Ojai

Chamber Music, Concert review, Contemporary Classical, Ojai

Ojai Music Festival – Saturday, June 8, 2024

Saturday June 8, 2024 in Ojai began with an overcast sky and cool breezes, but this did not prevent a good size crowd from filling the Libbey bowl for the 10:00 AM concert. Works by three contemporary composers were featured: John Zorn, Missy Mazzoli and John Adams.

Accordionist Ljubinka Kulisic opened the concert with Road Runner, by John Zorn. Ms. Kulisic is from Bosnia-Hertzegivina and received her DMA from the University of Toronto in Canada. I admit to harboring a certain skepticism about this piece; music for solo accordion would seem to belong in a different cultural orbit. Using a sort of musical jiujitsu, however, John Zorn, together with the talented Ms. Kulisic, have leveraged accordion cliches, snatches of familiar tunes and an impressive array of extended techniques to conjure an entertaining and dazzling tour de force from this unlikely instrument.

Road Runner opens with a rapid series short quotes from popular music, cartoons and other sources quidkly followed by the crashing of great cluster chords, insanely rapid scales and all sorts of physical effects that leave the listener breathless. The recognizably musical phrases lull the brain into complacency and then a booming outburst thoroughly scrambles the context. The cycle then repeats and this process results – counter intuitively – in listening more closely. The listener is trying to make sense of all the sounds together and not just the familiar ones. This required virtuosic playing by Ms. Kulisic who delivered an amazing performance and received enthusiastic applause for her efforts.

Dark with Excessive Bright, by Missy Mazzoli followed, performed by musicians of the Mahler Chamber Orchestra. Rick Stotijn was the double bass soloist with Vincente Alberola conducting. Inspired by Milton’s Paradise Lost, the program notes state that: “While loosely based in Baroque idioms, this piece slips between string techniques from several centuries all while twisting a pattern of repeated chords beyond recognition.”

Dark with Excessive Bright opens with a strong tutti statement accompanied by a solemn bass solo. There is a slightly sad feeling to this as the strings crescendo then give way to another stretch of bass solo. The deep, rich sounds add a powerfully expressive dimension to what is essentially a double bass concerto. The string orchestra weaves in and out of the foreground as the solo bass makes its mournful journey, and this alternating pattern continues throughout the piece. There are occasional stretches of rapid rhythms in the solos that never drag; a credit to Stotijn and his agile handling of the double bass. Long, slow sustained tones, bring this piece to a satisfying conclusion. Dark with Excessive Bright meets Paradise Lost on its own weighty terms with artful musical success.

The final work on the program was the minimalist classic Shaker Loops, by John Adams. This was scored for three violins, a viola, two cellos and a double bass, played by the musicians of the Mahler Chamber Orchestra. This began with a soft but clean opening in the violins with the other strings entering in turn. The tempo was precise and each of the shimmering layers of the first movement were clearly articulated. The texture gradually built into a lovely trembling swirl that perfectly evokes the spiritual ecstasy of the Shaker sect. The second movement, “Hymning Slews” was a complete contrast, with long sustained tones and just a slight undercurrent of excitement. This was nicely balanced and very expressive with skillful control of the quiet dynamics. The high, accented tones in this movement by the violin were especially effective. After a short transition, movement 3 “Loops and Verses” edged back into the lively groove of the opening. Low growling tones from the bass added an impressive element of power. The upper strings floated long sustained tones above the active counterpoint in the lower parts and this gathered into a driving pulse with an increased tempo and beautiful harmonies. The final movement , “A Final Shaking”, was faster still with blizzards of notes coming from all the parts, save the elegant pedal tone heard in the bass. The piece simply stopped at its ending, leaving the audience in a state of silent reflection before bursting into a long standing ovation.

It was good to hear Shaker Loops again to appreciate the delicate clarity and subtle dynamics present in this music, as well as the masterful playing of the Mahler Chamber orchestra musicians.

Musicians of the Mahler Chamber orchestra were:

Alexandra Preucil, May Kunstovny, Naomi Peters, violins
Yannick Dondelinger, viola
Stefan Faludi, Christoph Richter, cellos
Naomi Shaham, double bass

Photo Credit: Timothy Teague

by Paul Muller
Concert review, Contemporary Classical, Ojai

Ojai Music Festival – Friday June 7, 2024

The 78th annual Ojai Music Festival opened on Thursday June 6, 2024 and continued through Sunday June 9. The Music Director for this year was Mitsuko Uchida. Featured artists included the Mahler Chamber Orchestra, soprano Lucy Fitz Gibbon, violinist Alexi Kenney , cellist Jay Campbell, bassist Rick Stotijn and the Brentano String Quartet. The Ojai Festival always brings a mixture of fresh contemporary music along with the works of cherished composers such as J.S.Bach, W.A. Mozart and Béla Bartók. The cool morning weather did not deter a good turnout for the 10:00 AM Friday concert in the Libbey Bowl.

First up was Julie Smith Phillips performing Fall, a piece for solo harp and electronics by the late Kaija Saariaho. Thomas May’s program notes state that Fall is “…an arresting example of Saariaho’s ability to convey an assemblage of freely associated images through the interchange of acoustic and electronic sounds and a poetics of timbre.” Repeating light phrases open Fall accompanied by a churning counterpoint in the lower registers. This produces a feeling of uncertainty that is accentuated by the absence of definite rhythms or a solid pulse. The lack of a leading melody confirms that Fall is all about texture and contrast, propelled by an active tempo. The electronics and amplification intensify the timbrel palette of the normally reserved harp, and all of this is well-managed by Ms. Phillips. There is a brief stretch of simple, solitary notes in the upper registers offset by aggressive passages below, adding a sense of mystery. A series of strong arpeggios in the higher notes follow, introducing a feeling of menace. Fall is both dramatic and atmospheric and brings the normally soft spoken harp into new and expressive territory.

Pression, by Helmut Lachenmann followed, a solo cello piece performed by Jay Campbell. The piece opens with a series of whispers and soft scratches as the bow is lightly drawn across the strings. This soon escalates to angry growling sounds and vivid thumps applied to the cello wood. Pression is a series of amazing extended techniques on the cello that varies from soft ghostly tones to a rough, mechanical sound. Campbell was in full control of his instrument despite the fact that it was operating completely beyond the conventional sonic envelope of the normally stately cello. Pression is an impressive demonstration of what is possible when the elegant is completely given over to the physical.

