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Choral Music, Concert review, File Under?, New York

Tallis Scholars at St. Mary’s (Concert Review)

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Tallis Scholars at St. Mary’s: Bass Hit

Sequenza 21

By Christian Carey

 

NEW YORK – On December 10th, the Tallis Scholars found themselves in a bit of a quandary. Scheduled to give their annual Renaissance Christmas concert as part of Miller Theatre’s Early Music Series at Church of St. Mary the Virgin, the ten-voice ensemble was decimated to nine. Long-time member bass Robert Macdonald was ill and had been rendered voiceless. Peter Phillips, the Tallis Scholars’ director, quipped from onstage that unless he sang, which the rest of the singers “felt unwise,” the group’s other bass, Tim Whiteley, would have to go it alone. MacDonald did not appear to be the only member suffering. During the course of the concert, there were several sniffles onstage and far more water being chugged than is the group’s usual practice. Gamely they had decided to appear regardless.

 

There was yet another wrinkle to the story. During the first half of the concert the Tallis Scholars had planned to feature Cipriano de Rore’s Missa Praeter rerum seriem, a composition that includes many divisi, including a number of passages where each bass has his own part. A substitution was in order, and the solution was a welcome one: Giovanni Perluigi da Palestrina’s Missa Assumpta est Maria. One of the composer’s last works, it demonstrates his movement from a more modal to a quasi-tonal harmonic method of organization. Although outnumbered, Whiteley never seemed vocally outgunned. Indeed, the Tallis Scholars’ long association helped them to rebalance their forces in seemingly effortless fashion. The clarity of lines and fine-tuned chords which resulted were truly remarkable sounding.

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Although the audience had been deprived of De Rore on the first half, the second provided some compensation with a sprightly, joyous rendition of his Hodie Christus natus est setting. Magnificat Primi Toni, by Tomás Luis de Victoria, features antiphonal division of the choir into two four-part units. Fortunately for this occasion it doesn’t include bass divisi, but there are some stellar passages for high sopranos that arched angelically upward, as well as sturdy tutti declamation.

 

Victoria, Palestrina, and even de Rore are familiar composers to many Renaissance listeners, but the next two selections on the program, both Salve Regina settings, were composed by figures who aren’t yet “household names.” Based on the quality of these works alone, they should be. Claudin de Sermisy’s Salve Regina was filled with imitative counterpoint, including four-voice canons and fetching duets, which were delivered with abundant precision by the Tallis Scholars. Hernando de Franco, a Spanish composer who resided in Mexico, must have enjoyed setting the Salve Regina text – or at the very least been frequently requested to do so – there are five of them attributed to him. Here, chant was weaved into the fabric of the piece, interspersing thick-voiced passages of contrapuntal activity.

 

The concert concluded with O Splendor Gloriae, a composition that appears to have been a collaboration between John Taverner and Christopher Tye. The piece never feels like a ragtag assemblage, but there are significant differences among its various sections. O Splendor has a long-ish text, describing the Creation story from the Fall to Christ’s Resurrection and Ascension. Even after such a taxing program, and under harried circumstances, the Tallis Scholars brought a warm sound to bear here. This is no mean feat, as the work contains a number of high-lying lines. In addition to the sopranos who sustained these, Whiteley must be commended for his efforts. The bass brought sonorous support to the work’s chordal passages and hardy declamation during sections for subsets of the ensemble. It was a testament to the Tallis Scholars’ consummate professionalism that, despite challenging circumstances,  they made such stirring music.  

by Christian Carey
Composers, Contemporary Classical, Deaths, Electro-Acoustic, Experimental Music, File Under?

Jeffrey Mumford Remembers Pauline Oliveros

Composer Jeffrey Mumford remembers the recently departed Pauline Oliveros in the following obituary.

I had the honor of being a TA for Pauline Oliveros during my graduate studies at the University of California, San Diego from 1979-81.

Our worlds couldn’t have been more different.

I was deeply discovering the endless inventiveness and poetry in the music of Elliott Carter, with whom I would soon study, and was also working with Bernard Rands as my major teacher at UCSD.

A composer of color, I came from Washington, D.C. steeped in the music of among others, Count Basie, which resonated throughout our house in my youth.

I also loved (and still do) Brahms for many reasons, not the least of which is his sense of expansiveness and sweep, yet without one wasted note. He along with Schumann make me feel at home.

I had heard of Pauline and a bit about her early experimental work, before I came to UCSD.

What I found I got there and started working with her, was another kind of inventiveness in her approach to her work and most important for me, the permission to be myself, whatever that was and whatever that would be.

