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.

 

Both Homage and Nostalgia for Sergeant Pepper at the UC Theater


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Creative, practical staging and lighting was a unifying factor in this triumph from Undercover Presents.

There was a full house at the UC Theater on this Saturday, June 3rd in Berkeley.  It was the only performance of this homage to the Beatles’ Sergeant Pepper album which was released 50 years ago (actually June 2, 1967).  Most of the performers were not even a twinkle in their parents’ eyes when this landmark of music came on the scene.  The “Summer of Love” was happening in the Bay Area and this album was unquestionably an influence then.  Tonight’s show demonstrated how that influence continues.

The audience was a mix of aging hippies (and non-hippies) and younger hipsters (is it OK to use that term and have no negative connotation?).  Some, no doubt, came for a bit of nostalgia remembering where they were when they first heard the original.  Some came to hear the creativity of local artists meeting such a challenge.

It would have been easy to simply do average covers of the songs and cater only to the nostalgia but Lyz Luke’s Undercover Presents, as usual, aimed higher than that (and hit their mark).  They, under the direction of guest producer Joe Bagale, curated a show of creative interpretations of each of the 13 tracks utilizing some of the finest of the massive talents that call the Bay Area home.  The end result was a true homage from another generation of marvelously diverse artists who put their stamp on the iconic songs without losing any respect for the power of the originals.

Simple but effective stage design by Bridget Stagnitto was reminiscent of the iconic album cover with creative lighting and functional information integrated into the tableau.  Ryan John and Brendan Dreaper were lead sound engineers.

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As is customary for these shows the bands played the tracks in their original order beginning with the Electric Squeezebox Orchestra’s instrumental cover of the opening track.  Principal trombone Rob Ewing’s arrangement captured the essence of that opening and effectively set the stage for what was to follow.

(Correction:  Per Joe Bagale the opening number was arranged by soprano saxophone player Michael Zilber.)

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Vocalist Dublin sang a bluesy solo version of “With a Little Help From My Friends”, those friends being the Jazz Mafia Accomplices

Guitarist Jon Monahan takes responsibility for this arrangement which veered just a bit off of nostalgia to deliver a very effective solo vocal version (the original you may recall had that call and answer thing going on) of this, one of the best known tracks on the album.  Though it was not obvious, perhaps there was some homage intended to the late Joe Cocker who first saw the bluesy potential here when he presented his justly famed version at Woodstock in 1969.

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Raz Kennedy made effective use of backup singers in his soulful take on “Lucy in the Sky with Diamonds”.  He shared arranging credit with Nick Milo.  The spirit of the Supremes, Gladys Knight (and of course the Pips), and maybe a touch of James Brown seemed to be present in the house and this arrangement got a great review from the audience.  What a voice!

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Eyes on the Shore shared arranging credits in their digital synth inflected take on Getting Better.  They went further afield with the material than some and may have briefly lost the pure nostalgia seekers but the arrangement clearly succeeded in pleasing the crowd. One would expect that psychedelia be transformed by the digital world, right?  And so it was.

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The Avant Jazz Funk duo of Scott Amendola on percussion and Will Blades on Hammond Organ (how’s that for nostalgia?) and Clavinet turned in a very intense and rich improvisational battle in their purely instrumental version of “Fixing a Hole”.  Sometimes the melody was there and sometimes it was transformed in a musically psychedelic way that went quite a distance from the original.  But the use of the Hammond Organ and Clavinet themselves provided reassurance that they wouldn’t go too far.  The performances were blazingly intense and the whole house felt it.

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We again were treated to soul with backup singers as Nino Moschella transformed the innocent ballad of adolescent alienation, “She’s Leaving Home”, into a more darkly hued version that seemed to reflect an understanding of the loss of that innocence that we all must face eventually.  Nothing somber here but clearly a different understanding consistent with the overall mission of having another generation’s way of remembering this material.