Five Etudes, by Sofia Gubaidulina, was next. This is a five movement piece scored for harp, percussion and double bass. “Largo”, the first movement opened solemnly with a double bass solo consisting of single notes. The harp enters, followed by pitched percussion with everyone in a slow tempo and soft dynamic. A satisfying yet gentle groove soon developed. The percussion was effective, keeping a steady pulse while the harp and bass lines weaved in and around each other. “Allegretto” followed with an increased tempo and prominent drumming by percussionist Sae Hashimoto projecting the beat. This movement was stylish and jazzy, yet tastefully restrained. The “Adagio”, movement 3, consisted of lines of quiet solitary notes from the harp that were answered by the double bass. A soft trill was heard from the pitched percussion, enhanced by a metal chain draped over one of the vibraphone plates. This contributed a slightly mysterious feeling. Strong arpeggios in the harp opened movement 4, “Allegro disparato”, accompanied by a sharp drum beat. This was uptempo, described in the program notes as a “desperate Allegro.” Rapidly repeating cells in the marimba were offset by a solemn melody in the bass.

The final etude, “Andante”, started with slow pizzicato notes in the bass and counterpoint in the harp. This evolved into a comfortable walking bass line below combined with hip riffs above; an engaging mixture. Five Etudes was perhaps the most conventional of the contemporary pieces in the Friday morning concert. The playing was skillfully done, especially by Naomi Shaham on the double bass who was a last minute substitution.

The final work on the concert program was String Quartet No. 5, by Béla Bartók performed by the Brentano String Quartet. This was written in the summer of 1934 and carries all of the weighty anxiety of pre-war Central Europe. All five movements were performed and the energy and gritty complexity of this music is striking, even at this distance in time since its premiere. The Brentano Quartet played this with precision and brilliance over its entire 31 minute length. String Quartet No. 5 remains gripping in its intensity and a showcase for the high level of creativity and extraordinary technique that was present in early 20th century music.

The Brentano Quartet is:

Mark Steinberg, violinist
Serena Canin, violinist
Misha Amory, viola
Nina Lee, cello

Photo Credit: Timothy Teague

by Paul Muller
Concert review, Contemporary Classical, Festivals, Los Angeles, Ojai

Ojai Music Festival 2023 – Saturday Morning Concerts

The Saturday morning concert at the 2023 Ojai Music Festival was titled The Willows Are New and featured the work of contemporary Asian composers. This was inspired by the centennial next month of the birth of Chou Wen-Chung, whose influence is strongly felt even as he is largely unknown outside of Asian musical circles. The concert program consisted of four pieces, two from Chinese and two from the Persian/Iranian traditions. The music presented in this program reflects the on-going efforts of composers to synthesize contemporary musical sensibilities with long-standing cultural influences.

The first piece was Veiled, by Niloufar Nourbakhsh, and this is scored for solo cello and electronics, with cellist Karen Ouzounian perfoming. Ms. Nourbakhsh is a founder and co-director of the Iranian Female Composers Association. She is based on the East Coast and her music has been performed at many festivals as well as Carnegie Hall and Lincoln Center. She is a strong proponent of music education and equal opportunity for women and her views have put her in opposition to the conservative cultural policies of her home country. Veiled was composed in support of the 2017 Tehran protests against the compulsory wearing of the hijab and the ban on solo female singing in public.

Veiled opens mysteriously with a series of soft, non-musical scratchings on the cello microphone. A thin, four-note phrase in a very high cello register follows, establishing a lonely feeling which quickly morphs into a repeating melody in the middle registers with a very traditional south Asian feel. This sets the mood for the piece: a strong and venerable tradition surrounds the individual now engaged in seeking greater freedom. A soft sighing is heard and then a rapid pizzicato enters that introduces a feeling of tension. The traditional melody becomes stronger, however, and begins to dominate the texture. The music is heavier now as tradition bears down into the lower cello registers. The tension increases further and ultimately the piece ends with a questioning and uncertain feel. Veiled is a passionate and expressive work that mirrors the cultural struggles of women living in a tradition-bound society. Karen Ouzounian gives an excellent performance of a piece that speaks to the heart of the current Iranian social condition.

Mother’s Songs, by Lei Liang was next and this was performed by Wu Man playing the traditional Chinese pipa, with Nathan Schram on viola. Composer Lei Liang is faculty at UC San Diego and is also the artistic director of the Chou Wen-Chung Research Center at the Xinghi Conservatory. Mother’s Songs was inspired by traditional Mongolian folk melodies that often deal with loneliness and separation. Lei Liang writes that “These songs are of a traveler’s longing for home and a daughter’s desire to be reunited with her mother.”

A high, thin viola tone opens Mother’s Songs with scattered solitary notes heard from the pipa. The viola then begins a series of deeper phrases accompanied by occasional interjections of single notes from the pipa. All of this produces a warm and reassuring feeling. Some deft strumming on the pipa – with a sound somewhat like a mandolin – adds an exotic Asian flavor. As the piece proceeds, the rich viola tones are in contrast to the more active pipa and this soon breaks into a nice groove in both instruments. The piece goes back and forth from slow and expressive to strong and animated, but is always elegant and sensitively played. At the finish, both players crescendo then retreat back to a quiet finish. Mother’s Songs manages to combine the Chinese pipa and the western viola into a coherent work that unites two cultures through the common maternal human emotion.

Gong, (from Gu Yue), by GE Gan-Ru followed, performed by Gloria Cheng on prepared piano. GE Gan-Ru was born in 1954 and studied at the Shanghai Conservatory after the Cultural Revolution. He does not employ traditional Chinese instruments and his music is more closely aligned with forward-looking contemporary Western styles. Gan-Ru brings an ancient Chinese sensibility to his work, however, by using standard western instruments to evoke the spirit of his traditional culture. Gong was composed to illustrate the custom of sounding gongs in the quiet of the Chinese morning countryside.

Ms. Cheng related that while practicing this piece at home many years ago, her father unexpectedly appeared to listen. He was a civil engineer by training and had no strong affinity for music, but now for the first time he made a comment, which paraphrased was: “Gloria, you are playing this too fast. These are gongs echoing over the villages out in the country – let them ring.” Gloria realized immediately that her father was correct, and this has informed her practice of the piece ever since.

Gong requires the pianist to strike a note on the keyboard and simultaneously place a hand along the lower strings inside the piano case to better simulate bell-like tones. This requires some contortions by the pianist and Ms. Cheng remained poised and elegant as ever. The piano strings were prepared with some small screws and the piece stays mostly in the lowest registers. The work proceeds with single, ringing tones in a slow and simple melody. There is an ancient and sacred feeling to this, very much as if produced by a gong. Gong convincingly projects a traditional Chinese sound while delivering it to Western ears from the familiar piano.

The next piece was a section of The Willows Are New, by Chou Wen-Chung, the influential Chinese composer. Born in 1923, Chou Wen-Chung grew up in Shandong and settled in the US in 1946. A friend of Edgard Varèse, he became the teacher of contemporary composers such as Tan Dun, Chen Yi and Zhou Long. The Chou Wen-Chung website states that he became “…an unsung hero in the advancement of cross-cultural border-defying musical thought…” His music is informed by incorporating a traditional Chinese aesthetic into contemporary Western styles. Chou Wen-Chung died in 2019 and next month marks the centennial of his birth.

