Kristjan Järvi Celebrates Steve Reich’s 80th


Kristjan Järvi (1972- ) is the youngest son of justly famed conductor Neeme Järvi.  He is also a frequent collaborator with the talented and ubiquitous Gene Pritsker among others.  This double CD represents a portion of his concerts in celebration of Reich’s 80th birthday.  There are apparently recordings available on the streaming service Medici TV of several other Reich works including the Three Movements for Orchestra (1983) and Desert Music (1986).  All these stemmed from a residency (2013-2014) that Reich enjoyed with the MDR Leipzig Radio Symphony and Chorus.

This 80th birthday tribute gives us yet another opportunity to hear another generation (other than Reich’s) interpreting this music.  For years only Reich and his ensemble had access to his scores but this is not the case with his orchestral and choral works.  Some may still consider Reich to be a difficult or experimental composer and this has limited the programming (and no doubt the commissioning) of music for such larger ensembles.  It is delightful to hear how other musicians respond to and interpret Reich’s music.  

In fact Reich’s music for larger ensembles is definitely worth hearing and hearing in different interpretations.  This set gives us the world premieres of beefed up orchestrations of You Are and Daniel Variations.  This writer looks forward to the orchestral version of Tehillim (1981) as well.  

This handsome two disc set includes the early Clapping Music (1971), Duet (1993), The Four Sections (1987), You Are Variations (2004),  and Daniel Variations (2006).  It is not a greatest hits compilation.  Rather it is a personal survey by a wonderful young musician.  Kristian Järvi is a conductor, composer and new music raconteur who is at the beginnings of a very promising career.  This album is a love song if you will.  Järvi clearly understands and loves this music and the opportunity to record these works, especially perhaps the intimate Clapping Music with the participation of the composer.

The Four Sections is tantamount to being a concerto for orchestra and is among this reviewer’s favorites among Reich’s works.  It has received too few performances and to date only two recordings.  This is the first live recording and gives insight into the amazing competence of both conductor and orchestra.  The 1993 Duet for Two Violins and String Orchestra is Reich’s homage to a musician of a generation preceding his, the wonderful violinist, conductor, and pedagogue, Yehudi Menuhin on his 80th birthday.  Soloists Andreas Hartmann and Waltraut Wachter handle this all too brief piece with skill and insight.  

The second disc contains studio recordings of the large orchestra versions of two very personal works.  These recordings alone are adequate reason to purchase this set.  Reich has gained much from tapping his Jewish heritage (musical, linguistic, and literary) in service of his art.  Both of these pieces feature texts from a variety of sources including the Bible, Hasidic aphorisms, the writings of Ludwig Wittgenstein among others.  In both works the texts determine to some degree the rhythmic choices of the music. 

You Are Variations is a four movement orchestral/choral work which sets a different aphorism in each movement.  It is among the composer’s more personal works and includes quotations from Wittgenstein (the subject of Reich’s undergraduate studies) along with Biblical and Talmudic texts in a beautiful existential meditation.

Daniel Variations is a powerful overtly political work written in response to the tragic murder of journalist Daniel Pearl who was beheaded by extremists in Pakistan in 2002. It is a deeply felt and very pained work which expresses the tragedy and creatively makes a link with the Book of Daniel as well as Pearl’s own words.  Reich is no stranger to political protest on his music and this is among his finest in that genre.

If you don’t know Reich’s music this is not a bad place to start.  If you are already a fan (as I’ve been for years) you will want this set to round out your collection.  

When Politics and the Arts Clash, OM 22


Isang Yun (1917-1995)


The relationship between politics and music is complex and varied.  There are many instances of clashes between these two disciplines from the politics of state and church sponsored music to its repression by those same institutions.

After centuries of Catholic church sponsored music a decision was made in 1903 to repress the performance of anything but Gregorian chant and any instruments except for the ubiquitous organ.  The reasons for this decree have been discussed but the end result was less work for musicians.

More recently the Nazi “degenerate art” concepts and the later proscriptions on “formalist music” in Soviet Russia similarly put artists and musicians out of work.  In fact many were jailed or killed.  Shostakovich and Prokofiev were high profile musicians who endured bans on performances of their music based ostensibly on claims that it brought (or potentially brought) harm to the state’s political visions.

Even more recently the blacklist created by Joseph McCarthy and his acolytes perpetrated a similar assault on actors, directors and writers like Dalton Trumbo (recently dramatized in the excellent film Trumbo with Bryan Cranston leading the fine cast).  This sad chapter of history did not completely end until the 1970s and only recently have efforts succeeded in restoring suppressed screen credits to these films.  Many lives were destroyed or irreparably harmed.  One hopes, of course, that such travesties will not be repeated but the recent efforts to eliminate the NEA suggest that such struggles remain with us.