I was also impressed with her centeredness and sense of humor, an enduring whimsy not often found in our business.

She was at home with herself.

She left me alone to discover aspects of group improvisation and to impart what I was discovering to the students with whom I worked, and of course to deeply hear sound and its implications on its own terms.

Her’s was a quiet yet strong voice, who was the embodiment of integrity, holding true to her convictions, but always open.

She was always there, offering strength of creative purpose. She will be missed.

by Christian Carey
Chamber Music, Concert review, Contemporary Classical, File Under?, New York

Ensemble Lux at ACFNY

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Ensemble Lux

Austrian Cultural Forum New York

November 17, 2016

NEW YORK – Austrian Cultural Forum New York makes part of its mission supporting chamber musicians from Austria, bringing them to the United States for concerts. One of the best of these concerts I have attended was this past Thursday’s New York debut of Ensemble Lux, a string quartet with formidable technique and ambitious tastes in programming. Their concert ranged across a century’s worth of music, from Anton Webern’s 5 Movements for String Quartet (1909), to la pureté de l’envie blanche, a piece from 2010 by the Lux’s second violinist, Thomas Wally.The concert opened with Olga Neuwirth’s settori, a showcase for extended techniques: alternate bowings, rapping on the wood of the instruments, Bartôk pizzicatos, altissimo register filigrees and harmonics. Neuwirth uses this expansive palette as the means to fascinating, expressive ends. Hans Erich Apostel (1901-’72) was a student of Arnold Schoenberg and Alban Berg. The musical materials and aesthetics of the Second Viennese School are on display in Apostel’s 6 Epigramme. While the pieces are well constructed miniatures, his last name is telling of his relative place in the 12-tone pantheon.

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More engaging was Schoenberg’s String Trio. Written after the composer’s heart attack, a program reflecting this experience is often ascribed to the work. Whether one thinks it appropriate to do so, the piece is a remarkable late work by Schoenberg, juxtaposing the techniques of twelve-tone music and neoclassical phrasing with some of the visceral gestural language of his earlier Expressionism. Lux’s performance paid note both to the work’s Apollonian and Dionysian features. Correspondingly, Webern’s 5 Movements, aphoristic vignettes written at the beginning of atonality’s appearance, were played with exquisite care by the quartet.

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la pureté de l’envie blanche juxtaposed periods of silence with angular runs nearly at the instruments’ bridges. There were also tremendously quiet sustained passages. One was struck by the dynamic range the quartet had been able to deploy in ACFNY’s small performance space, from thunderous outbursts in settori to the extreme pianissimos of Wally’s work. Ensemble Lux’s precision and control mark them as a group with a promising future. Hopefully, their next visit to New York will be soon.

by Christian Carey
Birthdays, Composers, Contemporary Classical, File Under?, Recordings, Review

Happy Birthday Meredith Monk!

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Meredith Monk turns 74 today. An early birthday present came from ECM Records on November 4th: a recording of Monk’s On Behalf of Nature project. We do not have the benefit of language: the “text” consists of songs, chants, and syllabification in unknown tongues. And there is no narrative per se, but there are clues present in the piece’s sound world that readily suggest its environmental message: at times with clarion calls; at others, with poignant vulnerability.

Joined by a versatile troupe of vocalists (many of whom also play instruments on the recording), Monk sings with tremendous vigor and impressive range. The panoply of extended techniques on display, both vocal and instrumental, elicit a veritable catalog of sounds. Some are imitative of all manner of fauna: insects, birds, and mammals. Vocal play with “nonsense” syllables moves between jazz scat and primordial language. Likewise, the materials inhabited by the instrumental forces coexist between rustic primitivism, minimalist ostinatos, and sophisticated microtonality.

Monk is not afraid to make sounds that aren’t conventionally “pretty:” howls, chittering, and screaming among them. However, she often manages to evoke beauty even in the most raw and unconventional moments of On Behalf of Nature. It is as if we are being implored, by any means necessary, to attend more fully to the world around us. While we are deprived the visual and choreographic elements of its staging in this audio-only recording (one hopes ECM might consider producing a film of the work’s acclaimed stage incarnation), the music is amply impressive all by itself. It is Meredith Monk’s birthday, true, but her gifts are shared with us.

by Christian Carey
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Joyce DiDonato gives us something besides the election to discuss

This week, mezzo-soprano Joyce DiDonato has a new album out on Erato. In War and Peace features arias by Handel, Purcell, and other baroque composers that deal with, as one might expect, bellicose and pacific themes. Her coloratura and ornamentation are impressive throughout, as is the purity and beauty of her voice. Il Pomo d’Oro, led from the harpsichord by Maxim Emelyanychev, provides supple and stirring accompaniment.

