Longleash: Incorporating the Modern


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The strikingly beautiful cover art reminiscent of Magritte is eye catching and make this reviewer nostalgic for the days of the 12×12 format of LP covers.  (Album Artwork: Pink Lady (2015), Scarlett Hooft Graafland, Album Design: Laura Grey).  It is, perhaps by virtue of its nod to modernism, a metaphor for the content of this album as well as being its title.

Longleash is apparently the oh so clever operations name of a CIA project whose goal was to help proliferate American modern art in the cold war era.  These days I guess that would be “weaponizing” art.  And this modern piano trio has (curiously) elected this for their stage name.

Well the content of this album is nowhere near your traditional piano trio and may even seem subversive to some listeners.  Longleash are modernist throughout.  Pala Garcia, violin; John Popham, cello; and Renate Rohlfing, piano self-identify as a group with “traditional instrumentation and a progressive identity.”  Indeed they have chosen a rather young and pretty much unknown group of composers: Francesco Filidei (1973- ) is the oldest of the group followed by Clara Iannotta (1983- ), Juan De Dios Magdaleno (1984- ), Christopher Trapani, and Yukiko Watanabe.

Despite the varied backgrounds these composers seem to share a particular segment of a modern aesthetic.  They seem fond of judicious use of extended instrumental techniques and quasi-minimalist cells but their styles are quite listenable.  They seem to have aspects of pointillism, the occasional terseness of Webern, some rhythmic intricacies and the occasional nod to a melody.  In short they seem schooled in the variety of techniques which rose largely out of the twentieth century but seem beholden to none of them seeking instead to judiciously use their skills to create their own unique sound worlds.

There are five works on eight tracks and none of them can be easily described except to say the the combination of listening with the aid of the liner notes can be helpful.  That is not to say the works cannot stand on their own.  That is a useful experience in itself.

I suppose it might be best to say that these works will likely evoke a variety of reactions from various listeners.  This is the sort of album, at least for this listener, that benefits from a direct concentrated listen without distraction but it is also worth experiencing as background music, letting the experience creep in where it might while you do other things.  And then a read through the liner notes to try to divine the composers’ intents.

I’m not being facetious here.  I think this is a very intriguing album but one which is difficult to characterize in words and one which is beyond this writer’s expertise in terms of any useful analysis.  Also the newness of these voices does not allow one to place these works even within the contextual canon of each individual composer’s work.  We have free floating modernism which, as was thought in the cold war days, may invade one’s intellect in subversive ways.

The review immediately preceding this one, Soft Aberration, features this piano trio on it’s first track.  Now Scott Wollschleger is very closely associated with the Manhattan School of Music.  What is curious here is that Longleash has managed to find the present disparate group of emerging composers with no directly discernible connections to the Manhattan School but with a clear affinity for the same sound world.  It is the luck of the draw that these reviews have appeared in this sequence but the similarities are striking.  So if you like the spare sounds of the New York School (John Cage, Morton Feldman, Earle Brown, Christian Wolff) and their successors in people like Scott Wollschleger, Reiko Futing, and Nils Vigeland (who, along with Pala Garcia provides the useful liner notes) then this will be your cup of tea.  But even if you don’t know these folks you are still in for a fascinating journey of cutting edge ideas by emerging composers.  And even if it is not “weaponized art” subverting your mind to western ideology you can be assured that it is genuine and uplifting work done by some wonderful performers of composers you will likely hear from again very soon.

 

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Scott Wollschleger’s Soft Aberration


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New Focus FCR182

The cover and the booklet that come with this CD contain art that is a remarkably fitting metaphor for the music contained herein.  The almost monochromatic images with sometimes barely visible lines defining a space which requires serious concentration to discern effectively at times is very much like the music we hear on the disc.

