On Sunday, March 24, 2024 the Pasadena Conservatory of Music presented the second in this season’s Wicked GOAT concert series of Contemporary Music for Young People. The concert is free to the Conservatory community and every seat in Barrett Hall was filled with eager faces and proud parents. The theme for this occasion was Stories and a stellar group of Los Angeles-based performers were on hand to bring four new music compositions to life, including a world premiere. Sopranos Hila Plitmann and Elissa Johnston brought their extraordinary voices to the stage, and this was the first Wicked GOAT concert to include vocalists. Alyssa Park and Timothy Loo of the Lyris Quartet accompanied, along with Brian Walsh of Brightwork New Music and Conservatory piano faculty members Nic Gerpe and Katelyn Vahala. Jane Kaczmarek contributed her excellent narration for the final piece. Three of the composers were in attendance and gave introductory remarks in person and the fourth, Paul Moravec, addressed the audience via video.
First on the program was a world premiere, The Poetry of Nature (2020), by Gernot Wolfgang. Wolfgang noted that he composed this during the long months of Covid isolation and that for him, nature is a religious experience that starts three miles from the trail head. The piece is a cycle of four songs about nature with texts taken from well-known poets and sung by noted soprano Hila Plitmann, accompanied by pianist Nic Gerpe. Daylight and Moonlight, by Henry Wadsworth Longfellow was first, and this began with strong piano chords and soft vocals. Hila Plitmann’s pure tone and clear diction perfectly fit the direct language and thoughtful images of the Longfellow poem. The text was displayed on a large screen while Ms. Plitmann’s supple voice allowed the words to comfortably fill the performance space at all dynamic levels. The haunting and elegant feeling of this music made for an effective portrayal of moonlight and daylight.
The next song was based on Blue Butterfly Day, by Robert Frost. This opened with a series of rapid, fluttering figures on the piano and solid vocals, all in a good balance. Ms. Plitmann’s voice was effective over an extended range and demonstrated a carefully controlled intensity at all pitches. More impressive, perhaps, was the fact that she sang the entire song cycle from memory. Rumors from an Aeolian Harp, by Henry David Thoreau, followed. This was quiet, cautious music at first, reserved and introspective. A strong soprano passage reached up to the back row of the hall, confirming Plitmann’s extraordinary vocal skill and control. As the piece proceeded, it alternated between soft and forceful, always with just the right amount of power from the vocalist.
The final song of the work was based on Afternoon Upon a Hill, by Edna St. Vincent Millay. This was upbeat and full of motion with many changes to dynamics and tempo in the piano line. The brightly expressive feel was nicely captured by the fine coordination between Gerpe and Plitmann. A quietly effective ending brought this piece to a close. The Poetry of Nature is a solidly contemporary piece, yet accessible to all audiences.
The second work on the concert program was Three Folk Songs (2016) by Gabrielle Rosse and this was performed by soprano Elissa Johnston accompanied by Katelyn Vahala of the Conservatory piano faculty. The texts were drawn from traditional folk songs, the first being Black is the Color followed by Pretty Little Horses. Black is the Color opened with slow, dark piano chords that created a dramatic setting. The soprano vocals were very expressive, aided by the rich fullness of Ms. Johnston’s voice. The words floated out to the audience with a lush warmness that provided a strong foundation for the easygoing melody. When called for, Ms. Johnston could summon a powerful sound with good dynamic range, but the warmth in her voice always came through in the music. As the piece proceeded, there were often changes from quiet to strong but these were skillfully navigated and always under control.
The second piece, Pretty Little Horses, was quiet and almost like a lullaby. The haunting feel of this piece was delivered with careful attention to nuance and detail. Rosa de Sal (2020), by Reena Esmail, followed, and this was also performed by Johnston and Vahala. The text was by the poet Pablo Neruda and sung in Spanish. The piece opened with a quiet piano figure as the soprano entered in a low voice. The piano moved to a smoothly active line, adding a sense of drama. The vocals followed the accompaniment with beautiful singing and a soaring passage that filled the space with a robust sound. As the piece proceeded, the dynamics often changed between loud and soft with Ms. Johnston in complete control. All of the vocal music in this concert struck a fine balance between contemporary abstraction and accessibility for the listening audience.
The final work in the program was the Pulitzer Prize-winning Tempest Fantasy (2003), by Paul Moravec. This was an instrumental piece scored for piano, violin, cello, and clarinets with Nic Gerpe returning to the piano. There were five movements in all, a meditation on the characters of The Tempest, by William Shakespeare. Before the various movements were presented, Jane Kaczmarek’s brief narrations were invaluable for establishing an Elizabethan ambiance. The words were delivered without a microphone, but her rendering of the Shakespearean texts was clearly understood, even in the far upper reaches of the audience.