DiDonato is also using the album project as a springboard for conversations about ways to bring peace to our strife-torn world, with the hashtag #TalkPeace as its convergence point.

In addition to reviews of the album, making the rounds on the internet this week are two stirring stories. One, via NPR Music’s Deceptive Cadence, presents DiDonato in interview titled “On Why Art Matters in the Midst of Chaos” (listen via the embed below). The other is her series of inspiring masterclasses at Carnegie Hall (video via Medici.TV below). A consummate artist, skillful teacher, and a peace advocate? What’s not to like?

https://www.npr.org/player/embed/500515350/500728987

by Christian Carey
Contemporary Classical, File Under?, New York, Opera

Mrs. President … the Opera … comes to New York

The first woman (among several) to run for president was Victoria Woodhull, whose campaign back in 1872, before women were even allowed to vote, was greeted with nastiness from detractors and the press that rivals … well, politics today actually. Composer Victoria Bond and librettist Hilary Bell have crafted a two-act opera that depicts Woodhull’s historic run. It was acclaimed in its debut, by Anchorage Opera in 2012. Now New Yorkers have a chance to hear it. This Friday, October 28th at National Opera Center, Bond conducts a cast led by dramatic soprano Valerie Bernhardt, who will reprise the title role, and tenor Scott Ramsay, who plays her nemesis, Henry Ward Beecher.

Mrs. President
Music by Victoria Bond
Libretto by Hilary Bell
Friday, October 28 at 8:00 PM
National Opera Center
330 7th Ave. New York City
Tickets: $20 at the door

by Christian Carey
Birthdays, Chamber Music, Composers, Contemporary Classical, File Under?

Happy Birthday to Steve Reich

Steve Reich turns 80 today. I can’t think of a better way to fete the composer on record than DG’s recent reissue of the 1974 recording of Drumming. Performed by Reich and “Musicians,” it presents one of the seminal works in his catalog. Drumming rounded out the first “phase” of his career (sorry, couldn’t resist), and it was followed by pieces that explore intricate pitch relationships and, from the 1980s onward, an increased interest in historical context and dramatic narrative. The triple LP set also contains the vital works Music for Mallet Instruments, Voices, and Organ and Six Pianos. 

A new piece by Reich will be unveiled at Carnegie Hall on November 1st. Thus, he remains an imposing presence in the field of contemporary classical music. Happy birthday Mr. Reich, and many more.

by Christian Carey
CDs, Contemporary Classical, File Under?

Scheherazade.2

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Out today on Nonesuch is John Adams’s Scheherazade.2, a concerto for violin and orchestra of symphonic proportions. Composed for soloist Leila Josefowicz and the St. Louis Symphony, conducted by David Robertson, it also features Chester Englander as a “shadow soloist” playing cimbalom.

 

The program is, deliberately one suspects, somewhat veiled, but uncannily timed. It deals with the disempowered status of women, a given in the original Arabian Nights, and how they regain their voice and, ultimately, a sense of sanctuary from persecution. This is a theme that remains sadly relevant to current events, both abroad in far too many countries (and for far too many exiles and refugees) and in the United States’ disarrayed electoral politics.

 

Josefowicz plays marvelously, with a bravura demeanor that displays the courage of the title “character” and abundant virtuosity to boot. Robertson conducts St. Louis in a compelling and multifaceted performance, etching the details of the piece’s vivid orchestration and, while never overbalancing the soloists, bringing tremendous power to bear. When Adams’s Violin Concerto (1993) premiered, it was a watershed work for his compositional language, signaling a shift to a broader palette of harmonic and historic reference points. It appears quite possible that this is another pivotal piece in the composer’s catalogue.

by Christian Carey
Chamber Music, Composers, Contemporary Classical, File Under?

Interview: Christian Carey Talks with the Kepler Quartet

One of the noteworthy recordings released in 2016 is the Kepler Quartet’s third volume of string quartets by Ben Johnston (New World Records). Johnston, who turned ninety this year, is well known for his work in unconventional tuning systems, namely extended just intonation. The complexity of some of his works in this system, notably the Seventh Quartet, included on Kepler’s volume 3, ranks up there with some of the toughest chamber works in the literature. Even a seemingly more straightforward piece, such as his Fourth Quartet, a trope on “Amazing Grace,” can provide both formidable pitch and rhythmic challenges. Recently, I was in touch with the violinists of the Kepler to discuss Johnston’s work and the new recording.

