Eclipse of the Son: Mischa Zupko


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Mischa Zupko (1971- ) is a composer, a pianist, and a professor of music at Chicago’s De Paul University.  He is the son of avant garde composer Ramon Zupko (1932- ).  Mischa’s work featured on this Cedille release suggests that the proverbial apple has fallen quite a distance from the family musical tree.  That is neither bad nor good but it is striking.

The elder Zupko’s work, despite its significance, is too little known.  A few recordings exist on the old CRI recordings label and this writer recalls being impressed by them. According to the Chicago Reader article he really didn’t want his son to go into the music business but apparently what is in the blood is in the blood.  A curious note too is that one can find articles on both these composers on Wikipedia but not the English/American one, rather curiously both are to be found on the Dutch Wikipedia site.

The present disc is apparently the first dedicated entirely to this emerging composer’s work (now numbering some 50 pieces).  It is a disc of chamber music and from the first the listener is immediately aware that the younger Zupko is possessed of a sort of retro romantic bent.  Think of the great virtuoso composer/pianists of the 19th century like Franz Liszt and Anton Rubinstein.  He does gratefully acknowledge his father as inspiration but clearly follows a different path.

This music is about passion and virtuosity.  The composer defines this clearly in his liner notes.  The performers Mischa Zupko on piano, Wendy Warner on cello, and Sang Mee Lee on violin demonstrate both passion and virtuosity on this lucid recording.  They play very well together and they all have ample opportunities to show off their respective skills.

There are seven works on ten tracks dating from 2005 to 2015.  The first five tracks consist of “Rising” (violin and piano, 2009), “Fallen” (cello and piano, 2010), “From Twilight” (solo violin, 2015), “Eclipse” (violin and cello, 2014), and, “Nebula” (solo cello, 2015).

There then follows the four movement”Shades of Grey” (2005) for violin and piano.  This is the earliest work on the disc but stylistically it is consistent with the rest of the disc. Zupko certainly develops as a composer but his style seems pretty firmly established.

The last track seems to be the big feature here.  “Love Obsession” (cello, piano, 6 pre-recorded cello tracks; 2013) is perhaps the most adventurous and grand of the works on this recording.  As with the other works on the disc the composer cites various literary influences and inspirations consistent with the apparently romantic ethic which seems to drive his creativity.  And as with the other tracks we hear a tonal romantic idiom filled with passion.

My title for this review is not intended to suggest that the younger Zupko has surpassed his father in any way except perhaps in that his work has, whether by accident, timing, design, or whatever, gotten more attention.  This is not a case of Johann Strauss Jr. and Sr. in jealous competition, this is simply another generation responding to it’s muse and that is worth celebrating.

 

 

Memories and Memorials: Guy Klucevsek’s “Teetering on the Verge of Normalcy”


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Starkland ST-225

As someone who grew up attending Polish weddings and hearing more than his share of polka music I was fascinated at the unusual role of the accordion as I began to get interested in new music. People like Pauline Oliveros and Guy Klucevsek completely upended my notions of what this instrument is and what it can do.  The accordion came into being in the early 19th century and was primarily associated with folk and popular musics until the early 20th century.  It has been used by composers as diverse as Tchaikovsky and Paul Hindemith but the developments since the 1960s have taken this folk instrument into realms not even dreamed of by its creators.

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Guy Klucevsek with some of his accordions

Guy Klucevsek  (1947- ) brought the accordion to the burgeoning New York “downtown” new music scene in the 1970s.  He began his accordion studies in 1955, holds a B.A. in theory and composition from Indiana University of Pennsylvania and an M.A. (also in theory and composition) from the University of Pittsburgh.  He also did post graduate work at the California Institute of the Arts.  His composition teachers have included Morton Subotnick, Gerald Shapiro and Robert Bernat.  He draws creatively on his instrument’s past even as he blazes new trails expanding its possibilities.  The accordion will never be the same.

Klucevsek has worked with most all of the major innovators in new music over the years including Laurie Anderson, Bang on a Can, Brave Combo, Anthony Braxton, Dave Douglas, Bill Frisell, Rahim al Haj, Robin Holcomb, Kepa Junkera, the Kronos Quartet, Natalie Merchant, Present Music, Relâche, Zeitgeist, and John Zorn (who also recorded him on his wonderful Tzadik label).  He has released over 20 albums and maintains an active touring schedule.  He recently completed a residency (April, 2016) at Sausalito’s Headlands Center for the Arts.

