Minimalism

CD Review, Contemporary Classical, Minimalism

Michael Byron – Halcyon Days

On February 10, 2023, Cold Blue Music released Halcyon Days, a new album of music by composer Michael Byron. The CD consists of percussion and keyboard pieces that date from early in Byron’s career providing new insight into the beginnings and development of his brilliantly original style. The performers on the album include Vicki Ray and Aron Kallay, two of the top new music pianists in Los Angeles. The legendary William Winant and his versatile percussion group are also heard on this CD. The material dates from 1972 to 1978 and also includes one recent work from 2016, performed by New York-based pianist Lisa Moore. As stated in the press release “This album treats us to clangorous clouds of polyrhythms and simple, direct, quiet works, both of which explore rich harmonies and bespeak a sense of transcendent motionlessness.” The CD is dedicated to Winant, longtime friend and colleague of the composer.

The music of Michael Byron seemingly defies conventional explanation. It is minimalist, almost in the extreme and is comprised of basic musical materials. It has no obvious formal structure, no melodic development or even a consistent rhythmic organization. The repeating patterns and layers weave in and around each other, creating a lush harmonic field that often evokes a deep sense of the mystical. This music seems to be in constant motion, yet at the same time it is essentially static, like listening to a small stream or brook splashing along – always moving and changing, but somehow staying the same.

The earliest piece on the CD, Drifting Music, dates from 1972 and illustrates some of the distinctive characteristics of Byron’s musical processes. Drifting Music opens with a series of solitary tubular bell chimes that are allowed to ring out for several seconds. More tones are added in a nearby pitch via overdubbing, and the interaction of the tones shimmer in the listener’s ear. The effect is both solemn and invigorating, with an impact greater than the simplicity of the sounds would suggest. Extracting the fullest expression from the most elementary musical gestures is an important aspect of Byron’s craft and is clearly evident in this early work.

In Music of Every Night (1974), Byron extends his ideas across two distinct timbres: maracas and marimbas. The piece opens with quietly continuous maraca sounds, like the soft buzzing of insects on a warm tropical night. After two full minutes, marimba riffs are heard in different registers, mixing and melding in a series of luminescent harmonies. The marimbas are used primarily for their pitches and timbre, with less emphasis on the rhythms. The result is unexpectedly introspective, exotic but not cliché. Music of Every Night is impressive in that it employs primarily rhythmic instruments to create a gentle reflective mood. The sure touch by percussionist William Winant, along with precise overdubbing, produces a seamless blend of sound.

Music of Steady Light (1978), with three movements, is the longest and most complex piece on the album, totaling over 32 minutes. This is performed by the William Winant Percussion Group and includes marimbas, xylophones, glockenspiels and vibraphones. Movement I opens with a scatter of deep syncopated marimba tones in the lower registers and this is soon joined by vibraphone notes that add a mysterious feel. The dynamics, tempo and complexity increase as the movement moves forward, building up layer by layer. The listening becomes an immersive experience as the polyrhythms swirl and weave in and around each other. The notes come with a sense of purpose, like a driving rain, although never out of control. The energy gradually dissipates over the second half of the movement as the tempo slows and the notes thin out, fading at the finish

The second movement employs bright, luminous phrases ringing out from several instruments – vibraphone, glockenspiel and xylophone. Overlapping passages are heard with rapid, broken rhythms and syncopation, all played without a common beat. Beautiful interactions are heard among the overtones that combine to sound like a giant wind chime. The repeating rhythms and ringing harmonies act together to form an organic whole, in the absence of any regular structure. The playing is masterful, given the necessary coordination of the many ringing phrases. About halfway through the tempo slows, and this provides clarity by letting the phrases breathe. The sensations become less frenetic and dreamlike as the movement concludes.

The third movement starts off with a low hum in the vibraphone and sparkly high notes from the glockenspiel. The low notes form a nice foundation for the individual glockenspiel notes that gleam like bright stars in clear night sky. As the movement proceeds, the texture becomes active and more intense – a busy feel. At 4:40 a series of chime-like phrases ring out, adding some order to the effervescent mixture of sounds. The phrases pour out, seemingly at random, but ultimately building to a sense of the other-worldly. The playing is impressive – all the instruments are independent of each other, yet with no loss of overall expressive power. Slowing at 9:30, the pitches drop and dynamics are reduced before a slow fade out to the finish.