Eric Segnitz, 2nd violinist for the Kepler Quartet and producer

When did you first become familiar with Ben Johnston’s work?

I was aware of the original Fine Arts Quartet’s 1964  recording of Ben’s 4th Quartet (Amazing Grace) as a student in the late 70″s,  from studying briefly with Leonard Sorkin–the FAQ 1st violinist who commissioned the piece. I subsequently played it several times for the Present Music concert series in Milwaukee, as well as Calamity Jane and her Daughter, Ben’s transcription of Harry Partch’s Barstow, and a few other works.

When you decided to go about recording the quartets, did you have any idea how long it would take to realize the project?

No idea whatsoever. But we made the commitment to Ben, to New World Records, and to ourselves to complete it–damn the torpedoes!

An article in the N.Y. Times (and other writers) have called Johnston’s Seventh String Quartet “the most complex ever written.” Do you agree? Why do you think it is so hard?  

The crazy crawling harmonies, that’s obviously extremely complex. The challenge that is not-so-obvious is that he is dealing with the way time passes, movement by movement; time passing so quickly that it leaves you in the dust, time elapsing at a normal pace– but with a surreal 3D layering of palindromes offset by various cell lengths, or time dragging so slowly that it’s hard to fully comprehend the rigorous structure which exists.  To me, that is the underlying brilliance of the piece.                                                         

How does the Seventh Quartet compare to the others in terms of difficulty?

In the sense of the sheer number of pitches involved, yes, #7 is the most difficult. But that is only one type of challenge posed by Ben. In Quartet #6 (also on this 3rd CD) for instance, every chord  overlaps with the one both before and after it. Given the nature of the chords to begin with, that’s extremely challenging in it’s own right.. And I could cite multifarious examples of uncharted waters, throughout his 10 quartets.

I was recently speaking to a friend who heard your recording of the Fourth Quartet, loved it, and decided to work on it with a student quartet. He said that he was surprised that something that, audibly and on the surface, seemed so accessible to players was actually quite hard. Do you find that too – that “appearances can be deceiving” in terms of the complexity of these pieces.

Yes and no… he uses a genius-level grasp of musical craft to achieve a music that everyone can relate to in a spiritual/emotional way, if they give it that chance. It’s a music that resonates because, once again,  it’s founded upon the natural order of acoustics.

Now that you’ve climbed this Parnassian mountain, what’s next for the Kepler Quartet? Which composers are you interested in performing and recording?

Even though we all play a lot of contemporary music, it might be useful to draw some connections to where this music came from. It’s easy to think of Ben as a maverick composer, a unique innovator, a specialist. He is, but also much more than that. He’s really a great composer in the traditional sense, and his music will only become truly appreciated in that larger context.

Sharan Leventhal, 1st violinist for the Kepler Quartet

How did you go about learning the quartets?

We dealt with them one at a time. There is a certain amount of work that needs to happen before the playing begins. Each pitch must be defined according to its role in the harmony within the just intonation system. Ben’s notation provides a tool for establishing the relationships in every chord, no matter where he has taken the progression. Adding and subtracting his accidentals places a pitch. The ultimate judge is your ear, because every note is determined by its function. Once you understand your role within a given chord, you will hear how to place your notes. Of course, as with any piece, we study the score, to understand its structure and the emotional intention behind the music. Rehearsing is a slow painstaking process of tuning and balancing each chord while gaining an intellectual grasp of the harmonic journey. As the sonic world comes into focus, it informs our choices about the timbre and shape of individual phrases. We worked through every single note of every single chord with the composer, uncovering copy errors, and getting his input on musical decisions.

Why do you think that the Seventh Quartet is so hard?

The 7th quartet is especially daunting because it has a hugely expanded pitch group. Ben travels so far along the spiral of pure harmonic progressions that there are over 1,200 discrete pitches in the octave. Actually, in some ways I didn’t find the 7th quartet the most difficult. For example, the 6th quartet is more musically obscure and difficult to grasp. The 7th quartet makes sense, but you have to be able to work (and hear!) the system.

How would you go about teaching these pieces to the next generation of string quartet players? Moreover, for those who want to learn Johnston’s tuning system, where would you suggest they turn?