Ms. Chang opened The Willows Are New with a slow and steady melody in the lower registers of the piano. Some crisp notes are occasionally heard in the middle and upper registers, providing a nice contrast. As this proceeds, the feeling becomes somewhat restrained and melancholy, but never gloomy. This is simple music, not technically flashy or overly dramatic. Ms. Cheng brought just the right feeling and expression to this subtle piece.

The balance of the concert program was given over to an extended solo improvisation by Kayhan Kalhor on the kamanchen. The kamanchen is a bowed instrument of classical Persian origin, about the size of a violin but with a smaller, rounded body that provides a somewhat rougher and more insistent sound. The compact size of the kamanchen allows for fast bowing and rapid fingering which is quite impressive in the hands of an accomplished performer such as Mr. Kalhor.

In the program notes, Kalhor comments on the centrality of improvisation in classical Persian music: “Before we had a way to write music, this was the only way people had to memorize a melody and interpret it according to their own ideas and playing skills.” His improvisation for this concert began with a softly exotic melody that functioned as an introspective introduction to what was to follow. As the piece continued, the melody moved to a higher register in the kamanchen and gathered strength through its distinctive timbre and keen-edged notes. The tempo soon increased, with more complex rhythms and lighting fast fingering. The melody was often reinvented with multiple convoluted variations pouring out of the instrument. There were many changes in tempo, from slow and expressive to blindingly fast as the improvisations seemed to spin out wildly in every direction. All this continued for about 45 minutes, the result of pure improvisation and masterful playing by Kayhan Kalhor that left the crowd in a state of high excitement – and complete exhaustion.

A ‘Pop Up’ performance at the Libbey Park gazebo by Steven Schick brought the opportunity to hear a work by the influential composer James Tenney. Dr. Schick recounted how Tenney wanted to compose for percussion, but wasn’t sure how to start. One day a post card from Tenney arrived in the mailbox of percussionist John Bergamo. It was a complete score, containing just a single whole note with a fermata and dynamic markings. The title of the piece was Having Never Written a Note for Percussion.

Two large tam-tams were employed for this performance and Schick began with a very quiet tremolo roll on each simultaneously. This matched Tenney’s postcard score exactly and a slow crescendo followed that created a number of different sound interactions as the rumblings increased in volume. There was a remote, almost mechanical feeling to this but subtle variations in the sound could be discerned with close listening. At its peak, the booming sounds were quite impressive, eventually tailing off into silence as the piece concluded. The skillful playing of Steven Schick brought the simplicity of this James Tenney piece to life and provided a welcome contrast to the complexities of the earlier concert.

The Ojai Festival program of Asian composers who have incorporated Western instruments into their traditional aesthetic constitutes a hopeful example of cultural bridge-building at a time when our diversity calls out for greater mutual understanding.


Photos by Timothy Teague, courtesy of Ojai Music Festival

by Paul Muller
Concert review, Contemporary Classical, Festivals, Los Angeles, Ojai

Ojai Music Festival 2023

The Ojai Music Festival began on Thursday, June 8, 2023 at 6:30 PM with an informal ‘Pop Up’ performance of Moon Viewing Music (2016), by Peter Garland, presented at the gazebo in Libbey Park. Percussionist Steven Schick, a familiar figure at Ojai over the years, was the solo performer, and he brought along an impressive array of gongs and tam-tams gathered for the occasion from various museums and personal collections. Moon Viewing Music consists of six short pieces, each inspired by a Japanese haiku or short poem. As described by Peter Garland’s concert notes, “This music is low and slow – an obvious correlation exists between tempo and pitch register.” The gongs and tam-tams were helpfully mic’d into a sound board and speakers so that the subtle character and interactions of their tones were not lost in the open Ojai evening air.

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Before the start of each piece, Dr. Schick read the haiku text as an introduction. The opening gong tone of the first piece was was deep and clear, ringing out with surprising authority. A second gong with a higher pitch was struck, and this produced tones that interacted with the fading vibrations of the first. Then began a sequence of single gong tones, each separated by a short interval, but always overlapping in their ringing. The tam-tam occasionally entered with a rolling crescendo, and this added additional warmth to the overall sound. The effect was most engaging and in general the feeling was both calming and mysterious.

Other pieces followed, in more or less the same manner. In some sequences, more than two gongs were employed. The dynamics could be anywhere from a gentle softness to church-tower intensity. There were some variations in tempo, but the ‘low and slow’ pattern of the gongs was consistent. In the fifth piece an extended tremolo on the tam-tam was followed by strong gong strikes that together created a grand sound. At the conclusion of the sixth piece a great blow to the largest gong produced a memorable finish.

This is introspective and contemplative music from a composer known for radical simplification. That this is artfully accomplished strictly through the use of percussion makes Moon Viewing Music all the more remarkable.

Liquid Borders, by Gabriela Ortiz opened the main Thursday evening concert in the Libbey Bowl. This is a three-movement work commissioned by Steven Schick and was premiered at the Banff Centre in August 2014. Liquid Borders is scored for a percussion quartet and was performed on this occasion by red fish blue fish, directed by Steven Schick. Ms. Ortiz is a Mexico City-based composer who has “created a body of imaginative work animated by adventurous border crossings between strikingly different realms: folk and avant-garde, Latin American and European, acoustic and electronic.”

The three movements of Liquid Borders each portray a different facet of life in modern Mexico. “Liquid City”, the first movement, portrays Mexico City as it copes with an influx of people from the countryside seeking greater economic opportunity. This opens with quiet xylophone arpeggios that suggest the soft light of a dawning day. As the city rouses itself, a series of metallic sounds are heard that evoke the activity and bustle of the waking populace. Living conditions for newcomers to the city are often rough and ready, so the percussion builds by gradually incorporating a variety of bottles, cans and other found objects. This manages to sound both chaotic and purposeful at the same time, attesting to the skill of Ms. Ortiz in orchestrating these unusual elements. A loud bass drum enters, and the strong beat adds a sense of effort and organization to the start of the working day. A nice groove breaks out as the red fish blue fish ensemble reaches full force. The impressive assortment of found percussion perfectly captures the gritty yet lively reality of the “Liquid City.”

The second movement is “Liquid Desert” and this opens with the soft rustling of maracas and a light hand drumming that creates a remote and rural feeling. The sound of a wood block and the striking of two stones add to the sense of isolation. A bass drum roll enters quietly, and slowly crescendos into a sinister presence. The social context is the exploitation of poor women for cheap labor in the maquila factories scattered throughout the northern Mexican border towns. Women have been known to disappear from such factories and the solemn and ominous character of “Liquid Desert” reinforces the gravity of these crimes.