Scott Wollschleger (1980- ) is an American composer who studied with Nils Vigeland at the Manhattan School of Music.  His work has been compared to that of Morton Feldman and, more generally, to the other members of the so-called New York School.  Vigeland has been active throughout his career performing and recording definitive versions of some of the best of Morton Feldman, John Cage, Earle Brown, and Christian Wolff.  It would appear that these voices and stylistic leanings are very much favored at the Manhattan School of Music.  A previous disc reviewed here with music by head of the composition department Reiko Futing, evokes a similar sound world.

This disc of chamber music contains five works on eight tracks ranging from 1’43” to 14’27” and all require almost as much concentration on the part of the listener as the extended techniques and performance requirements demand of the performers.  The dynamic range is from (generous) silences to forte.

The first track is by the seriously entertaining and odd piano trio called Longleash.  They demonstrate their expertise and concentration as well as their love for this musical genre in their performance of Brontal Symmetry (2015).  Unlike the other pieces here, Brontal Symmetry makes use of ostinati and there is a consistent sound field punctuated with silences.  It is an unusual but ultimately engaging piece.  Longleash consists of Pala Garcia, violin; John Popham, cello; and Renate Rohlfing, piano.

It is followed by the titular and sparse Soft Aberration (2013) for viola and piano played by Anne Lanzilotti, viola and Karl Larson, piano.  Though approximately the same length as the opening work the silences nearly suspend the perception of time and create a sense of sounds suspended in space in a sort of sculptural way.

Bring Something Incomprehensible into this World (2015) is for trumpet and soprano.  The three parts of this work are spread across the disc (tracks 3, 5, and 8) creating an even more spare sense.  It is interesting to play the three movements manually without the interruption of the intended track sequence to get a sense of the piece.  Again we have silences predominating with extended techniques demanded of the performers.  Andy Kozar plays trumpet and the soprano is Corrine Byrne.  The first movement at 6’39” is the longest followed by the second at 3’25” and the last at 1’43”.

America (2013) is a solo cello piece here played by John Popham (of Longleash).  It is a pointillistic mix of silence and extended instrumental techniques which makes reference to an art work by Glenn Ligon.

White Wall (2013) is for string quartet and is played by the Mivos Quartet consisting of Olivia De Prato, violin; Josh Modney, violin; Victor Lowrie, viola; and Mariel Roberts, cello.  This is an amalgam of unfolding processes which seem to be indiosyncratic to the composer.  It is very intimate music in that sense.  The piece is in two substantial movements.

The album concludes with the brief last part of Bring Something Incomprehensible Into This World.  Suffice it to say that there are attempts here to tie in philosophical as well as visual metaphors.  Wollschleger is apparently enamored of the writings of Deleuze, Nietzsche, and Brecht.  Her lies another tie in to the New York School with their love of visual metaphors and philosophy.  This is not an easy listen but it is a serious effort deserving of some attention.  The listener can decide whether the artists have indeed brought something comprehensible into this world…or not.

 

 

Coming Out Electric: Trevor Babb’s Warmth



Steve Reich’s masterful Electric Counterpoint (1987) opens this disc.  That work originally written for Pat Metheny  and has become pretty much a classic as well as a fine way to demonstrate a musician’s facility with multi-tracked guitar music.

Trevor Babb is a doctoral student at Yale and this appears to be his first album.  And what an album it is.  The choice of the opening work serves to demonstrate Babb’s ability to interpret, in his own individual manner, a work that has been recorded many times.  It remains a classic and very listenable work which belies the difficulties inherent in its performance.  Babb seems to take a bit more of a legato approach than previous interpretations but is definitely highly effective and this is a wonderful recording of the work.

It also serves to set the tone for the rest of this truly fine solo guitar and electronics debut album.  Electric Counterpoint is the first of 6 total works represented on this disc.  The remaining five selections fit the rubric of this collection in the overall sense but are definitely unique and challenging in their ways.

Paul Kerekes is not a familiar name to this writer and perhaps a new name to many.  His inclusion here introduces many to this composer and places him in the context of this interesting collection.  This young composer is apparently well known in the New York scene and seems to travel in the circles that include some of the most interesting artists currently working.  Trail is a very different piece than the Reich but demonstrates the range of the solo guitar and electronics genre.  This is a gentler, more meditative piece overall and one which piques interest in hearing more.

