The advantage of calling the Kimmel Center’s new music series Fresh Ink is that “fresh” is relative, combining “new” with “refreshing” on this program of music for violin, Jennifer Koh, and piano, Reiko Uchida, ranging from 1942 to the present.
“Relax, and leave the driving to us,” John Adams recommends for his 1995 Road Movies. Lively, energetic, light, the piano ground rolls along with violin commentary; repetitive, but with enough variation to be identifiably Adams. But then the ground switches to violin with percussive piano punctuation. When the piano ground returns, it’s almost an old soothing friend, and the commentary has a jazzy swing. The very slow hypnotic second movement has a motif that extends and elongates in a duet. The closing is back to a fast ride with jagged non-stop rhythms.
Gyorgy Kurtag pulled together short selections from earlier pieces Signs, Games and Messages for solo violin in 1995. Distilled and intense is how the soloist describes this Romanian composer’s work; I would add short and percussive phrases, and vastly differing moods – violence, sorrow, folk music, dance and classic Bach.
In Lou Harrison’s 1998 Grand Duo you hear long echoes of held notes in the piano, under a scalar motif with violin melody above. The “estampe” movement reminded me of the Adams in its ground and cadenza format, but not as user-friendly. The center movement is a spare and delicate counterpoint, the slow movement is two melodies played simultaneously, and the close is a lively polka that just ate up the bow.
Poulenc’s 1942 Violin Sonata references Spanish music in this commemoration of Lorca. The first movement is a rhythmic theme and development with a surprisingly sweet and poignant melody. Poulenc quotes Lorca’s poem “the guitar makes dreams weep” for the second movement and its plucked strings, muted melody and romantic lushness. The presto tragico movement has internal contrasts, minor versus major, serious versus sweet melodies, dense notes versus open space, and a sudden ending.
And then we come to the world premiere of String Poetic by Philadelphia composer Jennifer Higdon – five poetic songs based on her own poems – a series of visual impressions: jagged climb, nocturne, blue hills of mist, maze mechanical and climb jagged. Each of these is a stand-alone work, in particular the ineffably poignant “piece of night – night of peace” Nocturne. Blue Hills of Mist begins so smoothly it seems an extension of the Nocturne, but includes some of the Jagged Climb influence in its increasing drama and grandeur; the plucked string effect in both piano and violin has an Oriental effect that ends in mid-air. Amazing Mechanical explores a maze of speeds without losing its forward momentum, and Climb Jagged reprises the rhythmic opening.
Fresh Ink Series
Kimmel Center
Philadelphia, Pa
October 21, 2006
(Reposted from Penn Sounds 10/26/06)
Keys to the Future is an annual festival of contemporary music for solo piano here in New York City. This year’s event will take place November 7-9 (Tuesday, Wednesday and Thursday) at Greenwich House’s Renee Weiler Concert Hall. If you’re interested in checking out pertinent information, the website is http://www.keystothefuture.org/ or you can contact me directly at joe@keystothefuture.org.
The six pianists participating this year are: Lisa Moore, Blair McMillen, Tatjana Rankovich, Lora Tchekoratova, Polly Ferman, and myself. I thought I’d talk briefly here about the Festival and then focus on one piece from each of the three programs.
My goal as Artistic Director of Keys is to get listeners up to speed on what’s been happening in recent years with solo piano music. This season, the Festival has opened up a bit to include a handful of pieces from the 1970s and 80s. Keys to the Future has embraced the stylistic diversity of the contemporary scene, and you will hear pieces on the same evening of a type that are rarely if ever performed on the same program (for example, a short work by Berio followed by an arrangement of a Radiohead tune on 11/8).
Here’s a look at three of the pieces:
On the first night (Tuesday, 11/7), the brilliant pianist Lisa Moore will perform Henri Dutilleux’s Le Jeu des Contraires (Prelude No. 3) (1989). Here are some notes on the work by Etienne Moreau:
“The piano has been—and continues to be, at age 90—a source of inspiration to Dutilleux, his piano works providing a significant key to the evolution of his aesthetic beliefs. The possibilities in terms of sound offered by its harmonic richness and the diversity of its timbres attract Dutilleux to the instrument.
