The Rite Through an Eclectic Spectrum


spring

Composers Concordance com/con 0041

Gene Pritsker strikes again.  In this new work just released on CD he manages to pay homage to Igor Stravinsky in this eclectic parody of The Rite of Spring.  And one can’t possibly miss this as being a reference to Gil Evans orchestrations of Rodrigo in the classic Miles Davis album Sketches of Spain.

This is a parody in the classical sense that it uses melodies from the original to create a different musical context.  This is neither an imitation of Stravinsky nor of the Davis/Evans disc.  It is more like an updating of the Evans/Davis concept with an eclectic mix of musical styles which incorporates jazz and classical elements and is perhaps freer harmonically than the older disc and more angular in its treatment of themes.

Franz Hackl’s prominent trumpet takes on the initial bassoon riff which opens the actual ballet and along with Pritsker’s guitar these two instruments seem to provide a sort of backbone for the later inclusion of Chanda Rule (what a voice!) and the four other musicians.  Everyone gets a chance to shine much like traditional jazz and the listener will likely always be able to identify the section referenced from the original score.  This is not a deconstruction…well, not entirely anyway.

What is very clear is that these musicians are having a lot of fun (and so is the audience from the few moments where you can hear them).  There are 8 discrete tracks all recorded live (which tells you much about the musicians’ confidence in their virtuosity).  This writer can’t get over the impression that much of the inspiration here comes from  1970s musical styles.  Now that is not generally thought of as the high point of musical inspiration in the pop world but here it functions as nostalgic fun.  There is fusion reminiscent of some incarnations of Gong, guitar solos that would be the envy of any hair band guitarist, vocals, scat singing and rap that put this writer in the mind of Earth, Wind, and Fire at various times and perhaps even a touch of Chick Corea as he tried to hang a tapestry of jazz on Alice in Wonderland.

Each of the sections makes reference more or less directly to various sections of the original ballet score and the entire ballet is pretty much represented (or torn apart) depending on your point of view.  This is serious high energy virtuosic jazz by a truly driven and dedicated group consisting of: Gene Pritsker (guitar, rap, DJ), Chanda Rule (voice), Max Pollak (tap dancer, percussion, rap), Franz Hackl (trumpet), Greg Baker (guitar), Philipp Moll (bass), Gernot Bernroider (drums).

This is a very appealing album though all Stravinsky fans might not like it and maybe all jazz fans might not like it.  But those same statements could be made about the Miles Davis/Gil Evans recording reference earlier.

This live recording from the Outreach Music Festival 2014 in Austria was recorded by Sigi Konzett and Andreas Wein with mixing by Wein.  This release is on Composers Concordance Records.  It was set for release on December 8th.  Check it out.  It will rock your world.

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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.

 

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.

 

Emanuele Arciuli, Defining a Genre: Walk in Beauty


walk in beauty

Innova 255

This 2 CD set virtually defines a genre.  Following in the traditions of such notable compilations as Robert Helps’ “New Music for the Piano”, Alan Feinberg’s wonderful series of discs on Argo records among many others we see Arciuli displaying his grasp of music in the tradition of the gentle musical anthropology found in the music and scholarship of Peter Garland.  The album’s title comes from Garland’s lovely multiple movement Walk in Beauty (1992) released on New World records in the 1990s.  The present collection is both nostalgic and forward looking reminding us of great past efforts and introducing us to new work.  It is a look at a loosely defined style of mostly late 20th century American piano music through the lens of a non-American artist.

Garland’s interest in Native American myths and music inform his post minimalist ethic and the additional pieces chosen for this two disc set reflect similar artistic sensibilities.  Emanuele Arciuli is an Italian pianist whose interests range from the Second Viennese School to the unique compositions of Thelonius Monk.  He also has a strong interest in classical music from Native American traditions which puts him very much in sync with Garland’s work as well.  Here he has chosen music which he clearly understands and which appear to have deep meaning for him.

There are 28 tracks on 2 discs representing 13 composers.  Five of these composers are explicitly affiliated with their respective Native American traditions and the remaining eight composers take their inspiration at least in part from the rich music and/or mythology of those cultures.  The bottom line here is that these are carefully and lovingly chosen works which open a window on one fine musician’s perception of a certain Western/Native American/New American style which, at worst, holds up a mirror and, whether we like it or not, it tells us something about who we are and from whence we came.