David Lang is a well known and very welcome name in new music and is here represented by Warmth, a classic Langian post-minimalist work which delights the listener while challenging the performer.

Septet by the late great James Tenney is one of those masterful compositions that is respected as a masterpiece but not often programmed.  This is due at least in part to it’s critical use of alternate tuning.  The effects intended by the composer can only be heard if the performer can play accurately the tuning involved.  It is a wonderful and listener friendly experience typical of the finest of Tenney’s grasp of how to use such tunings in the compositional process.  Babb executes this piece lovingly and this performance will likely help to nudge this work to a more frequent experience in the concert hall.

Babb introduces himself as a composer in Grimace, an impressionistic exercise in which he attempts to imitate both the style of Ligeti and evoke the image of a mask seen in an art exhibit.  Long tones and extended techniques predominate in this meditative drone-like work that demonstrates fine technique in both composition and instrumental facility.

The album concludes with Slope 2 by the emerging bass player and composer Carl Testa.   Again Babb introduces a new voice for the listener to explore.  This extended composition, more drone than pattern based, is one that deserves multiple hearings to discern its substance and to demonstrate its position in the larger rubric of this collection.

Babb produces a great debut here and makes a strong case for the genre of electric guitar with supporting electronics as being a viable format for a live concert.  He also seems to be defining that genre much the way that many solo artists are doing these days.  He seems to be constructing a repertoire establishing the classics (Reich, Tenney) and promoting the viability of works that he feels deserve a place in that repertoire.

This is a really delightful album and that extends, at least in this writer’s eye, to the cover design as well.  Again I will bemoan the loss of the 12  inch square format of LPs which could have made more prominent this lovely design by Colin Meyer and Trevor Babb.  Perhaps a 12 inch vinyl release may happen.  But until then the listener can settle most comfortably in the warmth of this truly fine release even in the smaller CD format or even as a digital download.

 

Nordic Affect: Raindamage, Wonderful Music from Iceland


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Definitely an unusual beginning to this sonorous album of chamber music from the happy, creative place called Iceland.  Some of these tracks are electroacoustic combining some sort of electronic sound producing and/or manipulating components along with the live musical performance.

Nothing familiar here but a lot worth listening to.  This is a collection of recent chamber music from what is apparently some of the finest composers working in Iceland today. And as a Sono Luminus product it is a sound object of the highest order.  It is a beautifully recorded set of pieces that goes a long way to demonstrate the high quality and creativity of both the compositional and performance to be found in this distant corner of the world.

There are six works represented here.  Three are exclusively electronic, one for acoustic instruments with electronics and two are for acoustic instruments alone.  All seem to share the eclecticism of modern composers and, to this writer’s ear, a rather distinct style which seems to come out of the Nordic regions these days.

Iceland has a long and proud musical history and has amassed a large creative classical repertoire in (at least) the 20th and 21st centuries.  Perhaps one can hear the “sounds of the north” in these works or perhaps that is simply the analogous associations of this listener’s mind but there does seem to be some affinity between the lovely cover photograph of melting ice and some of the sounds herein.

At any rate this is fascinating music beautifully performed by Nordic Affect, a more or less fixed ensemble of violin, viola, cello, and harpsichord with occasional electronic supplementation.  Performers include Halla Steinun Stefásdóttir, Violin; Guòrún Hrund Haróardóttir, Viola; Hanna Loftsdóttir, Cello; Guòrún Óskarsdóttir, Harpsichord with Nava Dunkelman on drum in the last track.

The composers Úlfur Hansson, Valgeir Sigurðsson, and Hlynur Aðils Vilmarsson are completely unknown to this writer though it is noted that Hansson studied at Mills College in California, itself quite a hotbed of new music innovation.  No matter, though, these are some amazing composers doing cutting edge work and deserve your attention.

All in all this is one fine disc of chamber music.