The final movement of the piece is “Liquid Jungle” and this takes us to the southern borders of Mexico with Central America. A series of active marimba arpeggios are heard in the opening and this develops into a nice groove that evokes the buoyant commotion of a busy border town. The driving pulse brings the music of Steve Reich to mind, and the mood is tropical with a distinctly African feel. The playing by red fish blue fish is precise and carefully coordinated throughout, and is especially impressive given the fast tempos and often intricate layering of the rhythms. As the piece continues, the dynamics ebb and surge, but the active feeling remains consistent. Towards the finish some tension creeps in as the bass drum begins beating and the rhythms become even more frenetic. “Liquid Jungle” ends with a rousing finish, expertly delivered by red fish blue fish.

Liquid Borders delivers a remarkable depiction of three different sides of contemporary Mexican life through the masterful use of unusually expressive percussion materials. The 21st century musical sensibility of Ms. Ortiz eludes regional stereotyping and offers the possibility of a better understanding across previously wide cultural divides.

After the intermission, the Attacca Quartet took the stage. ‘Attacca’ is a musical notation term that instructs to the performer to proceed immediately to the next piece. The playlist for this part of the concert program consisted of no fewer than ten pieces in styles ranging from a Haydn string quartet to pieces by Philip Glass, John Adams, David Crosby and Rhiannon Giddens. These were not in the form of medleys or arrangements, but rather complete works or movements played serially, without pause. Attacca is a standard string quartet but called on percussion, vocals, a dancer and others as each piece required.

Given the amount and wide variety of music in this program, the Attacca Quartet did a splendid job of summoning up the spirit of each style and genre. The Haydn String Quartet in F major was instantly recognizable and the more contemporary pieces in the program were played with confidence and flair. Perhaps the most impressive performance was Pallavi, by Zakir Hussain, a complex piece employing four separate ragas. As the composer wrote in the concert notes: “Unlike the traditional Pallavi based in one raga, I have used four different ragas and tried to find a way to give each instrument its own personality with a raga assigned just for it. By doing so I hoped to address the Western system, which employs counterpoint and harmony, through multi-tonal play of the four ragas working in tandem in certain passages.” The result was an exquisite combination of sounds from the conventional Western string quartet, infused with the passionate energy and exotic harmonies of the classical raga.

Lullaby, by Rhiannon Giddens was a simple and lovely folk song, beautifully sung by the composer. The “Stem and Root” movement from The Evergreen, by Carolyn Shaw was another elegant piece, inspired by coniferous trees on the Canadian border and the general climatic uncertainty. The Attacca portion of the program lasted almost an hour, a testament to their skill, adaptability and extraordinary stamina. This was rewarded with enthusiastic applause from the audience and brought the initial evening concert for the 2023 Ojai Music Festival to a satisfactory conclusion.

Photos by Timothy Teague, courtesy of the Ojai Music Festival

by Paul Muller
Concert review, Contemporary Classical, Ojai, Premieres

Ojai Music Festival – McIntosh and Aucoin

On Saturday, June11, 2022 the Ojai Music Festival evening concert featured Little Jimmy, by Andrew McIntosh along with Deep Water Trawling and Family Dinner, both by Matthew Aucoin. The Libbey Bowl was mostly filled as was the lawn seating. A perfect evening, clear and warm, added to the pleasant Ojai atmosphere.

Andrew McIntosh is a Los Angeles-based composer and gifted violinist who is also an avid outdoorsman. Andrew has made it to the summit of several peaks in the Sierras as well as Mount Shashta, and he can often be found hiking the local trails. Little Jimmy is named for a popular backpacking camp on Mount Islip in the San Gabriel Mountains. McIntosh has written several chamber pieces for strings, an opera – Bonnie and Clyde – and several microtonal pieces. He has also composed I Hold the Lion’s Paw, a large-scale work for the Los Angeles Percussion Quartet.

Little Jimmy springs directly from McIntosh’s environmental muse. Perhaps not surprisingly, this is a quietly nuanced percussion piece from a widely accomplished string player. The Libbey Bowl stage was set with hanging metal tubes, a steel plate, a vibraphone, triangles, a series of cymbals and a brake drum that brought to mind the inventive creations of Lou Harrison. Jonny Allen and Mari Yoshinaga were the percussionists while Conor Hanick and Matthew Aucoin were stationed at two pianos on opposite sides of the stage.

Little Jimmy opens in a series of triangle and percussive piano notes that give a rough, spiky feel, as if one is walking over the gravel of the San Gabriel foothills. A moment or two of silence follows and then a low roaring sound is heard from the rubbing of a rock on a piece of slate. A field recording of local bird calls evokes the remote landscape around a small creek or mountain stream. The vibraphone adds a few mystical tones, perhaps a glimpse of the high mountains ahead. The vibraphone plates are then bowed, adding to the sense of a transcendent immersion in nature.

As the piece proceeds, the quiet organic sounds give way to a more purposeful feel in the piano phrasing along with a few solitary chimes, perhaps signaling an ascent along the trail. Drones materialize with the drawing of cords across the piano strings. This sound intensifies while soft mallets on the metal tubes summon the mystical pull of the mountain peaks in the distance. A sudden, loud gong is struck followed by dramatic, low notes from the piano, signaling that the high point with a majestic view has been reached. After a short stretch of repeating phrases, perhaps indicating a descent, the bird calls and rushing sounds first heard at the starting point return. The rock is now rubbed on the brake drum along with a bowed cymbal that intensifies the feeling of completeness. A single chime sounds at the finish – a benediction in the cathedral of nature.

The subtlety of the piece was a perhaps a bit confusing to audience at first, but the quiet nuance encouraged close listening and the understatement soon came to be appreciated. Little Jimmy contains all the metaphorical elements of a picturesque hike in the San Gabriel mountains and was convincingly conjured through the imaginative use of percussion and two pianos.

An intermission followed and Deep Water Trawling, by Matthew Aucoin was next. This was everything Little Jimmy was not – loud, urgent and realized with formidable musical forces conducted by the composer. Despite these differences in approach and style, Deep Water Trawling shares with the McIntosh piece a similar attitude on the environment. The program notes state that Jorie Graham’s text for Deep Water Trawling “…addresses the issue of humanity’s impact on nature and the climate, presenting the perspective of the ocean from beneath in response to the problematic practice of fishing with a trawl net.” Accordingly, deep cello tones are heard in the opening along with piano notes in the lower registers. The instruments enter boldly, vividly evoking all the drama, mystery and pressure of the ocean depths. The vocal line “Ask us anything” initiates a dialogue between humans in the soprano voice and the creatures of the depths in the lower voices. There is a spooky and surreal feeling to this; we are clearly being called to account for over-fishing and other environmental transgressions perpetrated by humans in the ocean. As the piece proceeds, full voices and accompanying instruments weave a compelling and cautionary tale. Deep Water Trawling cries out as a powerful indictment of our stewardship of the sea and warns of the ultimate effects on our civilization.