On February 18th Other Minds will present a centennial celebration of two composers’ births.  Lou Harrison certainly expressed some political themes in some of his music but did not incur state sponsored political wrath.  Unfortunately this was not the case with the other honoree of Other Minds’ 22nd season.

In 1967 Korean composer Isang Yun was kidnapped by South Korean intelligence officers and taken to South Korea to face accusations of collaboration with the communist government of North Korea.  He was held for two years and was subjected to interrogation and torture based on information later acknowledged to have been fabricated.  Even so South Korea declined to allow the ailing composer’s request to visit his hometown in 1994.  He died the following year in his adoptive home in Berlin, Germany.

A petition signed by over 200 artists including composers Karlheinz Stockhausen, Hans Werner Henze, Gyorgy Ligeti and conductors Otto Klemperer and Joseph Keilberth among the many was sent to the South Korean government in protest.  A fine recent article by K. J. Noh, Republic of Terror, Republic of Torture puts the incident in larger political context. It is a lesson sadly relevant even now in our politically turbulent times.

The concert will feature works from various points in his career, both before and after the aforementioned incident.  It is a fine opportunity to hear the work of this too little known 20th century master.  Conductor and pianist Dennis Russell Davies knew and worked with both Harrison and Isang.  It is so fitting that he will participate along with his wife, justly famed new music pianist Maki Namekawa, in this tribute to the the late composer.  This can’t right the wrongs but what better way to honor a composer than by performing his music?

The performance is at 7:30 PM at the historic Mission Dolores Basilica at 3321 16th Street
San Francisco, CA 94114.  Tickets available (only $20) at Brown Paper Tickets.

Samuel Barber in Perspective, A New Documentary


It is surprising that this first ever documentary on American composer Samuel Barber (1910-1981) comes some 36 years after his passing.  This two time Pulitzer Prize winner whose now ubiquitous Adagio for strings was first championed by Arturo Toscanini was much lauded and performed during his lifetime.  His two grand operas (Vanessa and Antony and Cleopatra) were performed at the Metropolitan Opera and his increasingly popular Violin Concerto was first recorded by Isaac Stern with Leonard Bernstein and the New York Philharmonic.

Barber’s music is a personal favorite of this writer.  This mid-century neo-romantic master is gaining greater recognition through an increasing number of performances and recordings so this release would seem to be a timely one.  

Filmmaker H. Paul Moon will be screening an discussing the film ahead of its March 23rd release on disc.  The screening will be at the Jarvis Conservatory at 1711 Main Street in Napa, CA at 7 PM on Friday, February 10. It will be preceded by a performance of the justly famed Adagio for Strings in its original form for string quartet.

The trailer is available for viewing at the website noted above and the site contains further info about rental and purchase.

David Rakowski: Stolen Moments, Fabulous New Orchestral Music


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BMOP 1048

The spirit of jazz and, in particular, that of Duke Ellington and perhaps George Gershwin seem ever present in this recent release from the Boston Modern Orchestra Project.  David Rakowski (1958- ) is a new voice to these ears but clearly a highly developed one well schooled in writing for large orchestra and for piano solo within that context as well.

Two works are presented here, the four movement Stolen Moments (2008/2010) and Piano Concerto No.2 (2011).  Both are large, colorful works in a basically tonal/romantic context but with clear modernist influence.  Nothing experimental here, just sumptuous orchestral writing and a challenging and interesting work for piano and orchestra.  It was only from reading the useful liner notes that I learned Rakowski had been a student of Milton Babbitt (1916-2011), a composer famous for his hard nosed complexity.  In fact Rakowski actually quotes from Babbitt and this music is a tribute to the education received from this man (keep in mind that Babbitt also taught harmony to Stephen Sondheim).

It is as difficult to grasp that Rakowski was taught by Babbitt as it is to believe that, by his own assertion, he knows very little about jazz.  The first work seems to channel the spirits of Duke Ellington and George Gershwin more than Babbitt for sure.  This four movement orchestral suite, in it’s many moods, is melodic, jazzy and engaging in a way that can’t fail to entertain.

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Amy Briggs (image from the artist’s web site)

Amy Briggs has long been a collaborator with Rakowski and is an artist who has successfully made her career exclusively playing contemporary music.  This second of Rakowski’s concertos for this instrument was written for her and she plays it magnificently.  She clearly has a feel for the jazz rhythms and handles the virtuosic writing as though it were second nature.

