Tag: Monk Space

Concert review, Contemporary Classical, Los Angeles, Premieres

Cold Blue Music @ Monk Space

On May 14, 2019, Tuesdays @ Monk Space presented Incandescent Keyboards, Luminous Percussion, a concert of three important works from the Cold Blue Music record label. The Los Angeles premieres of Celesta by Michael Jon Fink, Four Thousand Holes by John Luther Adams and the world premiere of Pacific Coast Highway by Daniel Lentz were on the program. The cozy confines of Koreatown’s Monk Space filled with the agreeable sounds of music created by some of the best composers that the West Coast has yet produced.

First up was Celesta (2018), by Michael Jon Fink. This was performed by the composer on a Schiedmayer five-octave celesta provided for the occasion. Celesta is a suite of 12 solo miniatures, as described in the concert notes: “It projects a lyrical and poetic world of quiet intensity, bathed in the glow of delicately ringing metal.” All of the pieces are short – from just under two minutes to a little over six minutes – and were played continuously. The first piece, Call, was typical and began with a single line of notes that filled the room with bright drops of sound. The close acoustics of Monk Space brought out every detail of the spare melodies and limited harmonies that are characteristic of Michael Jon Fink’s music. The sharp, bell-like tones and reduced dynamic range of the celesta only added to the unexpected elegance that arose from the composer’s masterfully economical use of musical materials.

The pieces centered in the higher registers shone like bright stars. Some pieces were plainly magical while others were more introspective and questioning. There were pieces built on a simple five-note melody and others from just three or four notes. In one piece, two separate but intersecting melodic lines produced intriguing harmonies and engaging rhythmic combinations. None of this was fast or flashy in keeping with the transcendental sensibility of the celesta. The last piece, After the End, consisted of simple two-note phrases in dual harmony that strongly evoked a sense of wonder as it slowly faded into silence. A chirping cricket was heard above the stage, as if leaving the audience staring at the starry sky in a summer meadow. Celesta artfully exploits the expressive powers in the bright sounds of the celesta to create a thoughtfully satisfying, inner-directed experience.

The world premiere of Pacific Coast Highway (2014) by Daniel Lentz followed, a solo piano piece performed by Aron Kallay. In addition to the live playing, two prerecorded piano tracks are heard creating a dense and layered texture that is very appealing. This piece opens with quiet, repeating phrases that unfold into pleasing harmonic progressions. Polyrhythmic phrasing between the layers – ably executed by pianist Kallay – accentuate the harmonic changes and suggests the constant movement of traffic. A deep rumbling in the lower registers recalls the dramatic power of the pounding surf, often seen just a few yards from the roadway. At times the rhythmic lines are more sinuous, suggesting the twists and curves of the highway as it makes its way along the coast. New vistas continually emerge, and at times the dynamics become softer and cooler, as if looking out to the far horizon at sea. At other times the music is imposing and powerful, as when the coast mountains rise sharply upward from the edge of the ocean. The balance between the recording and the precise playing of Kallay couldn’t have been better. Pacific Coast Highway is the perfect invocation of the iconic California road trip along the coast north of Los Angeles.

The final piece on the concert program was Four Thousand Holes (2010) by John Luther Adams. Pianist Nic Gerpe and percussionist Ben Phelps were on hand for this Los Angeles premiere. This piece also includes a recorded electronic soundtrack comprised of heavily processed acoustic samples that provide a kind of foundational aura. Accordingly, a deeply mystical sound was heard from the speakers at the opening that expanded until it completely filled the room. A sharp piano chord followed along with some light notes from the vibraphone. The overall sound rose like a swelling tide, and at its fullest the percussion darted off in a series of complex independent rhythms. When the texture was at its thinnest, the piano and percussion seemed to compliment each other in counterpoint. As the piece continued forward, the process of gathering, cresting and dissolving repeated itself, always offering new and entrancing combinations.

The composer writes: “In Four Thousand Holes, strong musical currents fall and rise again and again… The mix of the live and electronic sounds blurs the distinction between musical figure and ground… we begin to hear long lines, counterpoint and maybe even the occasional trace of a tune.” All of this was in evidence during this fine performance at Monk Space. The electronics and acoustic instruments were always in balance, and the coordination achieved by Gerpe and Phelps was impressive. The broad swelling harmonies, technically complex rhythms, varying tempos and changing dynamics were all successfully negotiated by the players, who were rewarded by sustained applause at the finish.