 

 

 

Exploding Debussy, Kathleen Supové


New Focus FCR 170

Increasingly it seems that new music performers take on a persona which includes a unique selection of repertoire and frequently a distinctive physical presence.  Kathleen Supové is a fine example.  Her distinctive physical appearance and attire becomes a metaphor for her very personal and intelligent choice of repertoire which sets her apart from her peers.  In addition to unquestioned virtuosity and beautiful interpretive skills her persona takes on an adjectival quality which prompts this reviewer to ponder the “Supovian” experience.


I may live to regret that neologism but the present album is offered as exhibit one (of about 20 albums) attesting to the distinctive choices of music that characterize her work.  This two disc album, The Debussy Effect, is a very modern homage (even sometimes with apologies) to the impressionist master.  Twelve tracks on the two discs feature seven contemporary composers.  Only three tracks are for solo piano.  The rest involve electronic enhancements and or “soundtracks”.

Initially I had hoped to be able to say something useful (if not particularly insightful) to prospective listeners/buyers of this album about each of the pieces here but after several listens I can only reliably say that the material makes for a great and entertaining listening experience.  It harbors complexities that cannot be fairly recounted in such a brief review.  (And this reviewer has a limited knowledge of Debussy as well.)

Here are works by some of the finest of the New York “downtown” music traditions that reflect some amazing and very deep appreciations that will likely change the way you hear Debussy.

Here is the track list:

Disc One

1.  Storefront Diva: a dreamscape by Joan La Barbara

2.  Dr. Gradus vs. Rev. Powell by Matt Marks

3.  Layerings 3 by Eric Kenneth Malcolm Clark

4.  What Remains of a Rembrandt by Randall Woolf

Disc Two

1-4.  Shattered Apparitions of the Western Wind by Annie Gosfield

5-7.  Cakewalking (Sorry Claude) by Daniel Felsenfeld

8. La plus que plus que lente by Jacob Cooper

All are engineered by the wonderful Sheldon Steiger for the New Focus recordings label.

So the take away here is as follows:  If you are a Debussy fan you will want to hear this album.  If you are a Kathleen Supové fan you will want to hear this album.  It is the second reason the seems the most salient here.  I expect to be listening to this many more times.  Enjoy.

 

Edgy Saxophone, Ryan Muncy’s “ism”


Tundra

This one wins the prize for the most charming and unusual presentation of a review copy that this writer has ever seen.  I received this rather plain looking slip case and contained therein was a little data card glued to a saxophone reed.  Fortunately I have just enough tech skills to find the little data card slot on my laptop and was able to then burn a CDr.

It was well worth the effort.  Ryan Muncy is a saxophone player with the increasingly venerable ICE.  (That is the International Contemporary Ensemble and not the less venerable immigration and customs enforcement by the way.)  He here takes the opportunity to demonstrate his considerable fluency on his instrument.  The deceptively simple cover belies some serious complexity in this release.

Beginning with James Tenney’s too seldom heard Saxony (1978) Muncy decisively lets the listener know that this is a hard core saxophone album with music that demands a level of skills and interpretive ability within the reach of only the finest musicians. Tenney’s piece is a multitracked composition concerned with acoustic phenomena produced by different tunings as do many of his works.  This piece is a species of minimalism, drone, even meditative music.  It’s slow unfolding demands and then rewards patience as it envelops the listener in lovely, trippy sound masses.  At over 20 minutes it is the biggest piece here and alone justifies purchasing this album.

What follows are 5 more tracks of similarly extreme experimental music with various extended techniques albeit on a much smaller scale.  Each is like a little study focusing on one or more extended techniques.  All but one are recent compositions by composers yet unknown to this reviewer.  The last piece is by the late great Lee Hyla (1952-2014) and is from 1979, making it contemporary with the opening Tenney piece.  Muncy demonstrates his facility with tuning, multiphonics and other creative techniques demanded by these composers.