Commissioned by the Ojai Music Festival, the world premiere of Family Dinner by AMROC co-founder Matthew Aucoin followed. This is a large-scale work consisting of a series of ‘mini-concertos’ connected together with poetry readings, spoken anecdotes and toasts such as might be offered at a large family dinner. The muscular musical forces on the stage gave vigorous voice to Aucoin’s vision of “dialogue movements, songful outpourings and raucous dances.” The AMROC personnel that made up the ensemble proved equal to rigorous task before them and performed brilliantly throughout this extensive piece. The sounds called for by the score were highly varied, depending on the scene, but the instruments and voices were always on the mark. Given its impressive length and heft, Family Dinner can trace no doubt its origins to Aucoin’s extensive experience in the world of opera. The music was artfully composed and skillfully performed, but stayed close to conventional gestures and forms. A dazzling platform for virtuosity, Family Dinner delivers almost too much – like an out-sized Thanksgiving meal.

by Paul Muller
Concert review, Contemporary Classical, Ojai

Ojai Music Festival – Julius Eastman

The 75th anniversary edition of the Ojai Music Festival opened on June 9 and ran through June 12, 2022. A full program was scheduled by Music Director Zack Winokur including 17 core artists, 20 collaborators and participation by the American Modern Opera Company (AMOC). A wide variety of music was planned, from J.S. Bach to Andrew McIntosh and included a world premier by Matthew Aucoin. The Ojai weather was perfect and a sizable crowd surged in and around Libbey Park, almost as if the pandemic had never happened.

The Friday morning concert, titled Eastman, was given over entirely to the works of Julius Eastman and featured cellist Seth Parker Woods with five other musicians from AMOC, all led by director Zack Winokur. Davóne Tines, bass-baritone, wrote that each collaborator in the ensemble made a commitment to “…meet weekly, for over a year, to discover and digest Julius Eastman’s work, share personal stories about what his absence from our educations has meant, play his music and the music of his contemporaries, and build a collective knowledge and informed performance practice together. This work has culminated in more than just a concert, but a way of working collegially and collaboratively – with care and holistic engagement of material that seeks to honor it through deep conceptualization. This is our effort to pay homage,”

Julius Eastman was gay, Black and a composer of new music at a time when none of these things were popular. He died too young and penniless. Eastman’s long and difficult struggles might naturally be expected to inform his music with a certain anger and exasperation. The genius of this concert, however, was that of the five pieces selected for performance, the first four were grounded in a spirituality that illuminates Eastman’s music in a new and compelling way. This, along with the extraordinary dedication of the ensemble to thoroughly explore this music through extensive rehearsal, resulted in a truly memorable performance.

The first piece on the program was Our Father and, although one of Eastman’s last works, was the perfect invocation. Davóne Tines deep voice led with a powerful chant accompanied by the double bass and cello. The feeling was almost medieval with long sustained tones and spare harmonies that would have been at home in any cathedral. Eastman’s formative years were spent singing in church, and this influence was clearly very strong, even in his later career. Budda followed, a more evocative piece with soft piano notes and long, extended tones in the other instruments punctuated by pizzicato notes in the double bass. The vocal line was wordless and consisted of sustained tones. The lovely harmonies that formed give this piece an exotic and transcendental feeling.

Gay Guerrilla was next, opening with solemn, repeating phrases in the piano that evoke an air of expectation. Soon, four hands on the piano built up the density and tension. The piece proceeds in a general crescendo, and as the other instruments of the ensemble enter, there is a definite minimalist vibe. The sound turns more dramatic as the extraordinary bass voice of Davóne Tines enters in the lowest possible register, adding a sense of the ominous to the already anxious feel in the ensemble. The playing is expressive, yet disciplined, even as the drama builds. The dynamic increases and the entire ensemble is now engaged in full voice – the volume developed by such a small group is impressive. Dissonance creeps in, adding menace to the texture. The bass voice enters, again in a very low register, evoking an almost Biblical sense of judgment.

As the piece proceeds from this point, the intensity rises and falls, but the dynamic is always building with the sound becoming almost primal at times. The bass voice enters to dominate, quoting the text of “A Mighty Fortress” with all the power and immediacy of Luther’s original hymn. The ensemble is now at full cry and along with the deep bass vocal, the feeling becomes one of great strength. Gay Guerrilla is not animated by political activism or anger, but rather by the immense power of Eastman’s inner spiritual resources – a true masterpiece.

Prelude to the Holy Presence of Joan d’ Arc followed, perhaps the most overtly religious piece in the program. Davóne Tines again leads the way, chanting a series of repeating phrases: “Saint Michael said”, Saint Catharine said”, “Joan speak boldly.” The impact of Tine’s strong voice increases as these phrases are repeated over and over, sometimes singly and sometimes connected together. The accompaniment is all but submerged by the mighty words; this is praying that would be at home in any church. Eastman appeals to the saint directly, as the program notes state: “Dear Joan, I have dedicated myself to the liberation of my own person firstly. I shall emancipate myself from the materialistic dreams of my parents; I shall emancipate myself from the bind of the past and the present, I shall emancipate myself from myself.” Written just before he became homeless, Prelude to the Holy Presence of Joan d’ Arc is further evidence of Eastman’s remarkable inward strength.

Stay On It finished the concert, and this was an inspired bit of programming. One of Eastman’s earlier works, it is upbeat and optimistic, fueled by a relentless improvisational joy. The ensemble was bouncy, but precise, with sunny repeating phrases and a pleasing groove. A strong drum beat added to the intensity of the texture as the bass voice loudly proclaimed “Stay On It!”; one could only marvel at Davóne Tines vocal stamina. At about the midpoint of the piece, the rhythms became syncopated and irregular, and “Stay On It’ is now heard as encouragement. The ensemble then resumes with its initial energy, reaching an almost Caribbean level of exuberance. This cycle of musical dissembly and recovery recurs so that “Stay On It!” becomes an outright exhortation. When heard through the lens of the previous Eastman pieces in this concert program, Stay On It becomes a statement of the composer’s dedication to his art, ‘staying on it’ despite the many challenges he encountered.

The group of musicians performing this concert at the 2022 Ojai Music Festival are based in Los Angeles and have demonstrated an extraordinary commitment to the music of Julius Eastman. This level of dedication and expertise deserves a wider audience – we can only hope that the larger performance venues in Southern California will schedule them soon.

