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.

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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.

 

 

 

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.

 

 

 

Dane Rousay’s Blip


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Dane Rousay is a San Antonio based percussionist and this is the first of several planned releases.  This is a solo effort largely with drum kit and perhaps a couple of enhancements or additional percussive hardware.  There are 8 rather brief tracks on this album, all of an experimental nature and all very well recorded.

One small disclaimer:  I generally don’t review download only releases but Mr. Rousay was persistent and kind in his requests for a review.  Another aspect is that there appears to be an increase in this purely digital release format and to ignore that in favor of a demand for a physical product would likely be missing an opportunity to hear some good work.

Despite the brevity there is much for the ear.  The percussion seems to be closely miked and that is apparently the point here.  Each track is like a mini-etude or experiment which will presumably be used as material for other work.  Whether this is jazz, free jazz, new music, classical, etc. is actually beside the point.  The point appears to be the sound itself.

There are no liner notes and little in the way of explanation to be found even on the composer’s web site.  (That’s not necessarily a negative thing either.)  It is not clear if this music is improvised or composed or if there is any predetermined structure and there appears to be no intended connection between each of the tracks.  Most of the work is mallets or sticks of some sort hitting the targeted percussive surface though he does make use of extended techniques such as rubbing the mallets across the surface creating rich harmonics in the manner of the spectralists.

After multiple listens this reviewer is left with the impression of having visited the artist’s studio for a rather personal tour of some of his working ideas.  If you are a percussionist or a fan of percussion music this album will doubtless interest you.  It is not easy listening but it does appear to be a very personal exploration of this artist’s techniques and ideas.

I am looking forward to more from this interesting and seemingly uncompromising artist.

 

Exploding Debussy, Kathleen Supové


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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.

 

Other Minds 22, Resounding Sacred Tributes from Music to Wheaties


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Nicole Paiement led a touching performance of Lou Harrison’s La Koro Sutro

Nominally this was a celebration of the life and music of Lou Silver Harrison (1917-2003) but this last concert of Other Minds 22nd year celebrated so much more.

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Curator and Other Minds Executive and artistic director introduces the night’s festivities with these artistic icons titled St. Lou and St. Bill (Lou Harrison and his partner, instrument builder Bill Colvig). The portraits were sold by silent auction.

One can’t celebrate the life and music of Lou Harrison without acknowledging his life partner of 30 years, Bill Colvig (1917-2000).  Colvig was the man who designed and built the American Gamelan percussion instruments used in tonight’s performance.  These repurposed industrial materials were inspired by the Indonesian Gamelan which Lou Harrison encountered at the 1939 world’s fair which took place on Treasure Island just a few miles away.  Amirkhanian added another fascinating historical footnote when he informed the audience that Harrison had come to this very church to learn to sing Gregorian Chant some time in the 1930s.

A further and very intimate context was revealed when Amirkhanian took an informal poll of the audience asking who had met and/or worked with Lou Harrison.  By his count he estimated that about 40% of the audience had encountered “St. Lou” (this writer met the magnanimous gentleman in Chicago in the early 1990s).  Indeed many of the musicians had encountered and/or studied with Harrison and the passion reflected in their performances and the audiences response clearly shows why he (and Bill) were elevated tonight to secular sainthood.

The wonderful acoustics of the Basilica easily accommodated Harrison’s dislike of electrical amplification.  Even the solo and small ensemble music was heard as it was intended.

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The organ console at the Basilica.

The well attended concert began with an early rather uncharacteristic piece called Praises for Michael the Archangel (1946-7).  It reflected the influence of Arnold Schoenberg, one of Harrison’s teachers (Henry Cowell and K.T.H. Notoprojo were also among his teachers).  Harrison also famously worked with Charles Ives whose Third Symphony he premiered.  He also worked with John Cage and collaborated on at least one composition with him (Double Music).  The angular and dissonant sounds were lovingly interpreted by Jerome Lenk, organist and chorus master at the Basilica.

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Organist Jerome Lenk acknowledges the audience applause and allows himself just a touch of a satisfied smile for a well wrought performance.

Next was a solo harp piece Threnody for Oliver Daniel (1990).  (Oliver Daniel (1911-1990) was a composer, musicologist, and founder of Composer’s Recording Incorporated.  He was a friend of Harrison’s and a great promoter of new music).

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The Threnody was performed on this smaller troubador harp in Ptolemy’s soft diatonic tuning.

Meredith Clark played with focused concentration and gave a very moving performance of this brief and beautiful composition.  Harrison was fond of paying homage to his friends through music.

Clark was then joined by cellist Emil Miland for a performance of Suite for Cello and Harp (1948).  Composed just a year after the angular organ piece which opened the program this gentle suite is entirely tonal and very lyrical in its five movements using music repurposed from earlier works.  Clark here used a full sized concert harp.