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Starkland ST-225

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Starkland ST-209

Starkland has released no fewer than three previous albums by this unusual artist (all of which found their way into my personal collection over the years) including a re-release of his Polka from the Fringe recordings from the early 1990s. This landmark set of new music commissions from some 28 composers helped to redefine the polka (as well as the accordion) in much the same way as Michael Sahl’s 1981 Tango and Robert Moran’s 1976 Waltz projects did for those dance genres.

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Starkland ST-218

The present recording, Teetering on the Edge of Normalcy (scheduled for release on September 30, 2016), continues this composer/performer’s saga.  His familiar humor and his unique experimentalism remain present but there is also a bittersweet aspect in that most of these compositions are homages and many of the dedicatees have passed from this world.  Klucevsek himself will turn 70 in February of 2017 and it is fitting that he has chosen to release this compilation honoring his colleagues.

On first hearing, many of Klucevsek’s compositions sound simple and straightforward but the complexities lie just beneath the surface.  What sounds like a simple accordion tune is written in complex meters and sometimes maniacal speed.  To be sure there are conservative elements melodically and harmonically but these belie the subversive nature of Klucevsek’s work which put this formerly lowly folk instrument in the forefront with the best of the “downtown” scene described by critics such as Tom Johnson and Kyle Gann.  You might mistake yourself as hearing a traditional music only to find that you had in fact wandered into the universe next door.

Many favorite collaborators have been recruited for this recording.  Most tracks feature the composer with other musicians.  Four tracks feature solo accordion, two are for solo piano and the rest are little chamber groupings from duets to small combos with drum kit.

The first three tracks are duets with the fine violinist Todd Reynolds.  Klucevsek’s playful titles are more evocative than indicative and suggest a framework with which to appreciate the music.  There follows two solo piano tracks ably handled by Alan Bern. Bern (who has collaborated on several albums) and Klucevsek follow on the next track with a duet between them.

Song of Remembrance is one of the more extended pieces on the album featuring the beautiful voice of Kamala Sankaram along with Todd Reynolds and Peggy Kampmeier on piano.  No accordion on this evocative song which had this listener wanting to hear more of Sankaram’s beautiful voice.

The brief but affecting post minimalist Shimmer (In Memory of William Duckworth) for solo accordion is then followed by the longer but equally touching Bob Flath Waltzes with the Angels.  William Duckworth (1943-2012) is generally seen as the inventor of the post-minimalist ethic (with his 1977-8 Time Curve Preludes) and he was, by all reports, a wonderful teacher, writer and composer.  Bob Flath (1928-2014) was philanthropist and supporter of new music who apparently worked closely with Klucevsek.

Tracks 10-12 feature small combos with drum kit.  The first two include (in addition to Klucevsek) Michael Lowenstern on mellifluous bass clarinet with Peter Donovan on bass and Barbara Merjan on drums.  Lowenstern who almost threatens to play klezmer tunes at times sits out on the last of these tracks.   Little Big Top is in memory of film composer Nino Rota and Three Quarter Moon in memory of German theater composer Kurt Weill. These pieces would not be out of place in that bar in Star Wars with their pithy humor that swings. They also evoke a sort of nostalgia for the downtown music scene of the 70s and 80s and the likes of Peter Gordon and even the Lounge Lizards.

The impressionistic Ice Flowers for solo accordion, inspired by ice crystals outside the composer’s window during a particularly harsh winter, is then followed by four more wonderful duets with Todd Reynolds (The Asphalt Orchid is in memory of composer Astor Piazolla) and then the brief, touching For Lars, Again (in memory of Lars Hollmer) to bring this collection to a very satisfying end.  Hollmer (1948-2008) was a Swedish accordionist and composer who died of cancer.

As somber as all of this may sound the recording is actually a pretty upbeat experience with some definitely danceable tracks and some beautiful impressionistic ones.  Like Klucevsek’s previous albums this is a fairly eclectic mix of ideas imbued as much with humor and clever invention as with sorrow and nostalgia.  This is not a retrospective, though that would be another good idea for a release, but it is a nice collection of pieces not previously heard which hold a special significance for the artists involved.  Happily I think we can expect even more from this unique artist in the future.

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Guy Klucevsek, looking back but also forward.

The informative gatefold notes by the great Bay Area pianist/producer/radio host Sarah Cahill also suggest the affinity of this east coast boy for the aesthetic of the west coast where he is gratefully embraced and which is never far from his heart (after all he did study at the California Institute of the Arts and has worked with various Bay Area artists). Booklet notes are by the composer and give some personal clues as to the meaning of some of the works herein.  Recordings are by John Kilgore, George Wellington and Bryce Goggin.  Mastering is by the wonderful Silas Brown.  All of this, of course, overseen by Thomas Steenland, executive producer at Starkland.