Cold Blue Music, through its concerts and recordings, continues to be an important source of essential new music created on the West Coast. CDs for each of the pieces performed at this concert are available from Cold Blue Music.

by Paul Muller
Concert review, Contemporary Classical, Los Angeles

Scott Worthington, Hex Vocal Ensemble at Monk Space

The December Tuesdays@Monk Space concert was titled Grinding Sounds, Repeating Patterns and Sonorous Incantations and was curated to take advantage of the friendly acoustics of Monk Space for just such music. As Aron Kallay noted in the program notes: “Not every hall is good for every combination of instruments and in many ways Monk Space takes this to the extreme. Two things the space absolutely loves are low strings, and voice.” Accordingly, Scott Worthington was on hand with his electrified contrabass and the Hex Vocal Ensemble provided the sonorous incantations.

The first piece was I Feel Pretty, by David Lang, for acoustic or amplified double bass. Worthington’s bass was fitted with a pickup that fed directly into a PC. Sounds from the bass were recorded, processed and then broadcast from the speakers on-stage after a delay of a second or two. The opening double-stopped phrases were low, rough and gnarly as well as absent of melody. The speakers multiplied the deep texture so that it was almost as if the audience were confronted by a growling bear. At times the piece gathered itself into a nicely pulsating groove, and there were often intriguing harmonies that arose between the acoustic bass and the process electronics in the speaker. David Lang is generally known for his sensitive and empathetic music, but I Feel Pretty seemed to be joyfully the opposite. As expertly realized by Worthington, I Feel Pretty was a reminder that beauty need not be delicate to be appreciated.

Next up was Mint Conditioner by Alexandra Gardner, also for doublebass and accompanied by recorded samples from the speakers. This opened with a deep creaking sound, as if a large rope or cable were being drawn taut. This established a feeling of tension as Worthington’s acoustic bass entered with sustained low notes followed by rapid passages. The speakers then issued a series of otherworldly tones that were musically complimentary, but at the same time in stark contrast to the earthy timbre of the bass; it was an encounter of the primal with the far future. At times, the piece had a jazzy, African feel that developed a gentle groove, masterfully conjured by Worthington. Towards the end, the acoustic and recorded sounds blended together with a broad, soothing feel that turned just a bit sorrowful at the finish. Mint Conditioner skillfully blended recorded sounds with live acoustic playing, with the result often greater than the sum of its parts.

Home, by Jenny Olivia Johnson followed and this opened with slow, double-stopped tones. The electronics were configured to process the acoustic sounds, then loop them through the speakers with a one or two second delay. The low notes added an element of sadness while the electronics contributed a somewhat bleary sensibility. Various sounds followed, including some rough, sawing noises and a series very high pitches that stood out like screams from the otherwise dense texture. As the piece proceeded the drama increased, and a number of amazing effects were produced by Worthington and the computer. At the finish, high screaming tones dominated, a fitting climax to the ever-rising tension. Home is one long crescendo, artfully constructed and adroitly played. Worthington’s efforts were met with sustained applause.

After the intermission the Hex Vocal Ensemble took the stage to perform – a cappella – the Sonorous Incantations section of the program. Hex specializes in music from, and inspired by, Meredith Monk. Their first piece was After persimmons by Li-young Lee, composed by Carolyn Chen, which opened with long soprano phrases followed by the lower voices entering in counterpoint. At times, the soaring phrases by the soprano arced brilliantly overhead while the other voices continued with independent melodies. The interweaving of the various lines was precisely sung and resulted in an intriguing and constantly changing surface texture. After persimmons by Li-young Lee is beguiling music which took full advantage the vocal finesse of the Hex Ensemble.

Hee-oo-hm-ha, by Toby Twining was next, and this had a bright, up tempo and contemporary feel with vocalise in place of words. The strange syllables and phrases were crisply delivered and generally infectious. There were stretches of full harmony at times, but the sunny optimism and rhythmic groove of Hee-oo-hm-ha was pleasantly reminiscent of doo wop street singing. Strong applause followed this piece.