The concerto ventures into a variety of moods and provides ample opportunities for many BMOP soloists to have their moments.  It is basically a classical three movement structure with multiple subdivisions within each movement.  These large movements come in at nearly 15 minutes each and are practically works unto themselves though they clearly adhere to the same basic vision.  The second movement is dedicated in memory of Rakowski’s teacher Milton Babbitt.  I’m sure he would have approved.

This is in fact the second time that Gil Rose and his massively talented musicians have chosen to survey some of Rakowski’s music.  That alone should be enough to clue listeners in to a potentially good listen.  Rose has been amassing a catalog of music by modern composers whose work deserves attention and, while this is an example of some pretty recent music, Rose and BMOP have done a fine job of giving attention to composers who have been unjustly neglected as well.   They seem to have a fine ear for quality music and this reviewer will listen to anything they choose to record.

As usual with BMOP, the recording is bright and lucid allowing the listener to hear the fantastic details in these big and intricate but entertaining works.  The production is by Gil Rose himself with recording and post-production by Joel Gordon.  Another great volume in the growing BMOP canon.

Alberto Ginastera at 100


ginastera

Oberlin Conservatory OC 16-04

Let me start by saying that the only thing wrong with this album is that it is only one CD. Alberto Ginastera (1916-1983) is without doubt one of the finest composers of the twentieth century.  Stylistically he holds much in common with composers like his contemporaries Aaron Copland (with whom he studied), Carlos Chavez, Leonard Bernstein and others who incorporated the spirit if not always the literal music of his homeland’s folk culture into his music.  In additional to these nationalist works he wrote a substantial amount of traditional concert music which touched on the edges of modernistic trends.

He wrote three operas, two ballets. two piano concertos, two cello concertos, a harp concerto, three string quartets, a bevy of piano music and sundry other items.  It is simply not possible to contain a fair representation of his work on a single CD.  Despite that this disc is not a bad retrospective.  It is lovingly played and recorded and if it does not represent the whole of Ginastera’s oeuvre it is a nice sampling.

The disc begins with the wonderful Harp Concerto Op. 25 (1956, rev. 1968).  Though originally commissioned by Edna Phillips (principal harp of the Philadelphia Orchestra) she had retired before she could perform it and it was premiered in 1965 by the amazing Spanish harpist Nicanor Zabaleta.  This three movement work is certainly one of the composer’s finest works and is beautifully played by Yolanda Kondonassis with the Oberlin Orchestra under Raphael Jiménez.  This piece is one of the finest modern harp concertos and is representative of the composer’s international style with perhaps just a taste of modernism.

Next up is the single movement Pampeana Op. 16 (1947) with the great Gil Shaham on violin and his sister Orli Shaham on piano.  This is a sort of window on Ginastera’s earliest nationalist style full of melody and virtuosity.

The next work is the Sonata for Guitar Op. 47 (1976) played by Grammy winning virtuoso Jason Vieaux.  I had not heard this work and my first hearing was indeed a revelation.  This is a major work for guitar and a wonderful sonata in the classical form.  I gave these four tracks a few listens in an attempt to digest some of their beauty and complexity and I will doubtless give them many more listens.  This is a major piece that belongs in the repertory.

And, finally, we move to the earliest utterance here with the Danzas Argentinas Op. 2 (1937) in an exciting and dedicated performance from Orli Shaham.

The sound is wonderful and there are a geekily satisfying set of liner notes which include a useful analysis by James O’Leary, Frederick B. Selch Assistant Professor of Musicology, Oberlin Conservatory of Music.  All in all a beautiful production and a great introduction to Ginastera’s work but please, don’t stop here.  Make sure you get to hear his other work and perhaps the wonderful folks at Oberlin will consider a volume two?

Jennifer Koh, Putting Tchaikovsky in Context


tchaikoh

Cedille CDR 166

Let me start here with a confession:  I have never been a real big fan of the Tchaikovsky Violin Concerto.  However I am a huge fan of Jennifer Koh and of Cedille Records in their intelligent productions which place music like this in a more proper context.  The usual pairings of this concerto with Brahms or Beethoven only seem to highlight the distinct difference in style rather than a context more conducive to the appreciation of the music. Another problem with Tchaikovsky is that his reputation tends to hang on the 1812 Overture, the Violin Concerto, the first Piano Concerto and the last three Symphonies.  He wrote a lot more than that (including ten operas and three string quartets).

Now with that bit of whining out of the way let’s take a look at the recording at hand.  Jennifer Koh is one of the shining lights of contemporary violin soloists and that alone should be sufficient recommendation to listen to any of her recordings or performances. She holds a special place in this reviewer’s heart for her attention and expertise with contemporary music and for having performed the solo violin part in the most recent production of Philip Glass’ Einstein on the Beach.  In costume with a shaggy wig she brought new and highly virtuosic life to that obbligato violin part.