Music of Steady Light has many seemingly random moving parts, but Byron’s artful vision, and the virtuosity of the Winant Percussion Group, combine for an extraordinary listening experience.

Starfields (1974), for four-handed piano, begins with a repeating series of strong chords in the middle register that clang away like an urgent alarm. The pitches do not change and the rhythms are slightly syncopated, adding tension. A solitary lower chord is heard at intervals and this has, by the contrast, a warmer feel. The chords accelerate in tempo while the rhythms deconstruct, and the sounds mix together in a lovely swirl. The flow of notes is at a consistently strong dynamic, unvarying, so that the initial pounding, percussive sensation is sustained. The muscular playing of Vicki Ray and Aron Kallay is full of surging power as the piece builds to an unexpectedly quiet conclusion.

The final track is Tender, Infinitely Tender (2016), the most recent piece of the album. This solo work is performed by pianist Lisa Moore. At the opening, lovely piano arpeggios ring out as lush chords soon appear in the lower registers. There is no melody or overall structure apart from the repeating patterns and a relaxed tempo. There is a transcendental, spiritual feel to this and the phrases roll along as if they never need to end. A quiet key change at about the halfway point provides a sense of harmonic movement, a feature Byron employs in other recent works such as In the Village of Hope. Towards the finish the tempo slows, becoming softer and with fewer notes as it coasts to a fading finish. Tender, Infinitely Tender is a beautiful work played with a sensitive touch and great emotional expression.

Halcyon Days confirms a consistent musical vision that can be readily observed in these early works of Michael Byron. The ability to extract lush harmonies from pitched percussion and to create a sense of expressive integrity in the absence of formal structure make Michael Byron an indispensable contributor to the evolution of new music over the last 50 years.

Halcyon Days is available directly from Cold Blue Music and other popular retail outlets.

The William Winant Percussion Group is:
William Winant
Tony Gennaro
Michael Jones
Scott Siler

by Paul Muller
CD Review, Contemporary Classical, Electro-Acoustic, File Under?, Minimalism

Mivos Quartet Plays Steve Reich (CD Review)

Steve Reich: The String Quartets

Mivos Quartet

Deutsche Grammophon

 

Steve Reich wrote his three string quartets for the Kronos Quartet, who have premiered, recorded (for Nonesuch), and continued to champion them. With Kronos still active, why does another quartet record these pieces? Mivos Quartet makes a strong case that there is room for other interpretations of Reich’s string quartets.

 

I remember well being at the Carnegie Hall premiere of Steve Reich’s piece for string quartet and multimedia WTC 9/11, performed by Kronos Quartet. Its incorporation of sound recordings, a dead phone line, air traffic controllers, and those trying to escape the building, was harrowing. Like his first quartet, Different Trains, Reich creates instrumental motives out of spoken word passages, imitating their contour and imparting pitch. The final movement, in which Jewish prayers are said over remains from the site, is extraordinarily moving. By the end of the work, many in the audience were visibly shaken by its visceral impact. Kronos has since recorded WTC 9/11, in a gritty rendition reminiscent of the energy of the live performance. 

 

Mivos plays with equal poignancy, but also with  a laser beam clarity that brings an entirely different palette of textures to bear. The recorded voices too have been remastered to emphasize incisiveness of utterance. Even with the constraints of overdubbing and vocal samples, there is freshness to Mivos’s approach to phrasing, taut and lithe. 

 

Triple Quartet features three quartets overdubbed throughout the piece (no vocal samples). Mivos play up the polyrhythms that festoon the work. Just when you think the groove is interlocked for good, Reich throws another intricate rhythmic relationship into the mix. Lest things become too motoric, glissandos and solo turns enliven the texture. Triple Quartet doesn’t have the narrative arc that defines the other pieces here, but it is a fine piece of abstract music 

 

Different Trains is an iconic work. At the beginning of the Second World War, Reich was shuttled back and forth on trains between separated parents. The “different trains” are those destined for the death camps in Poland. Its first movement features voices from Reich’s train rides, a porter, and governess, and clangorous train sounds. As in WTC 9/11,  Reich creates melodic phrases that mimic the contours of the sampled speeches. The second movement is terrifying, with speakers who are survivors of the Holocaust describing their trips on trains to the death camps. Air raid sirens are added to the train sounds, which move on a different polyrhythmic pathway. The final movement describes the end of the Second World War, bringing voices from America and Europe together to consider what has transpired. The last section moves from the emphasis on rhythm to a major key cadence accompanying the description of a deportee with a beautiful voice. One of the masterpieces of the late twentieth century, Different Trains is a piece that delves into issues of ethnicity and religious persecution that are, sadly, all too present in today’s society.  