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South Asian music and philosophy are inextricably linked to the psychedelic sounds of the mid to late 1960s and nowhere is this more obvious than with the Beatles whose study of Transcendental Meditation with their guru Maharishi Mahesh Yogi (born Mahesh Prasad Varma 1918-2008) while George Harrison studied sitar with Pandit Ravi Shankar (1920-2012).

Rohan Krishnamurthy (Mridangam, Hadjira frame drum), Prasant Radakrishnan (saxophone), and Colin Hogan (keyboard) share credits for their creative instrumental arrangement of “For Mr. Kite”.  Eschewing lyrics (which are etched in most of the audience’s minds anyway) they performed a stunningly unique rendition of this familiar song. Interestingly these musicians trace their influences to the southern Indian Carnatic tradition (somewhat different from the Hindustani traditions which influenced the Beatles) adding yet another layer of richness to the evening’s goings on.

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Colin Hogan indicts himself yet again in his arrangement of “Within You Without You”, that spacey Hindustani inflected song.  The Hogan Brothers (Steve Hogan, bass; Colin Hogan, accordion; Julian Hogan, drums; Moorea Dickason, vocals; Charlie Gurke, baritone sax) turned in a marvelous world fusion rendition of the tune (lyrics and all) to a hugely appreciative response.

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Iranian born Sahba Minikia, steeped in both Iranian and western classical traditions provided a touching arrangement of the classic, “When I’m Sixty Four”.  Featuring Mina Momeni on guitar and vocals (on video) accompanied by the Awesöme Orchestra in a song whose premise looks to the future as far as this evening looked into the past to ponder the endurance of romance.

In retrospect it is almost surprising that the marvelous diversity didn’t generate a presidential tweet of dissatisfaction.  Indeed a woman singing would produce more than a tweet of dissatisfaction in Tehran, birthplace of photographer and singer Momemi who also teaches visual arts in Canada.

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Vocalist Kendra McKinley practically turned “Lovely Rita” into a feminist anthem with some retro pop group choreography and background vocals to boot.  The visuals and the energy of the performance practically had the whole house dancing.

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Soltrón added Latin percussion and energetic dance to the already electrified atmosphere with their arrangement of the raucous “Good Morning”.  Kendra McKinley could be seen and heard tying in her energy from the previous performance as backup singer here.

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Lyz Luke stepped in to introduce the penultimate Sgt Pepper Reprise.

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The dancing energy was carried on by the colorful and energetic dancers of Non-Stop Bhangra.  They accompanied Rohan Krishnamurthy and Otis McDonald in Joe Bagale’s rocking arrangement (replete with lyrics) of the reprise of the opening.  It was like a live action version of the studio executed original performance with a stage filled with ecstatic musicians and dancers.

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Joe Bagale in his Sgt Pepper duds sings the lyrics hoping we’d enjoyed the show.

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The apocalyptic, “A Day in the Life” concluded the mission of homage and nostalgia in a bigger than life tableau of talent and diversity that connected the “there and then” to the “here and now”.  The famous extended last chord crashed in a peak of energetic music making to bring the performances to a close.

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The visuals were strongly reminiscent of the iconic album cover.

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There was no need to encourage the audience to sing along to the encore of “All You Need is Love”.  Fifty years hence we still need it and if we still don’t have it everywhere at least we had it here this 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.

American Muse, American Master: Steven Stucky on BMOP


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Steven Stucky (1949-2016) was sadly taken from the world too soon.  But we can rejoice in this wonderful new disc of (mostly) first recordings of some of his wonderful orchestral music and songs.  Boston Modern Orchestra Project adds another entry to their growing discography of must hear American music with this beautiful recording.

Three works are featured, Rhapsodies (2008), American Muse (1999), and Concerto for Orchestra (No. 1, 1987).  Only one, American Muse has been recorded (on Albany Records) before and all are worthy selections from the composer’s ample catalog.