Fans of new music, Guy Klucevsek, accordions, great sound…you will want this disc.

 

Reiko Füting: names Erased


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Reiko Füting (1970- ) is the chair of the music department at the Manhattan School of music.  The present album is actually my introduction to this man and his work.  It consists of a series of 15 works written between 2000 and 2014.

These works tend to emphasize brevity especially the solo vocal pieces (tracks 2, 4, 6, 8,  and 10).  These, originally for baritone and piano are here rendered very effectively as solo vocal pieces.  They are used as a sort of punctuation in this recording of mostly brief pieces which remind this listener of Webern at times.  They are in fact the movements of a collection called, “…gesammeltes Schweigen”  (2004/2011, translated as Collected Silence).  It is worth the trouble to listen to these in order as a complete set.

The first track here is also the longest piece on the album at 15:43.  Kaddish: The Art of Losing (2014) for cello and piano is an elegiac piece inspired by several people and seems to be about both loss and remembrance.  The writing in this powerful and affecting piece is of an almost symphonic quality in which both instruments are completely interdependent as they share notes and phrases.  The cello is called upon to use a variety of extended techniques and the piano part is so fully integrated as to make this seem like a single instrument rather than solo with accompaniment.  It has a nostalgic quality and is a stunning start to this collection of highly original compositions.

tanz, tanz (dance, dance) (2010) is a sort of Bachian exegesis of the Chaconne from the D minor violin partita.  This sort of homage is not uncommon especially in the 20th/21st century and this is a fascinating example of this genre.  The writing is similar to what was heard in the cello writing in the first track.  This piece is challenging and highly demanding of the performer.  It is a delicate though complex piece but those complexities do not make for difficult listening.

leaving without/palimpsest (2006) for clarinet and piano begins with a piano introduction after which the clarinet enters in almost pointillistic fashion as it becomes integrated to the structure initiated by the piano.  Again the composer is fond of delicate sounds and a very close relationship between the musicians.

names erased (Prelude, 2012) is for solo cello and is, similar to the solo violin piece “tanz, tanz”, a Bach homage.  The performer executes the composer’s signature delicate textures which utilize quotes from various sources including the composer himself.  And again the complexities and extended techniques challenge the performer far more than the listener in this lovely piece.

Track 9 contains two pieces: “ist-Mensch-geworden” (was-made-man, 2014) for flute and piano and “land-haus-berg” (land-house-mountain, 2008) for piano.  Both pieces involve quotation from other music in this composer’s compact and unique style. Here he includes references to Morton Feldman, J.S. Bach, Alban Berg, Gyorgy Ligeti, Schumann, Debussy, Nils Vigeland, Beat Furrer, Jo Kondo and Tristan Murail.

light, asleep (2002/2010) for violin and piano apparently began its life as a piece based on quotation but, as the liner notes say, lost those actual quotes in the process of revision.

finden-suchen (to find-to search, 2003/2011) for alto flute, cello and piano is a lyrical piece with the same interdependent writing that seems to be characteristic of this composer’s style.

…und ich bin Dein Spiegel (…and I am Your Reflection, 2000/2012) is a setting of fragments by a medieval mystic Mechthild von Magdeburg for mezzo soprano and string quartet.  This is deeply introspective music.

All of Fùting’s compositions have a very personal quality with deeply embedded references.  His aesthetic seems to be derived from his roots in the German Democratic Republic having been born into that unique nation state both separate from the West German state and still deeply connected to it.  He is of a generation distant from the historical events that gave birth to that artificially separate German nation but, no doubt, affected by its atmosphere.

The musicians on this recording include David Broome, piano; Miranda Cuckson, violin; Nani Füting (the composer’s wife), mezzo soprano; Luna Cholong Kang, flutes; Eric Lamb, flutes; Joshua Rubin, clarinet; John Popham, cello; Yegor Shevtsov, piano; Jing Yang, piano; and the Mivos Quartet.  All are dedicated and thoughtful performances executed effortlessly.

The recording is the composer’s production engineered by Ryan Streber.  This is a very original set of compositions which benefit from multiple hearings.

 

 

 

 

 

 

 

 

 

The Piano is Calling Me: Nicolas Horvath’s New Music Pilgrimages


Nicolas Horvath Lyon

Nicolas Horvath at the piano in Lyon

I first heard of this young Monacan pianist and composer when a composer friend, David Toub, told me that he was going to program one of this piano pieces.  That piece along with quite a few other performances are available on Nicolas Horvath’s You Tube video channel here.