In Le Jeu the composer has concentrated all his harmonic, rhythmic and acoustic ability, displaying a remarkable mastery of ‘mirror’ writing. This piece seems to represent the very culmination of the musical and sound world of Henri Dutilleux, exemplifying the merging of intelligence and instinct inherent in all his compositions.”
On the second evening (Wednesday, 11/8), I will perform Arvo Pärt’s “Für Alina.”
Pärt composed “Für Alina” in 1976, and this little piece announced – quietly, thoughtfully – the arrival of his “tintinnabuli style.” The music is reminiscent of ringing bells, hence the name. Tintinnabuli works are rhythmically simple, and do not change tempo. It was written originally as a gift for an Estonian girl on her own in London.
On the third evening (Thursday, 11/9), virtuoso Tatjana Rankovich will play Bruce Stark’s “Winged.” Here are some comments on the work by the composer:
“The notion of angels has been a source of musical inspiration to me for years. Often the mere thought of other-worldly, high-energy beings in unseen dimensions brings forth a rush of ideas, as though they were eager to share their cosmic music if only I would turn them a listening ear. Winged is in one movement containing essentially two parts. The first and largest part represents a visitation by angels from invisible worlds, depicted in materials ranging from swirling figures to gentle melodic passages to ecstatic outpourings. After their disappearance, the last part (introduced by a low drone in the bass) represents a reminiscence from the human perspective on having witnessed these wondrous creatures. Here I quote the famous Christmas song Angels We Have Heard On High in fragments, with a slight reference to its “Gloria” section as the work closes.”
I hope you come to one or more of the evenings. It should be fun. Please take a look on Sequenza21.com next Friday for my third and final post.
Our weekly listen and look at composers and performers that you may not know yet, but should… And can, right here and now, since they’re nice enough to offer a good chunk of listening online:
Johnny Chang (US / L.A.)
Violinist/composer/provocateur and eternally-hopeful Dodgers fanatic, Chang brings his amazing awareness and technique to everything from the toughest scores to the freest sonic explorations. Some of this exploration goes far enough to make you wonder “where’s the violin?”; but once you realize the point isn’t so much listening to the violin as it is to the violinist, you’ll be fine. This is ably documeted at his site, where under the “music” button you’ll find recordings of pieces by Cage, Brown, Pisaro, Saunders, Carter, Crane and Overton. Chang’s own inward-looking and intensely focused compositions can be heard on the same page. As a bonus, links on the main page will let you hear his collaboration with wonderful cellist Jessica Catron, called the Microscore Project. It’s whole slew of specifically-commissioned pieces, all running 30 seconds or less.
Alejandro Viñao (b. 1951)
Born and raised in Argentina, but long a British resident and citzen, Viñao’s work has been heard regularly across Europe and Asia, but fairly rarely here in the U.S. His own description of his music: “…characterised by the use of pulsed rhythmic structures to create large scale form, and by a melodic writing which — as in the case of much non-European music — develops through rhythm rather than harmony.” I’d call it “tough-lush”, a lot of color and propulsion, but also real “lines”. (A fun surprise is when exotic instruments show up in the thorny textures, no apologies offered!) The link “audio excerpts” will take you to good-sized excerpts of his work; don’t forget to follow the special link from that page, that takes you to an extensive taste of his opera “Rashomon”.
Laetitia Sonami (b. 1957 — France / US)
Cribbing her own bio for the basics: Laetitia Sonami was born in France and settled in the United States in 1975 to pursue her interest in the emerging field of electronic music. Her work combines text, music and “found sound” from the world, in compositions which have been descibed as “performance novels”. She is creating and utilizing some of the most sophisticated technologies in order to create an intimate, spontaneous art form which transcends technology…. If you have trouble picturing this, all I can do is tell you to listen. While Sonami’s site (linked above) has short audio clips to hear, where I really want to send you is to a complete recording of her work “She Came Back, Again“, courtesty of the Other Minds Archive at Archive.org (coincidentally, Other Minds just happened to announce their 12th festival program this week). This is a live performance from the Other Minds Festival #4, November 10th, 1997. Slightly surreal, austere, almost autistic yet strangely sensual, the piece is a waking dream, maybe a fairy tale, but I think just as much the musical equivalent of a David Lynch film.