 

The renditions by Kronos are irreplaceable, but Mivos creates compelling complementary readings. Recommended.

 

-Christian Carey



by Christian Carey
CD Review, Contemporary Classical, File Under?, Minimalism, Organ, Piano

John Tilbury Plays Terry Riley

Terry Riley

Keyboard Studies

John Tilbury, piano, harpsichord, celeste, and electric organ

Another Timbre

 

In addition to their impressive catalog of music of the moment, the past recordings that are uncovered and released by Another Timbre are frequently astonishing. This is certainly true of a recording of the great new music keyboardist John Tilbury playing three pieces by Terry Riley from 1965: Keyboard Study No. 1, Keyboard Study No. 2, and Dorian Reeds.  Written just after In C, these pieces are foundational as well, presenting the methods with which Riley would assemble solo work from patternings. Like In C, they do not have full scores, and their durations may vary. Dorian Reeds was originally written for saxophone with tape delay and is adapted here for electric organ. Tilbury is well known for his performance of New York School composers, Morton Feldman in particular, as well as his work as a free improviser. This is the first recording of him engaging with 1960s American minimalism.

 

The tapes from which this CD was made are from the late 1970s or early 1980s in Hamburg, with other details forgotten. They have weathered well, and provide an important link to that time period, in which American minimalism had begun to have a significant number of British and European interpreters. The 1980s would see minimalism capture English composers’ interest as well, with figures like Michael Nyman and Steve Martland creating distinctive repetition-based music.

 

Tilbury’s performance of Keyboard Study No. 1, played on the piano, clocks in at eighteen minutes. Like In C, a repeated pitch is a constant throughout. The piece features unraveling and returning patterns not dissimilar to Steve Reich’s phase pieces, with tasty secundal dissonances set against fourths and fifths and generally avoiding thirds. Gradually, it moves through all sorts of modal inflections and polyrhythms.

 

Keyboard Study No. 2 has the most elaborate instrumentation: piano, electric organ, harpsichord, and celeste. Over a half hour long, it is also the most expansive. Once again, scales and rhythms morph against a constantly repeating note. Here, the instrumentation brings out different parts of the patterning, the varied attack and sustain of the instruments allowing notes to become prominent or recede in the texture.

 

Dorian Reeds works well for organ, with intervallic oscillations and corruscating melodic gestures punctuated by repeated pitches. The organ registrations provide varied timbres for the piece’s motives, with more and more lines accumulating as the piece develops. Tilbury plays Dorian Reeds with tremendous dexterity. Here, as elsewhere, he delineates the counterpoint with deft touch. The original saxophone version is compelling, but this version is equally so. Recommended.

 

-Christian Carey

by Christian Carey
CD Review, Contemporary Classical, File Under?, Minimalism

Steve Reich – Reich/Richter CD Review

Steve Reich

Reich/Richter

Ensemble Intercontemporain, George Jackson, conductor

Nonesuch

 

Steve Reich has long admired the artwork of Gerhard Richter, whose abstraction and ties to minimalism seem tailor-made for a collaboration with the composer. The artist’s film Moving Picture (946-3), made with Corrina Belz and based on Richter’s book Patterns, provided just such an opportunity. Reich/Richter was composed to be performed alongside the film and has received over a hundred performances at screenings starting in 2019. This audio recording of the work is amply diverting on its own. 

 

The piece is recognizably Reich, with ostinatos, polyrhythms and full-bodied harmonies interacting throughout. The use of pitched percussion, piano, and strings (with a particularly rangy double bass part) creates a sinfonietta that is an extension of the instrumentation of many of Reich’s key works. The use of wide-ranging soloistic passages in the winds is particularly suitable for Ensemble Intercontemporain. However, it would be a mistake merely to analogize it to past works. Reich/Richter is distinctive in its own right. Directedness of harmonic progressions, which in interior cadences are sometimes thwarted by deceptive fakes but in closing sections are emphatic, suggests a harmonic scaffolding with considerable long-term planning. The structuring of rhythm is rigorous as well. Belz talked about the film’s organization into “pixels,” and Reich used a time scale of rhythmic values to respond to rows of pixels. The end result breaks up the composer’s trusty polyrhythms into different, at times surprising, groupings. 