Of all the pieces on the program, Tempest Fantasy was easily the most intense. “Ariel”, the first movement, set the pace with a fast tempo, broken rhythms and an energetic feel. Only masterful coordination among the players kept this piece on track, and a nice groove soon developed. “Prospero”, movement II, was in sharp contrast with long, sustained tones and languid harmonies. An expressive violin solo rising above the texture, inviting a questioning feel. A steady tutti section towards the finish proved darkly dramatic. The sense of mystery deepened in “Caliban”, movement III, with Brian Walsh’s bass clarinet adding a brilliantly sinister touch. Violin and cello combined in a halting melody that featured excellent coordination between the players. As the tempo and complexity increased, all the players joined in a purposeful tutti section at the finish.
Movement IV, “Sweet Airs”, was just that with quiet piano chords underneath a lovely violin solo by Alyssa Park. The other instruments joined in to create a fullness that was introspective and almost nostalgic. The dynamics rose and the rhythms became more active, only to fall back to a slow and graceful finish. “Fantasia”, movement V, was the rousing climax to the work and this opened with rapid piano passages. The cello and clarinet soon joined in, adding to the excitement, and a smooth, declarative violin line arced over the active texture below. As the piece progressed, the rhythms seemed to deconstruct into separate, broken lines that further increased the choppiness. At one point, Timothy Loo could be seen almost jumping out of his chair in an attempt to keep his cello in the mix. The intensity increased before falling back, and then increased again just before the finish. The “Fantasia” movement was quite a ride and put an exclamation mark on Tempest Fantasy.
Afterwards, a group of Conservatory students skillfully performed covers of popular music during the post-concert reception held in the assembly hall. The Wicked GOAT concert series is becoming a fine tradition for the Pasadena community and continues to facilitate the appreciation of new music to a growing audience. Altogether it was a good way to spend a rainy afternoon.
On Sunday, October 1, 2023 the Pasadena Conservatory of Music presented Shred, the first of two Wicked GOAT programs scheduled for the 2023/24 season in their Contemporary Music for Young People concert series. Barrett Hall was filled with a capacity crowd that included a gratifying number of well-behaved youngsters. A variety of contemporary compositions, dating from from 1959 to 2020 were presented, including pieces by John Adams, John Corigliano, Jennifer Higdon and Andrew Norman. Top Los Angeles area musicians were on hand to perform the seven pieces that were accessible, lively, abstract and engaging. All were thoughtfully programmed and constituted an excellent introduction to contemporary music for all ages.
The first work on the program was Short Ride In a Fast Machine, by John Adams. This was composed in 1986 and is one Adams’ more popular pieces. For this concert, the four-hands piano arrangement of 2018 was performed by Kathryn Eames and Nic Gerpe of the Pasadena Conservatory faculty. This opens with a series of fast arpeggios in the upper registers accompanied by syncopated rhythms in the middle registers. Powerful chords soon appear among the technically tricky passages. All 20 of the fingers on the keyboard were kept busy and the intensity of the sound added to the feeling of speed and power. There was excellent coordination between the two players given the intertwining phrases, broken rhythms and forceful dynamics. A strong finish and an unexpectedly sudden halt brought the Short Ride In a Fast Machine to an appropriate ending. The audience responded to this lively and engaging piece with vigorous applause.
Kaleidoscope (1959), by John Corigliano followed, performed by Ms. Eames and Mr. Gerpe now seated at separate pianos. Kaleidoscope was written over 60 years ago, but this is a decidedly abstract piece and remains relevant as contemporary music. John Corigliano is a highly regarded composer, who, at 85, continues to be an important influence. The work starts out with sharp, rapid passages in each piano, filled with complex rhythms and layering. Close coordination by the players keeps this fast section cohesive. A slower stretch appears and this allows the listener to catch a breath. The level of abstraction here remains high but is generally more melodic. The slower tempo and calmer rhythms make for a more stately and less severe feeling. After this brief respite, the tempo and dynamics again pick up and the broken rhythms and multiple layers return with a forceful and confident feeling. Kaleidoscope continues to be an effective piece and the audience seemed to appreciate it despite its formidable complexity.