Eastman Personnel:

Emi Ferguson, flute
Miranda Cuckson, violin
Seth Parker Woods, cello
Doug Balliett, double bass
Conor Hanick, piano
Davóne Tines, bass-baritone
Zack Winokur, director

by Paul Muller
Chamber Music, Concert review, Contemporary Classical, Ojai

Ojai Music Festival – Sunday Morning Concert

On the last day of the Ojai Music Festival, the 11:00 AM morning concert featured the LA Philharmonic New Music Group performing five works, including a world premiere. The concert opened with Río de las Mariposas, a 1995 piece by Gabriela Ortiz. The title translates to ‘River of Butterflies’ and was inspired by a trip down the Tlacotalpan River near Veracruz, Mexico when Ms. Ortiz was a youngster. The indigenous music heard during that trip, the tropical setting and the Caribbean music Ortiz heard as a student in London are all combined in the nostalgic and magical Río de las Mariposas. The piece features two harps and a steelpan – which would seem an unlikely ensemble – but the mystical sounds of the harps combined perfectly with the exotic steelpan to create an agreeable state of enchantment. It was amazing how many different pitches were heard from the steelpan, and the mix with the harp timbres was unexpectedly appealing. The sweet and simple melodies at the beginning became increasingly complex as the steelpan added its strong Caribbean flavor. Slower sections brought lush melodies that evoked the graceful image of a butterfly. Towards the finish, some tension crept into the harmonies and the rhythms in the melody gradually became faster as the dynamics rose at the end. Harpists Emily Levin and Julie Smith Phillips were superb and steelpan player Abby Savell was everywhere in the texture with precisely the right pitch. Río de las Mariposas is a beautiful portrait of the alluring combined with the exotic in music realized with an unusual set of instruments.

To give you form and breath, by inti figgis-vizeuta, followed and this was an even more imaginative ensemble, consisting of a mobile percussion trio. Each player was stationed near a collection of everyday objects such as flowerpots, empty bottles, wood blocks, drums and stove pans. This began with a series of rapid rhythmic passages from each player that soon developed a nice groove. The amalgamation of sounds was engaging as each percussion station added to a wonderfully diverse mix of timbres and tones. To give you form and breath is based strictly on the changing complexity and dynamics of the rhythms and these were artfully varied so as to heighten listener interest. The playing by Joseph Pereira, Eduardo Meneses and Amy Ksandr was amazingly precise and resourceful. The rudimentary nature of the percussion elements provide a strong connection to the primal and inti figgis-vizeuta writes that this piece “seeks to channel portions of that understanding through ‘ground’ objects and manipulations of rhythm as manipulations of time.” It is often observed that sometimes the most direct ideas are the best, and To give you form and breath certainly makes a compelling musical case.

Next was Hallelujah Junction, the 1998 John Adams piece for two pianos that is named after a truck stop on the California-Nevada border. This is a technically demanding piece and fortunately two of the best pianists in Los Angeles, Vicki Ray and Joanne Pearce Martin, were on hand to perform. This began with a series of bright, rapid phrases that streamed out from each piano. Although sharing the underlying pulse, each of the piano passages was completely independent, full of syncopation and separately uneven rhythms that interleaved with a joyful abandon. The two pianos traded phrases almost as if in a firefight, and this produced a delightful hail of notes and clusters. The playing here was of a very high quality and more impressive was the coordination between Ms. Ray and Ms. Martin, who were in constant eye contact and responded to each other’s outbursts with amazing precision. Although Hallelujah Junction can be very complex, it retains a strong minimalist influence that produced a pleasing groove; the audience in the Libbey Bowl was visibly engaged. Contemporary music, when it tends toward the complex, often builds up tension, but Hallelujah Junction always retained its cheerful exuberance.

There were slower stretches in the piece, with a smooth and flowing melodies providing contrast, but these soon gave way to the faster tempos and spiky rhythms of the opening. There was a short section with the pianos in unison, a call-and-response section and eventually, a big, loud finish. Hallelujah Junction is a memorable work because of its audacious architecture and because of the technical demands placed on the performers – it is hard to imagine how it could have sounded any better than this year at Ojai..

Objets Trouvés followed, a viola piece by Esa-Pekka Salonen with Teng Li, principal violist of the Los Angeles Philharmonic, as the soloist. This was one of a series of short works commissioned for UK violist Lawrence Power, for the purpose of being distributed during the pandemic lock down via film and video; this was its first live concert performance. Objets Trouvés opens with a low electronic drone that at first seemed to be a fault in the sound system. The viola enters, however, and sounds a series of notes near the pitch of the drone, clarifying their musical relationship. After a time the listener accepts the drone as part of the musical landscape and it forms a useful counterweight in tension with the solo viola. Soon, a series of dramatic and rapid phrases are heard that must be very difficult for the soloist, but all were successfully navigated by Ms. Li. The viola passages eventually become slower and more melodic and these were masterfully played by Li with a deep, mournful expression as the piece glided towards its quiet conclusion. Objets Trouvés is a passionate answer to the long suspension of live performances and a reminder of what the Ojai Festival represents for the return of live music in 2021.

The final work of the concert was Sunt Lacrimae Rerum, by Dylan Mattingly. This was a world premiere performance and a co-commission of the Los Angeles Philharmonic and the Ojai Music Festival. Two pianos and two harps made up the ensemble, bringing back to the stage pianists Vicki Ray and Joanne Pearce Martin along with harpists Emily Levin and Julie Smith Phillips – a formidable concentration of talent. Sunt Lacrimae Rerum was inspired by the California fires that raged in September 2020, darkening for a time the daylight throughout the Bay Area. Dylan Mattingly writes: “The sky hummed with a dark orange glow, the only vestige of our star hidden by wildfire smoke high in the air.” The score set out to evoke the unique drama of this moment using “notes the listeners have never heard before.” Accordingly, the two pianos were carefully re-tuned microtonally while the harps remained in standard temperament.

Sunt Lacrimae Rerum opened with the harps playing gently in unison with the pianos entering with active, repeating phrases in the upper registers. A fine groove developed that was abetted by sharp chords from the harps sounding below. The phrases for all the instruments, although independent, eventually migrated up the same registers, enhancing the differences in the tuning. This ultimately became a gentle patter, like raindrops falling in a summer shower. For once the usually reliable Ojai sound system may have let the listeners down a bit – with all the sounds in the same high register and with similar timbre, it seemed more difficult to discern the nuances and interactions of all the notes. The phrases accelerated and the quantity of notes increased so that the overall sounds began to resemble a music box. Strong chords by the harps below added a welcome floor, giving these later passages a bit more depth. The pianos replied with strong chords of their own and soon raised the intensity to a powerful finish.

There is no anger or high tension in Sunt Lacrimae Rerum, but rather a potent cathartic release from the drama of the uncertain wildfire situation of that day. This is not a sorrowful or mournful piece, but, as Dylan Mattingly wrote, “… rather an offering of the life we’re looking for, a transfiguration, the other side.” The Ojai audience agreed, and responded with an enthusiastic ovation.