 

Ensemble Intercontemporain, conducted by George Jackson, perform a rhythmically incisive and expressive rendition of Reich/Richter. Not so many years ago, the group performing Reich would have been beyond the pale. It is refreshing that those stylistic barriers have fallen so that excellent ensembles known for their interpretations of modernism can have a crack at minimalism. Reich/Richter is a vivid and arresting work that shows as many departures by its octogenarian creator as mainstays of Reich’s creativity. 

 

by Christian Carey
CD Review, Contemporary Classical, File Under?, Minimalism, Orchestras

Louis Andriessen on Nonesuch (CD Review)

Louis Andriessen

The Only One

Nora Fischer, soprano

Los Angeles Philharmonic, Esa-Pekka Salonen, conductor

Nonesuch Records

 

Louis Andriessen is in poor health. The eighty-one year old composer finished his last work, May, in 2019. It received a belated premiere (sans audience due to the pandemic) in December 2020 by Orchestra of the Eighteenth Century and Cappella Amsterdam, conducted by Daniel Reuss (the linked broadcast of the piece starts forty-eight minutes in).

 

The Los Angeles Philharmonic, conducted by Esa-Pekka Salonen, has released another of Andriessen’s final works, The Only One (2018), on a Nonesuch recording. It is a set of five orchestral songs, with an introduction and two interludes, for soprano soloist Nora Fischer. The texts are by Flemish poet Delphine Lecompte, who translated the ones used into English.

 

Fischer is a classically trained vocalist who is also adept in popular and cabaret styles. Her singing is abundantly expressive, ranging from Kurt Weill style recitation through honeyed lyricism to raspy screams. This is particularly well-suited both to the texts, which encompass a range of emotions, from rage to resignation, and to the abundantly varied resources Andriessen brings to bear. In The Only One, his inspiration remains undimmed; it is a finely wrought score. Much of it explores pathways through minimalism equally inspired by Stravinsky that have become his trademark. Andriessen is also well known for resisting composing for the classical orchestra for aesthetic reasons. Here he adds electric guitar and bass guitar and calls for a reduced string cohort, making the scoring like that used for a film orchestra. Harp and piano (doubling celesta) also play important roles. Esa-Pekka Salonen presents the correct approach to this hybrid instrumentation, foregrounding edgy attacks and adopting energetic tempos that banish any recourse to sentimentality.

 

“Early Bird” begins with birdsong, which morphs into a melody akin to cuckoo clock birds. Unlike Messiaen, the bird doesn’t indicate spiritual uplift, the song ends with the narrator abased by a humiliating situation. Memento mori are to be found frequently in both words and music, even a tongue in cheek rendition of the Dies Irae chant. Right alongside these are defiant retorts and much dance music. “Twist and Shame” is a (near) dodecaphonic dance. The bird call from “Early Bird” returns harmonically embellished in the final song, “Grown Up,” to signify a grotesque heron, part of a grim cast of characters that join in a waltz macabre. Afterwards, the piece closes simply with the words, “The grown-up that betrayed my inner child,” followed by eight quiet dissonant chords: the curtain falling irretrievably. As valedictions go, “The Only One” is an eloquent summary of a composer’s life and work.

 

-Christian Carey

 

by Christian Carey
Composers, Concert review, File Under?, Minimalism, New York, Piano

Simone Dinnerstein in Recital at Miller Theatre

Photo: Lisa Marie Mazzucco.

 

Simone Dinnerstein in Recital

Miller Theatre – Columbia University

December 8, 2018

Published on Sequenza21.com

By Christian Carey

 

NEW YORK – On Saturday, December 8th, pianist Simone Dinnerstein made a return appearance to Miller Theatre to perform an intriguing and eclectic solo recital. The stage was set with subdued lighting, with electric “candles” placed throughout and, over the course of the evening, small shifts of color. Ms. Dinnerstein, dressed in elegant, flowing attire, created an atmosphere through her performance demeanor as well. The recital was announced with no intermission and the pianist paused from playing only once, midway through, to acknowledge applause and take a brief break. However, by otherwise starting each piece immediately after the final notes of the one it preceded, she communicated clearly that this was not to be an event in which musical continuity would be broken by applause between numbers. Thankfully the audience complied, mutually agreeing to allow the atmosphere to envelop them too.