Connor Chee‘s “Navajo Vocable No. 9” opens the album and sets the tone.  This is one of a series of piano pieces by this fascinating composer/pianist whose star is deservedly rising.  His work celebrates Navajo culture and is informed as well by his training in traditional western art music.

This is followed by Peter Garland‘s “Walk in Beauty”.  This piece is representative of Garland’s post-minimalist, impressionistic style.  It was previously recorded so wonderfully by Aki Takahashi on the eponymously titled New World Records album from the early 1990s.

Garland’s music is fairly well documented but deserves a wider audience. (Curiously he does not have a dedicated web site.)  His scholarship and promotion of new music also serve to place him very highly among this countries finest artists and scholars.  In addition to his compositional output he is known for his Soundings Press publications and his papers are now held by the University of Texas at Austin.

Kyle Gann is, similarly, a scholar and a prolific composer.  He has for many years demonstrated a keen interest in Native American myths in his diverse and creative output.  Gann is here represented by his “Earth Preserving Chant”.

Michael Daugherty is known for his incorporation of pop culture in his work and has been recognized with no fewer than three Grammy Awards.  His work is rooted in pop Americana and “Buffalo Dance” is his homage to Native Americana.  And if his homage seems a bit P.T. Barnum at times, that too is Americana.

John Luther Adams, a recent Pulitzer Prize winner for his orchestral work, Become Ocean, is a prolific composer who derives much of his inspiration from the mythology of Alaskan natives.  Adams spent many of his creative years in Alaska working with ecological projects as well as musical ones.  “Tukiliit” is representative of this work and pays homage to Native American/First Nation peoples.

Raven Chacon is an emerging composer who has produced a great deal of work though little appears to be available on recordings.  “Nilchi Shada’ji Nalaghali” (Winds that turn on the side from the Sun) is an electroacoustic work serves as a little sample of this artist’s work and its inclusion in this fine collection alone suggests that the remainder of his work deserves to be explored.

Martin Bresnick is an honored member of the American Institute of Arts and Letters and his work is fortunately well known.  The present piece, “Ishii’s Song” is a reference to an American Indian, the last of his tribe who lived out his life under the protection and scrutiny of anthropologist Alfred Kroeber at the University of California Berkeley.  His spirit still seems to linger in the Bay Area and this piece is a sort of homage to him.

This set contains two works by Louis W. Ballard (1931-2007) who was a Native American composer that composed classical concert music.  His work is steeped in Native American mythology and deserves to be better known.  Leave it to a non-American to point out this deficit.  Arciuli makes a strong case for listeners and for other musicians to embrace this neglected artist.  Disc Two track 2 contains the “Osage Variation” and Disc two tracks 13-16 contain his “Four American Indian Piano Preludes”.

Jennifer Higdon is a star already very much risen on the musical scene and she is here represented by a substantial piano piece called “Secret and Glass Gardens”.  Higdon, also a recipient of the Pulitzer Prize, is one of those composers who manages to be friendly and accessible as well as modern.  Arciuli seems to perceive similarities in her vision that make this work fit in convincingly in this collection.  Hers is seemingly a similar romanticism and nostalgia and Arciuli has convinced at least this listener of the kinship of this piece in the vision of this collection.

Arciuli introduces another composer unknown to this reviewer, Peter Gilbert.  This young composer with an impressive resume is the co-director of the composition program at the University of New Mexico.  The offering here is his set of four “Intermezzi” for piano.

The inclusion of Carl Ruggles‘ “Evocations-Four Chants for Piano” seem at first to be a strange choice but following the Gilbert Intermezzi one gets the impression that the Americana that is Ruggles is a part of the provenance of this collection.  Ruggles coarse and famously racist attitudes hardly fit with the generally romantic vision of this collection but Americana as perceived by a non-American need not edit the unsavory from the overall picture.  The music is what this is about and these are indeed masterful little essays and a part of the American grain.

Another new name is given a brief appearance in the “Testament of Atom” by Brent Michael Davids.   This young composer’s clever website lists a plethora of works whose titles resemble many of the pieces on these discs.  Again we must trust the artist that his inclusion of this work is representative of his vision of this version of Americana.