It is her virtuosity and her perspective as one of the more recent generations of artists to wield this classic string instrument that holds the main interest here.  The Tchaikovsky concerto has been the darling of all the great violinists from Heifetz and Kreisler to Milstein and Stern. I suppose that every violinist must confront this work at some point and it is a genuine challenge as well as a showpiece for virtuosity.

The other works on this disc (which are presented chronologically) are the Serenade Melancolique Op. 26 (1875), the Valse-Scherzo Op. 34 (1877) followed by the Concerto Op. 35 (1878) and finally the Souvenir d’un lieu cher Op. 42 (1878, originally for violin and piano orchestrated by Alexander Glazounov and published in 1896).  Hearing this concerto in the context of the composer’s other works for violin and orchestra does more clearly delineate the composer’s process.

In addition to providing a complete accounting of Tchaikovsky’s violin and orchestra music listeners are able to hear the interpretation by this wonderful artist.  Indeed she does truly grasp the grand romantic sweep of the concerto and the more intimate shorter works. Let me say too that if you like the concerto you will also find much delight in the shorter works which frame it on this disc.  Her virtuosity shines and Koh’s ability to handle romantic as well as modern repertoire certainly mark her as a versatile modern master.

Of course one can’t miss the powerful contribution of the orchestra in considering these performances.  The Odense Symphony Orchestra (Denmark) is absolutely stunning in its clarity and drive.  The conductor Alexander Vedernikov is of Russian musical royalty (both his parents were accomplished musicians) and was the conductor of the Bolshoi from 2001-2009.  He is definitely a name to follow and his feel for this music of his homeland is most genuine and exciting.

This truly excellent recording is produced by Grammy winning veteran producer Judith Sherman.  Session engineering is by Viggo Mangor with post-production and editing respectively by Bill Maylone and Jeanne Velonis.  Audiophiles might even want to have this disc for the sound alone.  It’s that good.

Stacy Garrop, A New Master of the Orchestra


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Cedille has tended to be very supportive of local artists (they are based in Chicago) and this is a fine example of them hitting a bulls eye.  Stacy Garrop boasts about 20 CDs which include her music and she has, as of 2016, began her career as a freelance composer.  She had taught composition at Chicago’s Roosevelt University from 2000-2016.

Her name is a new one to this reviewer but one which will remain on my radar.  This stunning disc contains three major works by her, the five movement Mythology Symphony (2007-2014), the three movement Thunderwalker (1999) which was her doctoral dissertation and Shadow (2001).

A quick look at Garrop’s intelligently designed website shows her to be a very prolific composer with works for almost every imaginable ensemble.  Scores and recordings can be ordered from the site.  Garrop earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).

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The composer at the piano (from the composer’s website)

Another of the nice features of this disc is the opportunity to hear the fine musicianship of the Chicago College of Performing Arts Symphony (and their chamber symphony) of Roosevelt University.  Conductors Alondra De La Parra and Markand Thakar are also new to this reviewer but I am glad to be able to acquaint myself with their skills in this recording. Listeners would do well to note these fine artists and to thank Cedille for supporting them. This is a fine example of producer James Ginsburg’s ability to recognize and promote local talent.

alondra_dlp3

Alondra De La Parra (from the conductor’s website)

 

 

 

 

Markand Thakar photos (c) dennis drenner 2012
www.dennisdrenner.com

Markand Thakar photos (c) dennis drenner 2012

The centerpiece here is, of course, the Mythology Symphony.  Its five movements were composed over several years and the symphony was first performed in its entirety in 2015. One is immediately struck by the directness of the composer’s invention and the elaborate but lucid orchestration.  This work would likely please any concert audience and its color and sense of narrative suggest almost cinematic aspirations.  Indeed Ms. Garrop could undoubtedly write for the screen with her wide ranging palette.

The second work, Thunderwalker, as mentioned above, is Garrop’s doctoral dissertation and the listener will doubtless perceive the fact that her style and skillful handling of the orchestra appear to already have been fully formed in this, her earliest orchestral composition.  The work, which does not have a specific program as does the symphony, still demonstrates the composer’s fascination with the mythological dimension as she weaves classical forms of fugue, pasacaglia and scherzo to describe her imagined image of the Thunderwalker.

Shadow (2001) is described in the notes as a reflection of the composer’s experience at the Yaddo artist colony.  Again her fascination with images to drive the music are present and her style remains remarkably consistent with the other two works on the disc.

The recording was engineered by Bill Maylone at the Benito Juarez Community Academy Performing Arts Center in Chicago.  Graphic design is by Nancy Bieschke with the lovely Medusa cover art by Thalia Took.  The very informative liner notes are by the composer.