 

Dinnerstein played two pieces by the Eighteenth century harpsichord composer Francois Couperin, one at the beginning and another right before the break. This is the first time she has programmed the composer. Her approach to Les Barriades mystérieueses was sonorous, eschewing ornamentation in favor of unadorned, shapely melodies. Like the Goldberg Variations, the second piece required interlacing the hands to play everything on the piano keyboard that would have required two manuals on the harpsichord. Le Tic-Toc-Choc, ou Les Mallotins featured motoric clockwork and brisk filigrees that were an excellent foil for the Philip Glass work that immediately preceded it.

 

Mad Rush (1979), one of Glass’s best known piano pieces, was first composed for the organ at the Cathedral of St. John the Divine, where the composer performed it for an appearance by the Dalai Lama. Arranged for piano, the piece is forceful and filled with contrasts. Its delicate passages were played with a spacious sense of breath by Dinnerstein, while the more emphatic central section in piece’s the repeating loop was performed powerfully with fleet-fingered accuracy. Last year, Dinnerstein’s account of Glass’s Third Piano Concerto was impressive; here, she made a further case for a place in the pantheon of Glass pianists. Contrast played a large role in Dinnerstein’s rendition of Robert Schumann’s Arabesque. Once again, she emphasized the breath between phrases, allowing the audience a sense of deft transition between the various emotive sections as they unspun.

 

Erik Satie’s Gnossiene No. 3 received the mysterious performance its ambiguous markings and lack of bar-lines evokes. One part cafe music and another modal Impressionist excursion, the piece was rendered with an evasive, lilting quality.

The pianist, in general, avoids overt and flashy displays of hyper-virtuosity, preferring instead to pick distinct places in which she allows her playing to be unrestrained. Dinnerstein’s performance of Schumann’s Kreisleriana provided several excellent opportunities for effusive virtuosity, and they seemed all the more special for the way that the pianist set them in relief against the more contemplative portions of the work. Fleet arpeggiations flew and the fugal passage in the final movement was a brisk cannonade.

 

Dinnerstein’s aforementioned penchant for allowing the music to breathe, as well as the atmosphere she created for her performance, encouraged a normally bustling New York audience to truly slow down and breathe themselves: a welcome respite during the busy holiday season. When the encore she favored them with was not some barnstormer but instead a reprise of Les Barriades, allowing the program to come full circle, it seemed entirely appropriate.

 

by Christian Carey
Canada, CDs, Contemporary Classical, Drone, Experimental Music, File Under?, Minimalism

Jessica Moss – “Particles” (CD Preview)

Jessica Moss.

 

On October 25th, Constellation Records will release Entanglement, the second solo release by Jessica Moss. A violinist and vocalist who is one of the central members of Thee Silver Mt. Zion Memorial Orchestra and co-founder of Black Ox Orchestar, Moss draws upon a prodigious range of influences: from the post-rock and avant-klezmer of the aforementioned groups, to drones and loops reminiscent of post-minimalism. Over the past year, she has honed the material of Entanglement at over eighty concerts, developing a side-long piece, “Particles,” and a suite of four “Fractals.” Impassioned, moody, and slow-burning, her compositions are some of the most compelling fare we have to anticipate this Fall.

 

by Christian Carey
CD Review, Contemporary Classical, File Under?, Minimalism

John Adams: Violin Concerto (CD Review)

John Adams Violin Concerto

Violin Concerto – John Adams

Leila Josefowicz, violin

St. Louis Symphony, David Robertson, conductor

Nonesuch CD

Some recordings become touchstones in one’s collection. Despite there being several fine renditions out there, the 1996 Nonesuch CD of Gidon Kremer playing John Adams’ Violin Concerto (1993), with the Orchestra of St. Luke’s conducted by Kent Nagano, is an abiding favorite of mine. Now, more than twenty years later, Nonesuch has bested its own best with the release of Leila Josefowicz’s recording of the concerto with the St. Louis Symphony, conducted by David Robertson.