For his concluding track Arciuli does a wonderful thing by including the work of Talib Rasul Hakim (1940-1988), another too little known American composer.  Born Stephen Alexander Chambers, he changed his name in 1973 when he converted to Sufism, a spiritual sect of Islam.  The music, “Sound Gone”, is a fitting finale to this beautiful, challenging, and ultimately inclusive collection of Americana.  Bravo, Mr. Arciuli and thank you for the gift of showing us some of the best of how we Americans look to you.

 

 

Femenine, a Lost Julius Eastman Recording, a Major Treasure


This is an epic minimalist masterpiece that has the same sort of almost full orchestral impact that one hears in works like Reich’s ‘Music for 18 Musicians’, Riley’s ‘InC’, and perhaps Glass’ ‘Music with Changing Parts’ or ‘Music in 12 Parts’.  The point is that it is entrancing and engaging music that deserves to be heard.

Julius Eastman (1940-1990) was an American singer, performer and composer whose work was little known until after his untimely death.  It was the efforts of composer Mary Jane Leach who performed a labor of love essentially saving Eastman’s work from obscurity when she called upon her fellow musicians and artists to help her gather all the extant recordings and scores many of which were lost after Eastman was evicted from his apartment not long before he died.  Her Julius Eastman page is a valuable reference and her work has inspired further research and performances of Eastman’s music.

Leach’s substantive initial efforts resulted in the release of the 3 CD set, Unjust Malaise which made available all of the then known serviceable recordings of this composer’s music.  Since then this recording became available and it may be the finest that Eastman did.

This is a live recording of a performance from 1974 which is quite lucid and listenable.  It starts slowly but quickly finds its rhythm and pace and provides an uninterrupted 70 minutes of consonant, even romantic sounds.  It’s relation to femininity or any gender issues is not clear, perhaps not even the point.  This piece also seems to have had a companion (called masculine) which is sadly now lost.

Anyone interested and entertained by the minimalist works already cited will find this work very inviting.  Hopefully the release of this recording will encourage a revival of this work and it will be performed again soon.  We as consumers are blessed to have this major work by this major composer available for listening and study.  Eastman deserves recognition as a composer and this disc certainly is a strong support for that.

Oceanus Procellarum: Gareth Davis and Elliot Sharp


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I recall excitedly taking a class in college in the late 70s which dealt with post 1950 composition.  The professor emphasized that the reigning characteristic of this music is “pluralism”, that is to say that anything goes and one gets less useful information from labels like, “classical”, “baroque”, “romantic”, “post-romantic”, “post-modern”, etc.  There is no question that this maxim remains very true and we now are seeing composers well-versed in virtually every technique known to the world of composition.

This album is a fine example of such pluralism.  Seeing names such as Elliott Sharp and Gareth Davis one might expect something of the “free jazz” genre and that would not necessarily be an inaccurate description.  But it would fail to capture the wonderful writing for Ensemble Resonanz by the eclectic (yes, pluralistic too) Elliott Sharp.  As a composer Sharp draws on late twentieth century modern/post-modern compositional techniques along with a fair amount of his own creative innovations gleaned from his own experimentation and, no doubt, from his exposure to the wildly creative milieu of the Downtown New York scene of the 80s and 90s.

The result is like listening to shades of Penderecki and Xenakis as they wrote in the late 1950s though the 70s.  This is far more homage than derivation however and the achievement here is how well the soloists on guitar and bass clarinet fit into the work as a whole.  They fit remarkably well.

This could easily be called “Symphony for Ensemble with Obligatto Guitar and Bass Clarinet” or even Concerto if you like.  The point is that Sharp is an engaging composer whose works are very substantial.  From his beginnings on the New York Downtown scene with its mix of jazz, experimental and classical he has continued to explore and grow as a composer and that is what ultimately makes this release so compelling.

The musicianship here from Ensemble Resonanz, Sharp and Davis is of the first order and there is a certain sense of a tight fit such that, whatever may be improvised here sounds as though it were carefully written into this large orchestral fabric.  This is a powerful piece of music and repeated listenings will doubtless reveal more and more depth.  This is a very engaging piece.

Sharp is clearly evolving and growing as a composer and still hasn’t lost his marvelous collaborative and improvisatorial abilities.  This is a major work and a lovely recording.