Here is the track list:

James Tenney-Saxony (1978)

Erin Gee-Mouthpiece XXIV (2015)

David Reminick- Gray Faces (2011)

Morgan Krauss- masked by likeness (2014)

Evan Johnson- Largo caligrafico (2012)

Lee Hyla- Pre-Amnesia (1979)

Each of these pieces is seemingly a self contained universe and repeated listenings reveal more than simple experimentalism.

This is a disc for serious saxophone aficianados with an appreciation for free jazz and cutting edge instrumental techniques.  Truly a wonderful release.

Christopher Bailey: Glimmering Webs, New Piano Music


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I admit to some trepidation when I received this 2 disc set of piano music by an unfamiliar composer.  Even in the best of circumstances the “double album” concept can be a trying thing even to fans of a given artist.  I think I recall some similar trepidation confronting the newly released Elton John Yellow Brick Road double album.  I invoke some pop sensibility here in part for humor but also because that sensibility is one of the many threads that imbue this rather massive collection of pieces.

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Christopher Bailey

Christopher Bailey is a freelance composer who holds degrees from Eastman (BA, 1995) and Columbia University (MA, 1997 and PhD, 2002).  This is the eighth disc to contain his music though only the second to be dedicated entirely to his works (and his first double album).

The first disc is a journey of styles ranging from electroacoustic music (like the opening track which resembles the work of Mario Davidovsky at times) to several whose inspiration seems to venture closer to that of Pierre Boulez and ends with a lengthy sort of post minimalist piece appropriately titled, Meditation.  The composer says in his liner notes that this piece is his homage to “ambient music” and in particular, Harold Budd. The second track is a piece which is a sort of deconstruction of a Hall and Oates song, the pop sensibility to which I referred earlier.  And, yes, there is some nod to microtonalism as well.  Can you say eclectic?

The second disc contains the large Piano Sonata and a host of smaller works in various styles ranging from neo-classical to microtonal.

In the rambling liner notes the composer provides useful clues as to the genesis and intent of some of his ideas.  One need not read the notes to appreciate the music but the clarity that they provide was useful to this listener. More notes would have been appreciated though.  The composer’s and the pianists’ web sites are certainly useful but I doubt that the average listener will spend that much time researching these things and is then left with gaps in information and consequently in understanding.

The composition dates here range from 1994 to 2013 and embrace a wide swath of styles all with a strongly virtuosic aspect.  The second disc starts with the brief Prelude-Fantasy on the So-Called Armageddon Chord (2011).  The title is almost longer than the piece and, while it’s a fine work, the placement at the beginning of the disc preceding the major opus of his four movement Piano Sonata (1994/1996/2006) is a bit confusing.

I don’t mean to quibble with such things as track order and such but I was left with a sense of difficulty focusing.  Here is a large collection of music which ranges through pretty much the entire gamut of the last 200 years of music and it is presented en masse.  I think some re-ordering might have been helpful but that is one of the difficulties with multiple disc issues.  I listened numerous times to these discs and find the sheer volume and diversity a bit overwhelming.  It is as though this is too much for a single release.

Bailey says that the sonata is an homage to Stravinsky and those neo-classical elements are certainly clear but this listener hears some ghosts of Charles Ives and the polystylism of Alfred Schnittke as well.  The Sonata seems to be the highlight here.   It is wonderfully complex, kaleidoscopic, loaded with quotation, even grandiose at times, but eminently listenable and it is a highly entertaining piece also because of it’s virtuosity which is ably handled by the performer.

There are apparently three pianists on this recording, Jacob Rhodebeck, Shiau-Uen Ding and Augustus Arnone.  The problem is that it is not clear from the labeling or the notes who plays what.  This is actually a fascinating and engaging collection, well played, but I was surprised to be unable to attribute the various virtuosities to the deserving performers.

The recording, mastered by Silas Brown, is as good as it gets.  Overall quite a collection but one that left me with many questions as well.  Perhaps that was, at least partly, the intent but it is my hope that these ambiguities will not distract the listener and that more releases will be forthcoming.  This is very interesting music deserving of serious attention.