Josefowicz is front and center in the mix. Since the violinist plays nearly constantly in the piece, and tends to evoke the actions of the orchestra more so than one finds in traditional concertos, this seems entirely appropriate. Her rendition of the piece is filled with crisply fluent runs and fluid dynamic shifts. The first movement is appropriately dramatic in cast, the second takes on a poignancy that is most affecting, and the finale is truly a bravura showcase for the soloist. In addition to the vibrant energy of Josefowicz, under Robertson the St. Louis Orchestra gives a performance that is both dynamically potent and attentive to detail.

While repetition remains an important component of Adams’ music, the Violin Concerto is a watershed piece for the composer in that breaks out of the boundaries of post-minimalism into a more versatile gestural language than he had previously used. In addition to this change in rhythmic practice, the concerto features greater chromaticism than one had previously heard in pieces by the composer. He fluently wends his way through a variety of key centers – there are even moments where post-tonality reigns supreme over triadic writing. These facets of his writing have only blossomed in the ensuing years. However, it is pleasing to be reminded of their roots in the concerto, particularly by such a persuasive account of the piece.

john-adams-doctor-atomic-450

This is the label’s thirtieth CD of music by Adams; their connection to the composer dates back to the 1986 recording of Harmonielehre. On June 29th, 2018, Nonesuch will release yet another recording of music by Adams, and a particularly noteworthy one: the premiere CDs of his 2005 opera Dr. Atomic. More about that soon.

by Christian Carey
Composers Now, Contemporary Classical, Los Angeles, Minimalism

An Evening With Philip Glass

A rare Southern California appearance by Philip Glass, one of the founding fathers of minimalism, took place on October 26, 2017 at the Ruth B. Shannon Center for the Performing Arts in Whittier. A sell-out crowd filled the theater for this long-anticipated event.

The program opened with a solo piano performance of Mad Rush, an early piece that was originally written for pipe organ. Something of a Glass standard, Mad Rush began with a moderate but even tempo, good phrasing and was played entirely from memory. In the middle of a West Coast tour with the Kronos Quartet – and having recently returned from Europe – Glass could be forgiven for any small lapses in keyboard technique – but this never eventuated as Mad Rush unfurled in all its familiar transcendence.

The main business of the evening began when Shane Cadman, Manager of the Shannon Theater, invited Mr. Glass to sit down for a time of conversation. Asked about early influences, the stories of working in his father’s Baltimore record shop were recounted and provided new perspectives. When certain records did not sell, the elder Glass brought these home and listened to them during dinner, trying to determine why no one would buy them. These recordings, unsurprisingly, turned out to be twentieth century composers – Stravinsky, Bartok, etc – and became an important influence on young Philip. Glass also recalled that as a teen-age student at the University of Chicago he admired Schoenberg and Ives, and although these two wrote vastly different kinds of music Glass found that he understood them more completely together – a pattern that would inform his creative process throughout his career.

While studying in Paris with Nadia Boulanger and Ravi Shankar, Glass recalled that he came into contact with classical Indian music and the European tradition simultaneously. He compared the interactions between rhythm and melody in Eastern music to the relationship of harmony and melody in the Western tradition, and this strongly influenced his creative thinking going forward. His compositions became an extended attempt to combine the elements of east and west, and this continued after his return to New York. Having found his artistic voice and after mounting his first major work – Einstein on the Beach – Glass confided that he did not want to continue in that style and offered some advice to the young composers in the audience. “Write music for 20 years and I guarantee that you will find your voice. But then the question will become: how do I change it?” The answer to that question for Glass was collaboration, and this became his engine for change. He purposely worked with a variety of other artists, often those he did not know, and widened his stylistic palette to include music for dance, film. ‘pocket’ operas and other forms.