Classical Music, Concerts, Contemporary Classical, Festivals, Music Events, Other Minds, San Francisco
Our friends at the Other Minds new music community have announced the program for their 12th Other Minds Music Festival and, as usual, it is a dandy. This year offers a rare opportunity to hear important works by eight of today’s most innovative composers, invited by Other Minds Executive Director and Festival Artistic Director Charles Amirkhanian.
On the program are American premieres from two of contemporary classical world’s elder statesmen, Per Nørgård of Denmark and Peter Sculthorpe of Australia, as well as guest composers Maja Ratkje (Norway), Joëlle Léandre (France), Ronald Bruce Smith (Canada), Daniel David Feinsmith (U.S.), Markus Stockhausen (Germany), and Tara Bouman (Netherlands).
The annual festival begins with three days of private retreat for guest composers, and continues with concerts and panel discussions at the Jewish Community Center, San Francisco, December 8-9-10, 2006.
The dates are Friday, Dec. 8 (8pm); Saturday, Dec. 9 (8pm); and Sunday, Dec. 10 (2pm), 2006, at the Jewish Community Center of San Francisco’s Kanbar Hall, 3200 California St. at Presidio Ave. Panel discussions with composers and performers, hosted by Charles Amirkhanian, begin one hour prior to each concert. The program is here.
Other places: Our friend Brian Sacawa, saxophonist extraordinaire, has buffed up his blog, Sounds Like Now, and moved it to a new location. Go visit.
If this page looks funny to you and you are using a PC, it is probably because you are using Internet Explorer 6 or earlier. You can fix this problem in about three minutes by going here and downloading and installing IE 7. It’s free and painless. (You Mac users are on your own.)
Hey Folks —
Don’t know how we managed to scoop the Times on this one. But here’s an interview with violinist Jeffrey Phillips, who’s doing many honors on next month’s Sequenza21 concert. The interview has to do with a certain set of violin solos by a composer who will be familiar to those who wander these parts. Enjoy!
Q. You’re going to be giving the U.S. premiere of two works for solo violin by Tom Myron on the first-ever Sequenza21 Concert. Are they hard?
A. “They are as difficult as one would expect two pieces that were written for Peter Sheppard-Skaerved and having their U.S. premiere to be. (That means yes.)”
Q. New Music types are obsessed with questions of style and influence. What style does Tom Myron write in. Is he a post-minimalist or a post-modernist or what? Style-wise is he ripping anyone off?
A. “I don’t know what kind of –ist(s) Tom or his music are, but it does seem as if he’s ripped off pretty much everyone including the poor guy at the 7-11 down the street. I guess those New Music types will just have to come to the concert and find out for themselves what –ist(s) Tom and his music are. I know I’m gonna.”
Q. According to the composer one of the pieces takes its inspiration from a poem by Ted Hughes and the other from a drawing by an 18th century German woman naturalist working in the Caribbean. Can you tell this just by playing them? Which is which?
A. “No, I can’t tell which is which just by playing them. Tom even told me which one was inspired by a poem by Ted Hughes and which one was inspired by Maria Sibylla Merian’s “A Surinam caiman fighting a South American false coral snake” and I still can’t keep them straight. I have caimans fighting poems and a snake arranged as a haiku stuck in my head.”
Q. Does it psych you out to be giving the U.S. premieres of two pieces that have been played all over the world by Naxos recording artist and violin god Peter Sheppard-Skaerved?
A. “Yes, of course, there is a little psyching out going on. Peter Sheppard-Skaerved has given the premieres of these two pieces (and numerous others) all over the world. Except in the U.S. That’s me.”