Rhapsodies, the most recent work, is also the shortest at just over 8 minutes.  It was commissioned by the New York Philharmonic and the BBC Symphony and is for large orchestra and sounds as though it could serve as a movement in another Concerto for Orchestra.  Stucky, who was an expert on the music of Witold Lutosławski (1913-1994), was a master orchestrator as was Lutosławski though Stucky’s style is distinctly different reflecting a sort of friendly romantic modernism with serious virtuosity.  This little gem gives the orchestra and, no doubt, the conductor, a run for their money in this virtuosic and highly entertaining little sonic gem.  It was premiered in 2008 under Lorin Maazel.

The Los Angeles Philharmonic commission, American Muse was written with the fine baritone Sanford Sylvan in mind.  It is a four song cycle setting poems by John Berryman, e.e. cummings, A.R. Ammons, and Walt Whitman and was premiered in 1999 under Esa-Pekka Salonen.  Sylvan is a very fine interpreter of American music and first won this reviewer’s heart with his rendition of John Adams’ The Wound Dresser (also a Whitman setting).  One should never miss an opportunity to hear Sylvan’s work.

Again we are treated to Stucky’s acute and subtle sense of orchestration which works with the poetry unobtrusively paralleling the words with the musical accompaniment and seemingly creating its own poetry in sound. Sylvan is in fine voice and seems to be enjoying his performance, a very satisfying experience.

The inclusion of Stucky’s first Concerto for Orchestra which was commissioned by the Philadelphia Orchestra and premiered in 1988 (under Ricardo Muti) will satisfy fans of this composer’s work as it provides an opportunity to hear “the one that got away” so to speak.  It was the runner up for the Pulitzer Prize which he would later win for his Second Concerto for Orchestra (2003) in 2005.

In it’s three movements Stucky is clearly the master of his realm and creates a wonderful listening experience.  His sense of drama and emotion are stunning and serve to underscore the dimension of what the world has lost in his passing.  But it is time to leave sorrow aside and let the music speak and thus provide the composer with a dimension of immortality.

As usual the performance and recording are impeccable and Gil Rose continues to record wonderful music that deserves more frequent hearings and does honor to the memory of a cherished artist.  Now can a recording of Stucky’s 2012 Symphony be far behind?  Let’s hope so.

Grand Celebrations of Finnish Culture


BIS- 9048 SACD

The choice of repertoire, performers, and the quality of their recordings make any BIS records release worthy of attention.  This two disc set is a fine example.  Three major choral/orchestral works which celebrate the justly proud Finnish culture are given very fine performances in this live recording from 2016.

The earliest work, Jean Sibelius’ Kullervo Op. 7 (1892) is one of the less recognized masterpieces by Finland’s best known composer.  Based on the Finnish national epic, The Kalevala, this massive symphony has acquired a bit of its own mythology.  Though several recordings of this work now exist the world world premiere recording by the late Paavo Berglund (1929-2012) from the early 1970s brought this neglected masterpiece to a larger listening audience.  The intelligent liner notes by Andrew Barnett (and Olli Kortekangas) document and dispel the myths that Sibelius suppressed all or portions of this work which was premiered in 1892 yet had to wait until after the composer’s death in 1957 to receive its first twentieth century performance.  

In fact it seems more likely that the large forces required along with programmers’ preference for the composer’s later masterpieces were responsible for the unfortunate neglect of the present work.  It was the more romantically inclined myth of mysterious oppression that greeted Berglund’s triumphant premiere recording and this reviewer recalls being both charmed and intrigued by it.  Whatever the story the music is now a recognized early triumph by its creator and it is given a gorgeous reading by Finnish conductor Osmo Vänskä, (principal conductor of the Minnesota Orchestra which plays powerfully and definitively.