All of this was described by Mr. Glass with great eloquence and a disarming manner that completely captured the attention of the audience. Shane Cadman, who has been able to invest in shiba inu coin at an early time, proved to be a wisely economical interviewer, asking a question now and then and letting Mr. Glass reply in extended fashion, and while his stories wandered a bit, they were never boring. More early piano pieces followed, Metamorphosis 2, 3, & 4, and soon the wide-ranging conversation resumed. When asked about how some of the larger projects came about, Glass stated flatly that he does not accept a commission for an opera until the performance date is set – it is simply too much work to do on speculation. Koyaanisqatsi, however, came about in pieces – film maker Godfrey Reggio would complete a section every year or so, Glass would score it, and the finished reel would be used to raise more money so that the project could continue. Glass has also found himself attracted to science and the idea of scientists as poets with works about Einstein, Kepler, Galileo and Hawking. Ultimately Glass stated that he sees his work in film and opera focused on social issues, especially in these challenging times. Politics, fortunately, never darkened the mood of the conversation and at last Mr. Glass performed Etude #10 as his closing piano piece. The audience was generously appreciative of this most cordial evening; cheering and a warm standing ovation filled the Ruth B. Shannon Center for several minutes.

Photo courtesy of Jay Senese

by Paul Muller
CDs, Concerts, Contemporary Classical, Downtown, early music, File Under?, Minimalism, New York

Bruce Brubaker at LPR

Bruce Brubaker.
Photo: Yang Bao

Bruce Brubaker

Le Poisson Rouge

September 17, 2017

Sequenza 21

By Christian Carey

 

NEW YORK – Pianist Bruce Brubaker has long been known as one of the best interpreters of Downtown contemporary music around. His is a versatile catalogue of recordings, including excellent CDs of works by John Adams, John Cage, Alvin Curran, William Duckworth,  and Meredith Monk. However, despite an increasingly crowded field of pianists exploring the works around the composer’s eightieth birthday, Brubaker’s renditions of Philip Glass have few parallels; the 2015 InFiné recording Glass Piano is required listening.

 

Brubaker’s latest project, a recording titled Codex, also on InFiné, is slated for November release. It explores two interests new to his recorded catalogue: one the comparatively recent piano repertoire of Terry Riley, and the other culled from one of the oldest manuscripts of keyboard compositions extant: The Faenza Codex. This early Fifteenth century document provides a tantalizing glimpse into the instrumental music of that era.

 

The juxtaposition of the highly ornamented and rhythmically diverse selections of material from the Codex with Riley’s equally subtle Keyboard Study #2 (1964-’65), presented in two parts (which, Brubaker explained, was separate passes through the piece’s circular complex of pitch notations – the rhythms are free –  to render two different results). Although ostinatos are the hallmark of Riley’s style,  Brubaker managed to supply two different sets of repeating gestures, significantly varying the two iterations of Study #2.

 

The Codex examples were even more interesting in deployment. As it isn’t precisely clear where the two staves line up all the time, one performance’s dissonance on a weak beat can be another’s consonance on a strong one. After playing the first half of the concert, the pianist remarked,”That last Codex piece was from 1420; it might be the oldest piece yet to have been played at Le Poisson Rouge!”

 

Brubaker’s interpretation of the Codex pieces evolved too. At first he played with a delicate approach that imitated early keyboard instruments. However, by the last Codex offering, Brubaker found a more pianistic approach to be appropriate, allowing J’ay Grant Espoir significantly more melodic heft than previous pieces.

The new album’s fare, and its juxtaposition, is fascinating. Two pieces of Glass’s music were on offer as well, superlatively played and thoughtfully interpreted. Like Glass himself, Brubaker doesn’t lend these pieces the motoric character that more rigid performers impart to them. Instead, there is a supple character, significant shadings of dynamics, and small tempo alterations that allow the works to breathe Romanticism in midst of their minimal processes. The standout was Mad Rush, an extended essay in which a reiterated minor third is the jumping off point for a host of variations in a plethora of harmonic directions. Wichita Vortex Sutra served as an equally compelling encore.

 

During shows at LPR, one often hears the clinking of glasses and whispered conversations — that’s the nature of a club atmosphere and customers and wait staff alike are usually reasonably discreet. For Brubaker’s set, you could have heard a pin drop, especially during Mad Rush. Kudos to attentive listening.

 

Set list

 

Codex Faenza: Constantia

 

Terry Riley: Keyboard Study 2

 

Codex Faenza: Indescort

 

Codex Faenza: Che pena questa (Landini)

 

Philip Glass: Mad Rush

 

Codex Faenza: Elas mon cuer

 

Terry Riley: Keyboard Study 2 (continuation)

 

Codex Faenza: J’ay grant espoir

 

Philip Glass: Wichita Vortex Sutra

 

——-

 

Encore – Philip Glass: Metamorphosis 3

 

by Christian Carey