Q. Is Jeffrey Phillips a violin god?
A. “In the omnipotent/omnipresent sense, no. In the Greek sense, yes.”
Anthony Tommasini has a eulogy today for the much-loved and soon to be gone forever classical music department at Tower Records at Lincoln Center. It was probably the last place in the universe where a perfect stranger would come up to you as you were reading the back of a CD and say “I happened to catch the Sawallisch performance when it was recorded in Vienna. It’s much better.” Sometimes, that person was Sawallisch.
Strange story here about a Texas grandmother who was convicted in New York yesterday of purloining some Glenn Gould memorabilia about 20 years ago and was caught after selling them last year. My favorite part of the story is the bit about her lawyer, a fellow Texan, thought he would score points with a New York jury by suggesting that her cover story about how the papers were given to her by a now dead curator was true because the guy was gay and, thus, untrustworthy. There really are two Americas.
Yet another music social networking site.
Classical Music, Composers, Concerts, Contemporary Classical, Electro-Acoustic, Music Events, S21 Concert
Third installment of a series of Composer Perspectives previewing the November 20th Sequenza21 Concert.
First of all, many thanks to all the people doing the behind-the-scenes work to make the upcoming Sequenza21 concert happen. It’s a daunting task, bringing all of these disparate voices together. I wonder if concertgoers don’t routinely underestimate the headaches that are hidden behind any successful performance.
I’m very curious to hear the music on this concert, having come to know all of the composers a bit online and not at all in person. But I’m uncertain which pieces I will actually be sitting in the audience for. At some point in the evening, I will be on the stage, performing in the premiere of Singing silver with the International Contemporary Ensemble (ICE).
Scored for narrator, soprano, horn, cello and guitar, Singing silver is my latest attempt to combine words and music in a way that fully satisfies the needs of each. The narrator (me) speaks most of the text, with phrases spinning freely off of specific beats in the score. The soprano (Tony Arnold) echoes some of the text, but more often blends wordlessly with the instruments, acting as a connective sinew between the muscle of poetry and the bone of music.
Similarly, the words of Singing silver are the tissue that connects the person I’ve become with the child I once was. We all have rites of passage; mine took place in an autumn dusk, walking home from school, stepping into a busy street for God knows what reason.
Here is the text:
I was crossing the road on an autumn afternoon when a spark in the pavement caught my eye,
sun low in the sky.
I dropped to the ground on one red knee and peered into the black and gold,
as the day grew old.
Sixteen thousand jewels I found shattering the autumn light,
while the air prepared to greet the night.
Sixteen thousand diamonds calling colors to the sky
Sixteen thousand stars and crowns astounding to the eye
But I knew the ones you’d love.
I will bring them home to show to you.
I will bring them home to give to you.
I will bring them home.
I was crossing the road on an autumn afternoon when a lonely tone caught my ear,
a careful keening, strangely near.
I stopped and listened to the sky, sun angled to my right,
clutching at the night.
Sixteen thousand sounds I found shattering the autumn air,
as the day rolled over in bewildered prayer.
Sixteen thousand fragments tumbling through the atmosphere
Sixteen thousand jangled dreams rebounding in the ear
But I knew the ones you’d love.
I will bring them home to show to you.
I will bring them home to give to you.
I will bring them home.
I was crossing the road on an autumn afternoon when a flash of metal spun me round,
and up off the ground.
I thrust my arms out left and right, sun darting under me,
fleeing westerly.
And then I saw him, sitting near, laughing gently at the blurring cars
Singing silver in my ear, like sixteen thousand dangled stars.
Sixteen thousand silent smiles shining in the mist
Sixteen thousand aspirations dancing in his fist.
And I knew that he would love you.
Come home with me, I have someone to show you.
Come home with me, I have someone to give you
Come home.
An awesome recording of Frederic Rzewski’s “Coming Together” in a live performance by the Crash Ensemble with Gavin Friday. Picked up directly from Rzewski himself in Kansas City by Scott Unrein. Not available commercially. Rzewski says it’s his favorite recording of the work.
And you can listen to it, or download it, here.
Update: I cheated and fixed the spelling of Fred’s name. Be sure to check the Workspace for a new commissioning prize.