The 2021 Ojai Music Festival proved to be a great success, if only because it was actually staged. The performances were up to past festival standards and the attendance was gratifying. The credit goes to the festival organizers and musicians who made the commitment to this event despite the great uncertainties of the pandemic.

by Paul Muller
Concert review, Contemporary Classical, Ojai, Piano

Ojai Music Festival – Timo Andres in Recital

The 8:00 AM Sunday morning concert featured pianist Timo Andres in recital. His first set was from the cycle titled I Still Play, and consisted of several piano pieces written by a group of composers associated with Nonesuch Records. The occasion was the retirement from Nonesuch of Robert Hurwitz, president of the recording label for 32 years, who has long been a strong supporter of contemporary music. Hurwitz is also a talented amateur pianist who begins each day with serious time at the keyboard. The list of composers who contributed is impressive, with names such as Philip Glass, Nico Muhly, Steve Reich, Louis Andriessen, Laurie Anderson, John Adams and Timo Andres himself.

The piano pieces of I Still Play are all miniatures, and were intended both as a tribute and as exercises to be played by Hurwitz during his daily keyboard sessions. Andres played them serially and without separate introductions, but many of the styles were immediately recognizable. The first piece, Evening Song No. 2, was gently quiet and reserved, but unmistakably Philip Glass. The Nico Muhly piece, Move, had his characteristic energy and verve. The Timo Andres piece, Wise Words, was slower and more deliberate, while For Bob, bounced along with a characteristic Reich groove. The other pieces ran the range from playful to respectful with the title piece, I Still Play, by John Adams, ending the set with a quiet reverence. All the pieces were sincere and heartfelt expressions of appreciation to Hurwitz, who had played a key role in musical careers and to the progress of new music in general.

Impromptus, by Samuel Adams followed, a work written for Emanuel Ax and inspired by Franz Schubert’s Four Impromptus. Impromptus was originally intended to serve as bridges played between the Schubert movements. The Adams piece, heard in this recital on its own, begins with an active phrasing in the upper registers and sustains a mobile feel as if always on the move. There is a pointillist sensibility to this that artfully brings the many notes of the individual phrases together into a series of cohesive gestures. Adams writes that “Each impromptu is carefully constructed, but rooted in a simple impulse.” As the piece proceeds, there are slower stretches marking transitions to offset the faster parts, leaving a pleasantly reflective aura surrounding the listener. Timo Andres played each impromptu cleanly and with great sensitivity. After an impressive cadenza-like finale, Impromtus fades to its finish.

The recital concluded with the inventive Imaginary Pancake by Gabriella Smith. This opened with fast passages in both the very high and very low registers of the piano. The notes in the chords were at times so widely separated that extreme manual was required. Timo Andres was physically tested and could occasionally be seen with his arms crossing over as he reached for the right keys. A lilting, boogie woogie groove often broke out from the dense rhythms. An effective contrast soon appeared with a series of muscular chords below and a running tinkle of higher notes above. This eventually morphed into a loud banging of chords at both extremes of the keyboard, with Andres needing every inch of his wingspan to reach the farthest keys. Happily, the phrasing worked its way back towards the middle of the piano and the mix of descending and ascending chords combined for a splendid sound. It would seem that the composer was intent on using every one of the 88 keys, but it was all in good musical form and expertly played by Andres.

As Imaginary Pancake wound down, there were softer and more dramatic chords below with a simple running line above. The decrescendo continued until Andres reached into the piano case to further suppress the remaining high notes by pressing on the strings, and the piano faded to a quiet finish. Reflecting on the evening’s surprises and artistry, one couldn’t help but draw parallels to the carefully curated experiences offered by top online casinos, where innovation and meticulous design create engaging environments full of unexpected delights. Imaginary Pancake is full of delightful surprises and has an impetuous spirit – a fine piece on which to conclude this recital.

Despite the early hour and morning chill, a fine crowd gathered in the Libbey Bowl to hear Timo Andres perform – another marker of the public enthusiasm and musical professionalism present at the 2021 Ojai Music Festival.

by Paul Muller
Chamber Music, Concert review, Contemporary Classical, Ojai

Ojai Music Festival – Friday Evening

The Ojai Music Festival was re-scheduled this year from the traditional June to mid-September as a result of the continuing Covid pandemic. All the precautions were in place to meet local mandates – proof of vaccination was required for entry and masks must be worn in all concert venues. Even so, the crowds were as large and enthusiastic as ever despite the restrictions and a token anti-mask protest at the entrance to Libbey Park. It was a relief that the festival was finally happening and ready to present live music.

The Friday night, September 17 concert opened with a Chumash blessing by tribal elder Julie Tumamait-Stenslie, impressively arrayed in full regalia. This took the form of two chants in the Chumash language and a simple accompaniment with hand percussion. Elder Tumamait-Stenslie sang out in a clear, steady voice that filled the Libbey Bowl with warmth and welcome. This beautiful invocation needs to become an Ojai Music Festival tradition.

Danse sacrée et danse profane by Claude Debussy followed, with Emily Levin performing on solo harp. A small string orchestra accompanied, and the graceful music of Debussy proved to be the perfect segue from the gentle Chumash prayers. Emily Levin was flawless and seemed to be playing, from memory no less, in every measure of the piece. The ensemble was well-balanced and the excellent sound system in the Libbey Bowl reliably carried every 19th century nuance out into the still night air.

The quiet reserve of the Debussy piece set the stage for the West Coast premiere of Chamber Concerto, a dynamic five-movement work by Samuel Adams written in 2017. Samuel Adams is the son of composer John Adams and so grew up in the context of contemporary music. His wife, Helen Kim, is the principal second violin with the San Francisco Symphony and his sister is also an accomplished violinist. Chamber Concerto combines Samuel’s appreciation of the violin with a solid command of orchestral forms. The violin soloist for this piece was Miranda Cuckson, who gave what proved to be a compelling performance that delivered equal measures of power, drama and introspection.

“I. Prelude: One By One”, the opening movement, begins with a poignant violin solo as the orchestra sections, entering by turns, combine in a beautiful tutti sound. This quiet beginning prefigures the general pattern – Chamber Concerto tends to merge the gestures of the soloist into the rest of the orchestra, amplifying the emotions, rather than having the violin stand apart in conversation with the orchestra. The solo passages weave in and out of the tutti sections with a smoothness and elegance that is both pleasing and effective. “II. Lines (after J)”, the second movement, is faster and includes some quotations from John Adams’ Harmonielehre. There is an uptempo and playful feel, especially in the woodwinds, and a general increase of activity in all sections. The solo violin adds a bit of tension to what is now a swirl of complex passages. The strings pick this up, frantically opposing a low growling in the double basses. The stress peaks with a piercing piccolo passage and the solo violin then discharges the built-up tension with a lovely melody line that is heard against a sustained deep tone in the basses. The movement ends in a powerfully reflective violin solo heard with the orchestra almost entirely silent.

The third movement, “III. Aria Slow Movements”, continues this introspective mood with a solo line that was both solemn and restrained. The violin solo proceeds with a slow and almost mournful feel, working against gentle pedal tones in the basses. The result is very moving and provides a fine contrast to the frenzy heard in the heart of the second movement. The solo violin parts in movements 2 and 3 ran the range from complex and technically demanding to restrained and highly expressive – all masterfully handled by Ms. Cuckson.



