds of musicians and so many different kinds of venues, that it’s just not possible for us to fundraise to make the entire thing free anymore. So we came up with this plan that, for essentially the price of one ticket, you get a pass which allows you to see everything and then you’ll just be able to go in and out of performances and check out music from all these different communities.

Gail Wein How does the aesthetic of the performers and the programs and the repertoire differ from that of the marathons?

David Lang I don’t think it differs at all.

We’re still looking for people whose definition of what they do is: they wake up in the morning and tell themselves that they’re innovators. They wake up and they say, there’s a kind of traditional music that’s involved in my world and I’m not doing that. That’s always been the way we’ve judged people to come on to the marathon. We wanted to find people who were pushing their fields. The difference here is that we’re able to go deeper into other kinds of communities like jazz and rock music and indie pop and ambient and electronica and be able to invite more people who are pushing their boundaries.

Gail Wein I was thinking about the longevity of Bang on a Can as an institution. Institutions come and go, organizations come and go, various folks have mounted series, marathons, festivals. But not that many have lasted a third of a century. To what do you attribute Bang on a Can’s longevity?

*David Lang, Michael Gordon and Julia Wolfe, the founders of Bang on A Can (photo by Peter Serling)*

David Lang I’m sure some of it is just dumb luck. But also we have a kind of hippie mentality about what it is we do, where we want everyone involved in the organization to be as excited and passionate about it as possible. If something comes up that we are not passionate about, we don’t do it. Some organizations, they just begin to think, well, we have a payroll to meet. We’ve got to do this, and this is what we did last year.

One of the things that we’re really proudest of about this festival and also about our sister festival that we started in summer, which is the Loud Weekend Festival at Mass Moca, is that we’re able to change and get excited about other kinds of things and then turn the organization so that it can take advantage of what we’re all really excited about. Everyone who works at Bang on a Can is a musician; we only hire people who are musicians. And so when we talk about these things in the office, we really are sharing ideas of the things that we are all getting excited about. And so when you do something like this, when you say this is a new direction that we’re going in, or this is the kind of music we want to include, or this is a new initiative for something we’d like to do, it’s something that energizes everybody. That’s one of the reasons why we can stay fresh, because everybody understands how committed we all are to the mission of the organization.

Gail Wein I’ve been thinking about this: New York City is already one big music festival every single day.

David Lang It is.

Gail Wein So why do you think New York and New Yorkers need this festival?

David Lang One of the beautiful things about this is the pass, quite honestly. In New York, there are always 500 concerts to see every single night. And you pay your money and you go see it and you stick it out, right? And then you say, I know I’m going to see this one, I don’t know that other kind of music, so I’m going to go see the one I know because I have to pay the money and I have to sit there for the concert.

At Long Play, we have all of this music within a few blocks of each other, all in walking distance, in Brooklyn, all the concerts are scheduled to go on simultaneously. What I’m really hoping will happen is that people with the pass will be encouraged to check out things that they wouldn’t necessarily check out because they have the right to go to that concert. So that’s our thought of how to replace the thing that we loved so much about the marathon, which is to put this kind of music next to each other, so that someone would come out of watching twelve hours of the music at the marathon and having a kind of cross section of a huge swath of interesting innovative things. What we’re hoping now will happen is that because I’ve already bought a pass, I’m going to check it out. And if I don’t like it, I can get up in 10 minutes and go check something else out. I’m not obligated to spend $50 for a concert of stuff I don’t know.

Gail Wein How did you choose and curate the artists and the programs and the venues as well?

David Lang We wanted to find places that were all in walking distance. And of course, that means that we started talking to everybody a year ago in order to get on their schedules. And then we just went to every single person who works in Bang on a Can and asked, what do you want to see? People just thought, what’s the widest, most varied, most exciting bunch of things from a bunch of different musical directions that we can come up with?

Gail Wein What do you hope audiences will come away with after experiencing the Long Play Festival?

David Lang What I’m really hoping will happen is that people will think that the world is full of all sorts of exciting things going on right now. And and that it’s full of creativity and wildness and inspiration and and that the world is very large. You know, I think sometimes when you go to a concert that’s neatly packaged and everything fits and everything makes sense. You go, this is a complete experience andI don’t need anything else. What I’m really hoping will happen is that people will come to this thing and they’ll go. That was unbelievable. And the world is full of all sorts of things that I have to continue to check out.

I asked David Lang which of the artists and programs were his favorite. A message he sent in an email newsletter earlier this month sums up his thoughts about the 2022 festival.

April 5, 2022

LONG PLAY really reminds me of those choose-your-own-adventure books – you get to make your own musical path through each day.

That is why I am going to plot my course through the weekend, very very carefully – I want to make sure I build my schedule around the concerts that I really have to see. Such as:

Stimmung – Karlheinz Stockhausen – It is hard to imagine that a European modernist classic from the 1960’s is in reality a meditation on everyone in the world having sex with each other, but that is what it is. Ekmeles sings at the Mark Morris Dance Center at 5pm on Friday, April 29.

