The Manhattan Choral Ensemble, Thomas Cunningham, Director The Victoria Requiem Church of the Blessed Sacrament May 18, 2024 By Christian Carey for Sequenza 21 NEW YORK – The Manhattan Choral Ensemble is an auditioned forty-voice group. Among them are enthusiastic amateurs, professional singers who want to work with Director Thomas Cunningham, who is a dynamic musician and imaginative programmer, and singers from music-adjacent pursuits, notably musical theater. A diverse group to be sure, but they sing beautifully together. The main offering on their May concert program was by Tomas Luis de Victoria (1548-1611), his Requiem Mass, published in
Read moreNancy Galbraith Everything Flows BMOP Sound Published by Sequenza 21 Nancy Galbraith has taught for a number of years at Carnegie Mellon University in Pittsburgh. During that time, she has created a body of compelling orchestral works. Colorfully scored and post-minimal in approach, Galbraith’s music has received prominent performances but been relatively underserved on recording. As a corrective, Boston Modern Orchestra Project, conducted by Gil Rose, has recorded for BMOPsound three of her concertos, all written in the past eight years. Violin Concerto No. 1 (2017) was premiered by its soloist here, Alyssa Wang, with the Carnegie Mellon
Read moreRichard Baker The Tyranny of Fun NMC Recordings Composer and conductor Richard Baker (b. 1972) has been an important fixture on the British new music scene for over a decade. While The Tyranny of Fun refers to a work on the recording, it also could be seen as an analog for Baker’s mixture of fierceness and whimsy in many of his pieces. He had the right teacher – Louis Andriessen at the Hague – to develop this sort of emotional dichotomy in his work. He has also championed composers like Gerald Barry and Philip Venables, who both walk an
Read moreDavid Crowell Point/Cloud Better Company Records Composer and multi-instrumentalist David Crowell has minimalist bona fides: he played in the Philip Glass Ensemble for nearly a decade. But Crowell draws from a number of traditions in his work: prog rock, jazz, folk, and other contemporary classical idioms. His latest, Point/Cloud, features works for percussion, guitars, and a moving finale for voice, cello, and Crowell’s instrumentation. Sandbox Percussion performs Verses for a Liminal Space. At nearly a quarter of an hour, it shows Crowell’s keen sense of pacing. He conceives of the piece as being cast in three verses. There is a
Read moreKyle Bruckmann of rivers New Focus Recordings Oboist, composer, and electronic musician Kyle Bruckmann is a dedicated advocate for contemporary concert music. One of the founding members of Splinter Reeds, he currently plays in a number of ensembles in the San Francisco Bay area, including sfSound, San Francisco Contemporary Players, and the Stockton Symphony. Bruckann teaches oboe and contemporary music at University of the Pacific. On his latest recording, Bruckmann programs a number of pieces that incorporate wildly challenging extended techniques and, in some, electronics. Bruckmann’s own Proximity, Affect features the latter, as well as deconstructed instruments.
Read moreOne of Sequenza 21’s friends is the “Diasporic Soprano” Candice Hoyes. A versatile vocalist and songwriter, she sings everything from opera to jazz to pop adjacent new music. Her new single, “In the Upper Room (For Mary Winnifred)” for soprano, piano, and bass is out today and available on Bandcamp. Mary Winnifred was Hoyes’s grandmother and a mentor figure for her. In the Upper Room (for Mary Winnifred) by Candice Hoyes The song is part of the inaugural Lincoln Center Social Sculpture Projects “Sadah Espii Proctor’s adrift: the bayou project, curated by the incredible Joyous Pierce,” which can be viewed April 26
Read moreCarl Philip Emanuel Bach Symphonies from Berlin to Hamburg Akademie für Alte Musik Berlin Mayumi Hirasaki and Georg Kallweit, concertmasters Harmonia Mundi Carl Philip Emanuel Bach (1714-1788) was the middle of Johann Sebastian Bach’s three surviving sons. His music occupies the period between the baroque and classical, often called the galant or rococo style. It truly is a transitional era, with the development of the orchestra, symphony, and a move toward more homophonic textures. Several recordings of his works have recently been issued, and it is nice to see this talented composer having a moment. Akademie für Alte
Read morePhilip Glass Solo Philip Glass, piano Orange Mountain Music This is the second piano album made by Philip Glass. Solo Piano (1989) contains some overlap of tracks with the latest recording, Philip Glass Solo (2024), but there are distinct differences between the renditions on each. At 87 years of age, and in demand from opera houses, symphony orchestras, chamber ensembles, and filmmakers for a steady spate of new works, a solo performance recording might seem like an unnecessary addition to Glass’s catalog. But it is in those aforementioned differences found in the music that he shares a different vantage point
Read moreSaturday, March 30th: Kafka Fragments at Tenri On Saturday at 8 PM, Kafka-Fragmente by György Kurtág will be performed at Tenri Cultural Institute (43A West 13th Street,New York NY), by soprano Susan Narucki and violinist Curtis Macomber (tickets). Earlier this week, they performed it at another venue also abundantly supportive of contemporary classical music, Buffalo University. Kafka-Fragmente is based on aphoristic texts by Franz Kafka from his diaries and correspondence. As is his practice, Kurtág brought the composition together gradually, collecting fragments over time and completing the piece in 1985. At seventy minutes in duration, until his opera Fin
Read moreKinds of ~Nois ~Nois, Kinds of Kings Bright Shiny Things The Bright Shiny Things recording Kinds of ~Nois is the result of a six-year long collaboration between the saxophone quartet ~Nois (Julian Velasco, soprano; Hunter Bockes, alto; Jordan Lulloff, tenor; János Csontos, baritone) and the composer collective Kinds of Kings (Shelley Washington, Maria Kaoutzani, and Gemma Peacocke). The recorded works are generally in a complexly post-minimal style, but each composer has their own distinctive voice. ~Nois’s rich ensemble tone and dexterous rhythms serve the music quite well. One can readily hear that a lot of preparation was put into
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