Zoom Tube (1999), by Ian Clarke was next, performed by Sarah Wass. This piece is scored for solo flute and proved to be something completely different. Ms. Wass offered a few preliminary remarks to the audience describing some of the extended techniques and pitch bending that is included in Zoom Tube. This began with a soft rushing sound of air, absent of any musical pitch. Soon, a few familiar notes could be heard among the blowing sounds and the rattle of key pads on the flute. Ms. Wass manged also to hum a few tones into the air stream. The rhythms were lively and the sounds issuing from the flute were a collection of the familiar and the unusual. A ghostly melody could be heard underneath the airy sounds along with conventional musical notes. A sudden ‘yeow’ was vocalized by Ms. Wass, just before the piece concluded. The preponderance of unfamiliar flute sounds in Zoom Tube did not seem to discourage the audience, who appreciated the effort by Ms. Wass in bringing this unusual music to the stage.
Perhaps the most relentlessly abstract piece on the program was Dual Velocity (1998), by Pierre lalbert. This was performed by Nic Gerpe on piano and Timothy Loo, the excellent cellist of the Lyris String Quartet. Mr. Gerpe opened with a few preliminary remarks describing the complex rhythmic patterns, independent lines and the inclusion of quarter tones present in Dual Velocity. Accordingly, the piece opened with a few soft cello notes followed by a rapid rise in the dynamics, the tempo and the increasingly convoluted rhythms. This created an exotic, almost middle eastern feel. The piano then entered with mysterious, short phrases that rapidly devolved into complicated patterns both fast and very abstract. The two instrument lines were completely independent, adding to the already intricate texture. The coordination between the players was all the more remarkable given the technical challenges present in the playing. There were slower sections but these always gave way to faster stretches that tested the limits of the performer’s virtuosity. Dual Velocity is a strong dose of the complexity typical of contemporary new music and the masterful playing heard in this concert did much to keep it intelligible.
Dash (2001), by Jennifer Higdon was next, and this was performed by Sarah Wass on flute, Pat Posey on saxophone and Katelyn Vahala, piano. Pat Posey offered some preliminary comments stating that the piece was “Fast, like a race…” And so it was. The rapid opening of notes running up and down the scales set a torrid pace as all three instruments contributed to the frantically busy feel. The rushed feeling in the music was in keeping with the composer’s intention of evoking the fast pace of our contemporary life. No doubt many parents in the audience could relate. The rhythms were engaging, intricate and always hasty, adding to the flat-out scramble. The saxophone added a warmer timbral touch, making the overall feeling just that much more relatable. The three performers exhibited excellent technique and coordination in this very challenging piece.
Running Spring (2020) was next, composed and realized by Los Angeles – based Alexander Elliott Miller. This was performed on electric guitar in conjunction with a formidable amount of digital processing. Miller explained that this piece was inspired by his penchant for long distance running during the pandemic. Accordingly, Running Spring began with a number quick plinking sounds, evoking perhaps the first few steps of a run. These seemed to be looped and the rhythms suggested continuous movement. More sounds were added, building into a nice variety and the piece continued at a steady, comfortable pace. There was an introspective feel to this, much like the way jogging lets the mind focus on ideas and the abstract. A faster tempo marked a sprint to the finish. Running Spring puts many different sounds under the control of a single player, impressively expanding the creative possibilities.
The final work on the concert was Gran Turismo (2010) by Andrew Norman. This was scored for eight violins and enlisted the services of most of the best string players in Los Angeles. All were conducted by Jens Hurty. A good thing the ensemble had a conductor, because the piece began as a fast scramble of sounds that nicely evoked the chaotic starting of a motor car race. All the violins seemed to have separate lines, only occasionally connected by related rhythms. Overlapping phrases rapidly piled up one upon another, creating a wonderfully abstract texture. The virtuosity and control that was on display here was exceptional and great waves of sound washed out into the audience. Gran Turismo was in the same lane as the earlier Dash, both being effective commentaries on speed combined with recklessness. The audience responded to the tremendous effort fut forth by the eight violinists with heartfelt applause.
This GOAT concert was as complex and abstract as any, yet managed to be accessible and entertaining to an audience that was generally not familiar with contemporary music. A post-concert reception afterwards in the garden was a chance to meet and greet. Pasadena Conservatory students were on hand to perform popular music covers and their playing was both impressive and polished.
The GOAT concert series are a fine outreach to the community. The next GOAT concert will be Sunday, March 24, 2024 at 4:00 PM.
The violinists performing Gran Turismo were:
Alyssa Park
Marena Miki
Shalini Vijayan
Kyle Gilner
Aimée Kreston
Andrés Engleman
Sara Parkins
Elizabeth Hedman