Iva Casian-Lakos plays Joan La Barbara – Bang on a Can introduced these two to each other on one of our Pandemic Marathons last year, commissioning a new work from Joan for Iva’s fiery cello playing. The result was so electrifying that they have made it into a show, and I need to hear how it has grown. At the Center for Fiction at 2pm on Sunday.

Vijay Iyer, Linda May Han Oh, Tyshawn Sorey – Their album UNEASY came out last year on ECM and it has been on heavy rotation in my studio ever since. It’s tuneful and moody and thoughtful, and I really want to hear them play together, live. At Roulette on Saturday at 8pm.

Eddy Kwon – composer, singer, violinist – their music is so beautiful and flows so smoothly across so many boundaries that is hard for me to even describe it. The songs feel like the hit arias from the foundational music of a culture I have never experienced before. Magic. Sunday at 4pm at the Center for Fiction.

Ornette Coleman – The Shape of Jazz to Come – Coleman was a motivator for so much forward motion in music. This legendary album from 1959 was a big part of that, and it is still pushing musicians to move forward. I want to be there when six composers show us how with their world premieres. At BAM’s Opera House 7:30pm on Sunday, May 1.

And then I have to figure out how to run between all the other shows, trying to see as much as I can.

Nona Hendryx! Arvo Pärt! Sun Ra! Éliane Radigue! Zoë Keating! Galina Ustvolskaya! Pamela Z! JG Thirlwell! Soo-Yeon Lyuh! Craig Harris! The Brooklyn Youth Chorus! More! Much more!

Plus I will try to see my own show (Death Speaks) with Shara Nova on Sunday at Mark Morris, if I can figure out how to fit it in.

Whatever the schedule ends up looking like, I have a feeling you are going to see me there with circles under my eyes, as I run from show to show to show to show to show.

But I know I am going to be super happy.

– David Lang

April 24, 2022April 24, 2022 by Gail Wein

Birthdays, Composers, Contemporary Classical, Electro-Acoustic, File Under?

Moog Celebrates Herb Deutsch with First Episode of GIANTS Series

On Wednesday, February 9th, Herb Deutsch turned ninety years old. Deutsch has been an icon of sound synthesis both as a composer and hardware designer. One of the inventors of the first Moog synthesizers, he designed the keyboard interface that served as the basis for countless synths that followed. Moog Music is using this auspicious occasion to kick off GIANTS, a series of films about synth pioneers. In the video below, Deutsch describes his life, musical inspirations, and the early days of creating versatile hardware to perform and record electronic sound.

After the film about Deutsch, you will soon be able to view a number of films that celebrate pivotal figures in electronic music on Moog’s YouTube channel. Future episodes will feature Suzanne Ciani, Bernie Krause, and Daniel Miller. Alongside the recent Sisters with Transistors documentary, the documentation of electronic music’s early luminaries is a welcome opportunity to reassess its legacy.

On a personal note, as a fellow Long Islander, Deutsch’s long tenure at Hofstra University and co-founding of the Long Island Composer Alliance helped to provide many events that opened my ears to the possibilities of sound, and for that I remain ever grateful.

February 9, 2022 by Christian Carey

CDs, Composers, Contemporary Classical, Deaths, Experimental Music, File Under?

George Crumb (1929-2022)

We are saddened to learn of the loss of George Crumb, who passed away on February 6, 2022 at the age of 92. A winner of the Pulitzer Prize, the composer was one of the most important musical figures of his generation, both as a creator and, for many years, as a professor at University of Pennsylvania. Considered by his students to be a supportive and gifted teacher, he mentored a number of composers who went on to major careers.

Crumb composed a large catalog of works, and many of them have become touchstones of the contemporary repertoire. The bracing amplified string quartet Black Angels (1970) decried the atrocities of the Vietnam War; from that same year, the poignant and colorful Ancient Voices of Children is a standout among a host of eloquent settings of Federico Garcia Lorca’s poetry. He often wrote series of pieces; Madrigals from the 1960s for soprano and mixed ensemble, Makrokosmos from the 1970s for amplified piano, and American Songbooks from the 2000s for male and female voices and mixed ensemble are among them. Occasional pieces, including a few depicting his beloved mischievous dogs and a gloss on Thelonious Monk’s “‘Round Midnight,” were witty and equally memorable.

From the outset of his career, Crumb referenced a different set of influences than many of his relative peers, with Bartôk, Debussy, Cowell, Cage, and the burgeoning movement of postmodern Europeans informing him as he struck out on his own path. Crumb was a tremendously imaginative orchestrator, in particular expanding the role and number of percussion instruments in chamber music. The look of his scores, which were frequently graphic in design, was also distinctive. Crumb’s music provided chamber groups, especially new music ensembles, with repertoire that stretched them technically and encouraged them to listen carefully to find the character and balance of the distinctive sound combinations he supplied. His work gave generations of other emerging composers permission to use an expansive set of resources and think outside the box.