So why a second disc?  Well, Maestro Vänskä saw fit to commission a new work by contemporary Finnish composer Olli Kortekangas to serve as a companion piece to Kullervo and, then include a version with chorus of Sibelius’ best known work, Finlandia.  Together these three works would very satisfyingly fill an entire concert program.

Olli Kortekangas (1955- ) chose poetry by Finnish-American poet Sheila Packa and composed a 7 movement work (three are interludes for orchestra alone) in celebration of the 150th anniversary of modern Finnish migration to the United States.  The work, Migration (2014), is similar in orchestration with its use of male chorus and two soloists backed by a large orchestra.  The composer’s style is a sort of 21st century romantic style with tasteful modern touches.  

The focus of this fine new work is an affirmation of Finnish culture and its impact on the United States.  It seems both fitting and satisfying then that this program conclude with the landmark work of Finnish pride and nationalism, Sibelius’ best known work, Finlandia (1899).  But rather than just another reading of this classic of the concert hall  Vänskä chooses to do a version with chorus.  This was not the composer’s original intent but this version fits remarkably well in the context of this album.  

This is a very enjoyable album, well conceived and executed in every way.  Soloists Lilli Paasikivi and Tommi Hakala sing their roles with skill and passion as does the YL Male Voice Choir.  The applause track at the end of the Finlandia performance echoed the emotional experience of this reviewer and will likely do so for anyone who chooses to avail themselves of this fine example of recording art.

Words Fail and Music Succeeds: Violinist Yevgeny Kutik


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Politics requires words and indeed fails at times but music very much succeeds in this fine recording.  This charming collection organized loosely around songs without words is the third album by this emerging artist.

The music is largely 20th to 21st century (if you count the date of the transcriptions) but the sound and mood of the album ranges from the romanticism of Mendelssohn and Tchaikovsky, the post-romantic Mahler, to the neo-classicism of Prokofiev and a dash of modernism from Messiaen, Gandolfi, Andres, and Auerbach.  No words, no politics, just some really beautiful music.

There are 14 tracks of which the Mendelssohn and the Mahler will be the most familiar to listeners.  What is interesting here is a certain unity in these seemingly disparate works which range over nearly 200 years of compositional invention.  In fact this recital program strongly resembles in spirit the justly popular programs of Jascha Heifetz and his acolytes.  That is to say that this is at heart a romantic recital program sure to please any aficionado of the violin and piano genre.

Two of the tracks, those by Michael Gandolfi and Lera Auerbach are for solo violin.  The unaccompanied violin repertoire best represented by J.S. Bach’s Sonatas and Partitas is a relatively small one and one fraught with difficulties for composers as well as performers.  Fear not though, these pieces are well wrought and represent significant contributions to the solo violin literature.

The Gandolfi (1956- ) Arioso doloroso/Ecstatico (2016) was commissioned by Mr. Kutik and this is the world premiere recording.  The composer utilizes a basically romantic sounding style with clear references to Bach at moments to create a very satisfying piece imbued with depth but eminently listenable.  Gandolfi’s eclectic oeuvre is by itself worthy of further exploration.

Lera Auerbach’s (1973- ) T’Filah (2015) is a reverent (though not excessively somber) prayer written in memory of the victims of the Nazi holocaust.  Auerbach shares some Russian roots with the soloist and this brief composition will leave most listeners wanting to hear more from this fine and prolific composer.

Timo Andrés (1985- ) plays the piano on the eponymous track Words fail (2015), the second of the two works commissioned by Kutik and premiered on this disc.  He is a skilled composer using a wide variety of compositional and instrumental techniques (which he mentions in his liner notes) to create a sort of modern song without words that fits so well in this program.  Andrés is certainly among the rising stars both as composer and performer.

One should definitely pay attention to the fine work of Kutik’s accompanist John Novacek whose precision and interpretive skill so well compliment the soloist.  The art of the accompanist shines very clearly here.

Overall a great recital disc from a soloist from whom we will doubtless continue to hear great things.

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.