The artistic connection between these performers clearly added to the intensity of the performance.  Despite the varied sources of the music the suite has a certain unity that, like Bach and indeed many composers, justifies the re-use of material in the creation of a new piece.

This was followed by another organ piece from Mr. Lenk.  This Pedal Sonata (1989) is played solely by the musician’s very busy feet on the pedals alone (no hands on the keyboard).  Listening to the piece it was easy to believe that more than just two agile feet were involved in this challenging and virtuosic composition.  It appeared to be quite a workout but one accomplished with great ease by the performer.

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Emil Miland and Meredith Clark smiling in response the the applause following their performance.

Following an extended intermission (owing to a dearth of restroom facilities) there was an awards ceremony.  Charles Amirkhanian was awarded the 2017 Champion of New Music Award (tonight’s conductor Nicole Paiement was also a previous awardee).  Presentation of the award was done by American Composer’s Forum President and CEO John Neuchterlein and Forum member, composer Vivian Fung.

Amirkhanian took the time to pay tribute to his mother (who also would have been 100 this year) his father (who passed away in December at the age of 101) and his charming wife of 49 years, Carol Law, who continues her work as a photographer and her participation in Other Minds and related projects.  He also gave thanks to the staff of Other Minds and his former associates at KPFA where Charles served as music director for over 20 years.

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American Composer’s Forum President John Neuchterlein looks on as composer Vivian Fung presents the prestigious 2017 Champion of New Music Award to a very pleased Charles Amirkhanian.

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In a touching and humorous move Mr. Neuchterlein advised the audience that Mr. Amirkhanian would be given yet another award tied to Minnesota which is the home of General Mills (yes, the cereal people).  Amirkhanian (who himself has quite a gentle sense of humor) was surprised and charmed to receive a box of Wheaties emblazoned with his image from whence he can now reign in the rarefied group of breakfast champions in addition to his other roles.

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The breakfast of new music champions.

The second half of the concert began with the co-composed Suite for Violin and American Gamelan (1974).  Co-composer Richard Dee was in the audience for the performance of this work written two years after La Koro Sutro (1972) and incorporating the same gamelan instrument created for that piece.  The substantial violin solo was handled with assurance and expressivity by Shalini Vijayan, herself a major new music advocate.

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Composer Richard Dee waving thanks for the performance of Suite for Violin and American Gamelan.

At about 30 minutes in performance the multiple movements all but comprised a concerto with challenging roles for both the percussion orchestra led by the amazing William Winant and his percussion ensemble and the soloist.  All were masterfully coordinated by conductor Nicole Paiement.

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Shalini Vijayan smiles from behind her bouquet acknowledging the thunderous applause following her performance.

In a previous promo blog I had noted that the location of this concert is a designated pilgrimage site, one where the faithful journey as part of a spiritual quest.  Well, having been sidelined by a foot injury for the last 3 1/2 months this amounted to a musico-spiritual pilgrimage for this writer who has not been able to be out to hear music for some time.  The last piece on the concert in particular was a powerful motivation for this personal pilgrimage and I was not disappointed.

The American Gamelan was played by the William Winant percussion group consisting of master percussionist Winant along with Ed Garcia, Jon Meyers, Sean Josey, Henry Wilson, and Sarong Kim.

They were joined by the Resound Choir (Luçik Aprahämian, Music Director), Sacred and Profane (Rebecca Seeman, Music Director), and the Mission Dolores Choir (Jerome Lenk, Music Director).

Meredith Clark joined on concert harp and Mr. Lenk on the small ensemble organ.  All were conducted with both discipline and panache by Nicole Paiement.

This multiple movement work is a setting of the Buddhist Heart Sutra and is done in an Esperanto translation by fellow Esperantist Bruce Kennedy and, though written for the world Esperanto Convention in Portland, Oregon, it was premiered at the University of San Francisco in 1972.  This was the fourth performance in the Bay Area, a fact that reveals the love that this area has had and still has for its beloved citizen Lou Harrison.

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Warm smiles proliferated as the bouquets were distributed amid a standing ovation from a very appreciative audience.

In fact this concert can be seen as a affirmation of so many things.  Harrison was a composer, teacher, dancer, calligrapher, Esperantist, conductor, musician, musicologist and early gay rights advocate.  It is a testament to Lou that he has been given a most spectacular birthday celebration which gave credence and appreciation to all aspects of this west coast genius and all his extended family.  It happened 50 years after the fabled Summer of Love and apparently the love continues in its way.

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A clearly very happy conductor Nicole Paiement’s smile echoes both her feeling and that of the attendees, a wonderful night.

Edgy Saxophone, Ryan Muncy’s “ism”


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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.