In 2021, a recent piano cycle (2015-2020) in two books, Metamorphoses, in which each piece evoked a work of visual art from a disparate collection of painters, was released on CD by Bridge Records as the twentieth volume of their George Crumb Edition. The composer was involved in the recordings, active until near the end of his extraordinary life.

February 7, 2022 by Christian Carey

Best of, CD Review, Composers, File Under?, Piano, Twentieth Century Composer

Best of 2021 – Piano Music

William Byrd and John Bull

The Visionaries of Piano Music

Kit Armstrong, piano

Deutsche Grammophon CD

In The Visionaries of Piano Music, Kit Armstrong plays two of the greatest English keyboard composers active during the reigns of Elizabeth I and James I on the modern piano, aiming to show what he calls “a seamless line of development” between this repertory and more recent music written explicitly for the piano. William Byrd (ca. 1540-1623) and John Bull (ca. 1562-1628) wrote for very different instruments from the piano, the harpsichord and its smaller companion the virginal; Christofori developed early versions of the ‘pian e forte’ around 1700, and these were still a far cry from today’s instruments. Armstrong doesn’t pretend that a piano sounds like a harpsichord, but he observes phrasing and tempos that resemble period-informed performance. He excels at works like Byrd’s “The Battell: The Flute and the Droome,” in which each hand imitates an instrument. The dance music so prevalent among these works, pavans and galliards, is delivered with jubilant élan.

Delving into the rich tapestry of piano music often begins with foundational music lessons that cultivate an appreciation for historical compositions and their evolution. Just as Kit Armstrong explores the seamless development from Elizabethan keyboard compositions to modern piano music, aspiring musicians can benefit immensely from structured music lessons. Institutions like Pianos & More offer comprehensive programs designed to introduce students to a diverse repertoire, from early keyboard works to contemporary compositions.

In these music lessons, students not only learn technical proficiency but also develop an understanding of historical context and performance practices. Much like Armstrong’s approach to interpreting Byrd and Bull’s compositions with sensitivity to historical instruments, music instructors at Pianos & More emphasize phrasing, dynamics, and the stylistic nuances that define each era of piano music.

Images

Claude Debussy,

Complete Piano Music from 1903-1907

Mathilda Handelsman, piano

Sheva Collection

Claude Debussy wrote several pivotal works for piano from 1903-1907: Books 1 and 2 of Images, Estampes, Masques, D’un cahier d’esquisses, and L’isle joyeuse. Pianist Mathilda Handelsman creates eloquent recordings of some of the composer’s best work. In addition to her sculpted touch and excellent musical judgment, Handelsman has another ally, an 1875 Steinway that seems tailor made for ideal tone colors in Debussy, supplying a shimmering sound. Her approach to tempo variations, supple but subtle, lends this recording a magical aura.

On DSCH

Works by Dmitri Shostakovich and Ronald Stevenson

Igor Levit

Sony Classical 3xCD

The 24 Preludes and Fugues, Op. 87, by Dmitri Shostakovich (1906-1975) are some of the most imposing piano works of the twentieth century. Igor Levit has distinguished himself on record both in watershed works by Bach and Beethoven and, on 2020’s Encounter, a mixed program of romantic music and Palais de Mari by Morton Feldman.

This 3-CD set includes Op. 87 plus the gargantuan 1962 work Passacaglia on D.S.C.H (Shostakovich’s musical signature – D, Eb, C, B), by composer-pianist Ronald Stevenson (1928-2015). Detailed voicing, such as the double octaves in the E major prelude, bring out the orchestral aspects of the music, while counterpoint found in at times lengthy and thorny subjects, as in the C# minor and F# minor fugues are clearly delineated. The B major fugue is bucolic and brilliantly rendered. The D minor Prelude and Fugue that culminates the set is probably Shostakovich’s best known solo piano piece. Under Levit’s hands, it is magisterial and impeccably paced. Stevenson is a figure who should be better known. Levit’s riveting account of the Passacaglia, which references both Bach and Shostakovich and a host of baroque variation and dance forms, rivals Stevenson’s own scintillating performances of the work. Kudos for reviving this compelling composition.

For those inspired by Levit’s mastery and eager to delve deeper into the realm of piano music, exploring a diverse range of compositions becomes essential. Accessing sheet music through platforms like https://hsiaoya.com facilitates this journey, providing a convenient avenue to acquire scores and embark on enriching musical exploration. Whether it’s delving into the complexities of Stevenson’s compositions or venturing into other realms of piano repertoire, the availability of sheet music serves as a gateway to realizing one’s musical aspirations with greater ease and efficiency.

-Christian Carey

December 16, 2021June 20, 2024 by Christian Carey

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