The always reliable Pliable tells me that Charles Griffin’s Sequenza21 blog From the Faraway Nearby: An American Composer in Latvia was chosen blog of the week (or some such) by no less than The Times in London. He couldn’t find a Times link online and neither can I but if someone comes across it, pass it along. Maybe this will encourage Charles to do a second post.
My copy of the Gramophone Awards 2006 arrived by post this week and I was somewhat bemused to discover that my local radio station, WQXR – The Classical Station of the New York Times, has now created (at considerable marketing expense, I expect) a sub-category called The 96.3 WQXR Gramophone Awards 2006, selected by a committee of worthies like Frank J. Oteri, Alex Ross, Greg Sandow, a couple of guys from Gramophone, and “members of the Programming Department of WQXR.”
The winners are all highly commendable, if a little predictable–Peter Lieberson’s Rilke Songs on Bridge; Osvaldo Golijov’s Ayre on DG, and Steve Reich’s You Are (Variations) on Nonesuch. There was also a special recognition award for Mark Morris.
My question for the distinguished panel is this: Have “members of the Programming Department of WQXR” ever scheduled any of the winning CDs to actually be played–in whole, or in part–on the station? Frankly, I doubt it, with the possible exception of the Lieberson which they might have played late at night or on weekends when they thought nobody was listening. Here’s a typical playlist.
Anybody want to be the main Sequenza21 New York reviewer of live concerts? We can get a couple of free tickets to most concerts here in town but so far finding someone (or two) who wants to cover new music in New York the way Jerry Zinser does Los Angeles, has been difficult.
For example, I’d love to have a marthon blogger who could go to all three nights of Joe Rubinstein’s Keys to the Future Festival of contemporary piano music and write about each of the concerts and give us a sense of what’s new and exciting in new piano works. No money now, but if you’re really good at it, who knows?
Speaking of someone who is really good, I just noticed that Steve Smith is now doing some concert and CD reviews for the New York Times. (Maybe, he’s been doing it for awhile but I just noticed). Nice work, Steve.
Our weekly listen to and look at composers and performers that you may not know yet, but should… And can, right here and now, since they’re nice enough to offer quality listening online:
Recordings of New Music from Indiana University
Rather than a single composer, here’s a whole gaggle of them all in one tidy location. For the past decade, Indiana University in Bloomington has been actively exploring ways to get work out of their halls and on to a wider public by using the internet. One result is this page, which will take you to MP3s by many members of the faculty (Claude Baker, David Dzubay, Don Freund, Eugene O’Brien, Frederick Fox, Jeffery Hass, P.Q. Phan, Sven David Sandstrom), with some student pieces right alongside them. You’ll also find a really large offering of IU-focused CDs for purchase.
SONUS is the online archive of electronic and electroacoustic music, hosted at the Canadian Electroacoustic Community’s website. The focus of course is on Canadian creators, but the archive is open to submissions from any country. It’s truly vast, with more than 1800 complete works freely available as MP3s, including such Canadian greats as Francis Dhomont (who celebrates his 80th birthday with a concert in Montréal on Nov. 2nd), Monique Jean, Robert Normandeau, Stéphan Roy, and Katharine B. Norman. But there’s plenty of quality hiding in the cracks, too; I like to just click “search” and browse alphabetically. If it all seems a bit intimidating, there’s a link to curated playlists that will take you on differently-themed audio “tours” of the EA (electroacoustic) landscape.
Lloyd Rodgers and the Cartesian Reunion Memorial Orchestra
Lloyd Rodgers is currently teaching at Cal State Fullerton, making a charmingly sly and subversive music. But 20-25 years ago he was one of the “kids” in a brash West Coast / L.A. brand of classi-pop-minimalism, little known outside California. Lloyd’s site documents some of the rare recordings of this place and time. Besides his self-claimed work, what’s truly fascinating here are the recordings of the Cartesian Reunion Memorial Orchestra. Originally formed by eight young composers in 1979, and continuing in one form or another through all of the 1980’s, it was a laboratory for a new kind of classical… or a new kind of pop… I’m not really sure, all I can say is that it’s still fresh and buzzing with young energy and transgression, and I like it!