Movement 4, “IV. Off/On” returned to the faster pace with all of sections of the orchestra joining in to create a cauldron of active syncopation. This eventually sorted itself into a more purposeful feel, with strong gestures passed around as the soloist darted in and out of the mix. The tension quickly increased in all sections and was only relieved by the arrival of the final movement, “V. Postlude: All Together Now”. This completed the work with a suitably slow and reflective ending. Chamber Concerto is an amazing piece that stretches the listener, the soloist and the players to their limits. This was a signature performance for the Festival Orchestra musicians, Miranda Cuckson and Samuel Adams.

After a short break, the concert continued with the prelude from Partita No. 3 in E major, BWV 1006, by J.S. Bach. Miranda Cuckson returned to perform this work for solo violin. She was located off-stage by an oak tree in a sleeveless gown, exposed to what had become the chilly Ojai evening air. Nevertheless, all of the many musical virtues of J.S. Bach were on full display, complete with strong rhythmic propulsion and Ms. Cuckson’s solid technique that sounded as if there were at least two instruments playing simultaneously. The Bach brought a bit of familiarity to the audience after the intensity of Chamber Concerto, and figured into the story behind the next piece on the program.

Fog, by Esa-Pekka Salonen followed, with orchestral forces that included strings, woodwinds and percussion. Fog was composed in honor of Frank Gehry, the architect of Disney Hall in Los Angeles. It was inspired by the Bach Partita No. 3 which was the first music ever heard in Disney Hall, played while testing the acoustics of the space when it was still under construction. Esa-Pekka Salonen recalled the sounds of the violin drifting upward into the cavernous spaces of the new hall, as if it were a lifting fog or mist.

Fog begins with an active, uptempo feel in all the orchestra sections producing a pleasing variety of interesting sounds. Because it directly followed the Partita No. 3, there were definite elements of Bach DNA to be heard in Fog with repeating passages and strong, active rhythms. As the piece progressed, the density of the texture increased along with a noticeable element of syncopation. There was a fine piano solo midway, but the complex, swirling sounds eventually dominated, especially in the woodwinds. Fog, always in motion and full of sunny optimism, was a welcome return of the Salonen style to Southern California. The composer was on hand to receive a substantial ovation from the Ojai crowd.

The concert continued with Flow, a piano concerto by Ingram Marshall featuring Timo Andres as soloist. This work was originally commissioned by the Los Angeles Philharmonic for the Green Umbrella series of 2016. Marshall has been a close friend of John Adams since their experimental music days in the 1970s Bay Area and this piece was written with Timo Andres in mind. Flow is a fitting title for this piece, opening as it does with deep, sustained tones in the strings while the piano quietly enters with single notes, tremolos and trills. The surging swell of sound in the orchestra, contrasted by the high running lines in the piano, nicely evoke a flowing stream or strong tide. As the piece proceeds, the piano line mixes in with the orchestra to complete the liquid feel. As Marshall writes “The music is all about flow, and I didn’t realize this was the case until I heard how fluid and smoothly running the material is.” Andres never forced the piano passages, artfully weaving the moving lines in and around the orchestra, or blending as needed. Flow precisely combines the available musical forces to capture the essence of a lively moving liquid.

The final work in the Friday night concert program was Running Theme by Timo Andres, for string orchestra. The piece has three sections, with harmonic and rhythmic variations based, as Andres writes, on the interval of “ a fifth broken over a dotted rhythm.” The strong opening chords and syncopated passages against the bass line give a surging feel to this and the repeating cells provide a generally bustling texture. Later in the piece the rhythms in each orchestra section play off against each other until eventually a nice groove breaks out. Running Theme provided an energetic ending to a fine concert program.

The Friday, September 17 evening concert was thoughtfully programmed and precisely performed. The organizers and musicians deserve the credit for this, and the public responded by attending in gratifying numbers. The uncertainties and restrictions of the present pandemic had only a minimal effect on the 2021 Ojai Music Festival – and this is very good news.

by Paul Muller
Concert review, Contemporary Classical, Festivals, Los Angeles, Ojai

A Day at the Ojai Music Festival

The 2019 Ojai Music Festival began on June 6 and packed in a wide variety of styles and vintages of new music over four days and three nights. Everything from Haydn and Stravinsky to Catherine Lamb was on the program, along with films, pre-concert talks, picnics and special events that filled up every day from dawn to midnight. Barbara Hannigan served as the 2019 Music Director and this festival marked the final year for long-time Artistic Director Thomas W. Morris.

On Friday, June 7, the early morning concert featured the JACK Quartet performing pieces by Clara Iannottta and Tyshawn Sorey. The SANE Center was the venue, located just across the street from Libbey Park, and while cozy it was agreeably indoors and out of the cool morning mist. The first piece was the US premiere of dead wasps in the jam-jar (iii), by Clara Iannottta, inspired by imagery from a poem by Dorothy Molloy. For this piece the JACK Quartet was augmented by an electronic sound track that played through speakers placed on both sides of the small stage. The composer writes: “While working, I pictured a kind of deep-sea environment, the lowest layer in the ocean, where constant pressure and perpetual movement seem to shape the stillness of time.”

This piece opened with slow, whisper-like scuffing sounds from lightly bowed strings. There was a quiet, almost pastoral feeling to this, and the instruments were heavily subdued with a variety of mutes. This restful atmosphere was broken by louder sounds from the electronics that carried a sense of distant menace. The soft string sounds soon returned, but were again interrupted by a low roaring from the speakers, as if some beast was at large nearby. The roaring had an exotic but primeval sensibility about it, complimenting the calm environment established by the strings. dead wasps in the jam-jar (iii) is hushed and nuanced music, carefully played in this performance by the JACK Quartet to create a unique sound world where the natural environment and its organic processes are thoughtfully realized.

The West Coast premiere of Everything Changes, Nothing Changes, by Tyshawn Sorey followed, a piece commissioned by the JACK Quartet. Christopher Hailey writes in the program notes that “The piece is slow-moving and delicate, never rising above piano. The quartet plays sustained sonorities as a unit, individual voices perceived not as solo lines but as components of gently shifting harmonic textures.” Accordingly, the piece starts out with quietly sustained tones that sound both mysterious and slightly dangerous. Everything Changes, Nothing Changes carries in it a more urban sensibility, as distinct from the open, feral feel of the previous Iannottta piece. The playing here was sensitive and nuanced, with just the right dynamic range within muted boundaries. There was never anything flashy or fast, and the settled consistency throughout was impressive. In Everything Changes, Nothing Changes the exquisite playing of the JACK Quartet and Sorey’s smoothly crafted harmonic textures combined perfectly to keep the audience fully engaged.

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by Paul Muller