I already teach Ben’s music at The Boston Conservatory. Every once in a while an adventurous quartet wants to make the attempt. Invariably, for the students it is a transformative experience. As one cellist said, “nothing will ever be the same.” Learning these works is a matter of learning how to hear—to be wholly immersed in vertical relationships, attuned to the harmonic series, and completely committed to the present moment. At the same time, one must listen forward and backward—anticipating root movement of chords to hear where pitches will belong ahead of time, or relating back to what has just happened. It is incredible ear training, and requires rethinking what pitch is, how it works, and how it can be manipulated.  

When teaching these works, I like to start with #9. The first movement is a clearly defined C Major just tuned scale (with a cameo appearance by that interesting anomaly, the syntonic comma). Young players find it rhythmically challenging—the rhythmic complexities are based on the same ratios that define the intervals of the just tuned scale. The third movement is a simple hymn-like melody, with clear almost traditional harmonies. What makes it so fantastic and emotionally potent is the harmonic slide down two syntonic commas (from F Major to F- Major to F – – Major) and back up within the first phrase.  This modulation is part of opening the tempered ‘circle of fifths’ to its naturally occurring spiral. Hearing it has a strong, visceral effect.

I have written an article (“An Introduction to the String Quartets of Ben Johnson,” American String Teacher, Volume 64, Number 3, 8/2014) that details how to approach these scores—how to tune the instruments’ open strings, how to do the math required by Ben’s accidentals). I think the article will also be made available on Kepler’s website, and that is definitely a good place to start. Without those preparatory steps, the score can’t be realized as the composer intended. Next, the players must tune and balance each chord, working back and forth between harmonies to understand progressions and internalize relationships. All this ultimately supports the interpretation of the music, making a much more powerful, visceral statement.

 

by Christian Carey
Birthdays, Concert review, Contemporary Classical, File Under?, Miller Theater, Minimalism

Signal plays Reich at Miller

Opening Night at Miller Theater

Steve Reich Photo: Jeffrey Herman
Steve Reich
Photo: Jeffrey Herman

On September 15, Ensemble Signal, conducted by Brad Lubman, presented an all-Steve Reich program to open the season at Columbia University’s Miller Theatre. There was a sold out crowd, populated both by contemporary music devotees and over 200 Columbia students. Reich turns eighty later this year, and this is one of the many birthday concerts that will fete the composer.

 

Signal has recorded several albums of Reich’s music, including a 2016 release on Harmonia Mundi that features his Double Sextet and Radio Rewrite, recent works that demonstrate the undiminished energy and invention of their creator. The Miller Theatre concert focused on two sets of “variations,” composed in the prior decade: Daniel Variations (2006) and You Are Variations (2004). The amplified ensemble featured a superlative small complement of singers, a string quintet, a quartet of grand pianos, and a bevy of percussion and wind instruments. They were recording the concert, one hopes for subsequent release.

 

Daniel Variations is, in terms of instrumentation, the slightly smaller of the two. Alongside the aforementioned piano/percussion group, Reich employs a quartet of vocalists (two sopranos and two tenors, singing in a high tessitura for much of the piece), string quartet, and two clarinets. There are two textual sources for the piece. The first are the words of Wall Street Journal reporter Daniel Pearl, who, while reporting on the conflict in Pakistan in 2002, was captured and killed by Islamic extremists. These are offset by quotations from the Book of Daniel, a text from the Old Testament of the Bible. The texts underscore Pearl’s Judaism and also his love of music (he was an amateur string player). Indeed, the last movement of the piece, “I sure hope Daniel likes my music, when the day is done,” is a trope on a Stuff Smith song, “I Sure Hope Gabriel Likes My Music,” found in Pearl’s record collection after his death.

 

You Are Variations finds Reich exploring texts from his spiritual roots, including Psalm 16, quotes from the Talmud, the Hasidic Rabbi Nachman of Breslov, and Wittgenstein (Reich’s undergraduate thesis subject). Musical quotes are diverse as well, ranging from L’Homme Arme to a song by James Brown. The harmony is prevailingly in D mixolydian but unorthodox bass progressions and layering often give it a polytonal feel. From where I was sitting, the vocals seemed a little recessed in favor of the winds, something that I am confident can be worked out in subsequent mixing of the projected recording. It still worked live, giving the impression that the singers were sometimes supported by the ensemble and sometimes vying in a struggle for discernment of the weighty texts.

 

Lubman conducts Reich’s work with the authority of someone who has both an intimate knowledge of the scores and of the formidable musicians at his disposal. Reich seemed to approve. Taking the stage with trademark baseball cap firmly planted on his head, he volubly demonstrated his pleasure to everyone from Lubman to the sound designer. The percussionists, in particular, beamed as they accepted his greetings: they had done right by Reich.

by Christian Carey