Dolmen Music, by Meredith Monk, followed with cellist Gina Kodel joining the singers on stage. Dolmen Music is normally learned and sung by rote, but the Hex Ensemble had notated the entire 25 minutes of vocal parts. High, thin pitches from the cello began the piece with a remote, windswept feeling as if we were in some distant and barren landscape. The higher voices entered with a sound like the far off howling of coyotes in the desert night and the lower voices answered with garbled phrases. There were no intelligible words in any of these passages and the Hex Ensemble convincingly created the sense that we were witnessing the primal incantations of an ancient culture. As the piece progressed, variations emerged in the vocal sounds including rhythmic syncopation, broad tutti stretches in full harmony, conversational passages between groups of voices and strong solos. The cello was often tacet, but deep double-stopped chords and extended techniques were regularly mixed into the vocal flow. The vocal lines were often independent and complex, but all were successfully navigated by the Hex Ensemble. At the finish, all were heard in full voice, creating a powerful climax. Dolmen Music and the Hex Ensemble delivered up a unique musical sound world, full of fundamental passion.

The final work in the program was Music for people who like the future, by Andrew Hamilton and this opened in a series of declarative passages with repeated words. It was a difficult to make out the text – it was part yelling, part cheering and part singing – all in a wonderful mix of sounds. A strong beat kept the piece on course, adding to an insistent and urgent feel. The tempo and volume increased towards the finish; a reminder that the future will not arrive quietly. Music for people who like the future brought a hopeful measure of confidence to what seems, these days, to be such a bleak uncertainty. The Hex Ensemble provided the needed flair and enthusiasm for this welcome message and sustained applause followed.

The next concert at Monk Space will be on January 8, 2019 and feature performances by the Grammy Award-winning ensemble PARTCH.

by Paul Muller
Commissions, Composers, Concert review, Contemporary Classical, Los Angeles, Mexico, Minimalism, Premieres

Cold Blue Music Concert at Monk Space

CB20On February 16, 2016, Tuesdays@Monk Space hosted a concert of Cold Blue Music artists in the lively Koreatown district of Los Angeles. A good crowd came out to hear music by Michael Jon Fink, Jim Fox, Michael Byron and Peter Garland. Three premieres were heard including the world premiere performance of In the Village of Hope by Michael Byron.

The first piece, Vocalise (1979), by Michael Jon Fink, was for piano and performed by the composer. This opened with series of quietly beautiful notes, like the melody from a simple hymn and unfolded with the spare elegance that is the hallmark of Michael Jon Fink’s compositions. The warm acoustics of the cozy Monk Space – with brick walls on three sides – allowed for an extra long duration and decay of the sustained notes, adding to the sense of serenity. Vocalise is not a long piece, but contains all the essential elements of peaceful sensibility that informs this composer’s music.

From a Folio (2013), also by Michael Jon Fink followed, and for this piece of seven movements cellist Derek Stein joined the composer, again on piano. Each of the movements are compact and variously declarative, quietly powerful, unsettling, questioning, solemn or even sorrowful. Sustained cello passages were often set up by a series of simple piano notes or chords, a contrast that proved to be very effective. At other times a soft call and answer pattern between the cello and piano prevailed. The subtle touch on the piano was complimented by the sensitive playing of Derek Stein who discerned the quiet intentions of this work perfectly. The graceful consistency of these seven movements give From a Folio a notable sense of tranquility combined with a satisfying cohesiveness.

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The world premiere of In the Village of Hope (2013), by Michael Byron was next, performed by harpist Tasha Smith Godínez, who commissioned the work. This is an ambitious piece, full of constant motion but with an engaging and exotic character. It has a soft, Asian feel and the steady patter of notes fall like raindrops in a warm tropical shower. A light melody in the upper registers is joined in masterful counterpoint below, and the piece glides delicately through several key changes as it continuously unfolds. Listening to the Cold Blue recording of this piece one imagines that the harpist would be a great flurry of motion – but the technique of Tasha Smith Godínez in this performance was superb; her graceful fingers never seemed hurried or her movements labored. The tones from her harp were clear and strong; the lively acoustics of Monk Space made them almost seem amplified. A drier acoustic environment might have served to bring out the intricate texture more clearly. Michael Byron, who was in attendance, admitted to a certain trepidation when he turned in the imposing score, but Ms.Godínez never asked for any changes or modifications and proved more than equal to the task in this performance. In the Village of Hope is a profoundly impressive work, in both its vision and realization.

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by Paul Muller