Horvath developed a strong interest in contemporary music from Gerard Frémy among others and has been programming a great deal of new music ranging from the more familiar such as Philip Glass to a host of others including quite a few pieces written for or premiered by him as well as his own transcriptions and reconstructions.  He is known for his concerts in non-traditional venues with very non-traditional lengths of performance as well as traditional concerts.

His current projects include Night of Minimalism in which he performs continuously for 10-15 hours with a wide variety of minimalist and post-minimalist pieces and Glass Worlds in which he performs the complete solo piano works of Philip Glass (approximately 15 hours) along with pieces by an international list of composers written in tribute to Glass.  He is also an electroacoustic composer (he counts Francois Bayle among his teachers) and a visual artist all with a passion for contemporary works.

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The artist standing in one of his installations.

We had corresponded via e-mail over the last year or so and when I suggested the idea of interviewing him he responded by arranging time after a (traditional length) concert he gave in Minsk, Belarus on December 1, 2014.  I prepared for what I anticipated would be a one hour interview after which I imagined he would probably need to get to sleep.  But when I attempted to wrap up our conversation (at a couple of points) he immediately asked, “Don’t you have any more questions?”.  What followed resulted in approximately three and an half hours of delightful and wide-ranging conversation about this man and his art which he ended with the comment, “I must go, the piano is calling me.”  It appears that his seemingly boundless energy extends well beyond the stage.  The following January (2015) he gave the world premiere performance of all of Philip Glass’ 20 Etudes in none other than Carnegie Hall.

Nicolas Horvath (c) Jean Thierry Boisseau

Horvath with spent score pages as he traverses one of his extended performance ventures. (copyright Jean Therry Boisseau)

Since that time we have continued our correspondence and this affable, patient young artist continues on various projects and no sign of his interest or energy waning.  He recently sent me various photos of him in various settings pursuing his varied artistic interests for this article.

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Composer as well as performer in an electroacoustic performance without piano.

Horvath was born in Monaco in 1977.  He studied piano at the Académie de Musique Rainier III de Monaco and the École  Normale de Musique de Paris.  At 16, Lawrence Foster took notice of him in a concert and, securing a three year scholarship for him from the Princess Grace Foundation, was able to invite him to the Aspen Music Festival. After his studies in the École Normale de Musique in Paris, he worked for three years with
Bruno-Léonardo Gelber, Gérard Frémy who instilled in him a sensitivity to music of our time as well as Eric Heidsieck, Gabriel Tacchino, Nelson Delle-Vigne, Philippe Entremont and Oxana Yablonskaya. Leslie Howard got to know him and invited him to perform before the Liszt Society in the United Kingdom. He has been playing professionally for 7 years and puts his own characteristic style into his productions and performances.

In a move reminiscent of Terry Riley’s all night solo improv fests Horvath has performed several lengthy programs.  He has performed Erik Satie’s proto-minimalist Vexations (1893) in performances that ranged widely in length. One notable performance at the Palais de Tokyo lasted 35 hours, the longest solo piano performance on record as far as I can determine.  Previously this piece has been performed by tag teams of pianists (the first in 1967 in New York was curated by John Cage) to perform the 840 repetitions of the piece whose tempo or recommended duration is not specified.  Horvath, taking on a musicological mantle is preparing his own edition of this unique work.  He has published an 24 hour version on his You Tube channel here.

Given his intense schedule and vast repertoire he has been remarkably responsive and has an irrepressibly strong appetite for new music.  He tells me that he had worked on a project in which he planned to play all the piano music of the French composer Jean Catoire (1923-2005),  some 35 hours of material (in a single program, of course). Unfortunately that composer’s relative obscurity seems to have resulted  in insufficient support for the project which is, for now, on hold.  Here’s hoping that this can be realized sometime soon.

Horvath’s fascination with authenticity, completeness and performances of unconventional lengths uninterrupted by applause where audiences are invited to lay on the floor with blankets and sleeping bags and approach the piano seems unusual but he has been getting enthusiastic audiences and has enjoyed overflow crowds.  Like Terry Riley and perhaps even some of Keith Jarrett’s solo concerts there is a ritual feel to these marathon performances.  Regrettably I have not yet been able to attend one but I would love to partake in what must be a powerful shared experience.  He invites people to come to the piano and to watch, look at the score.  It is unlike the conventional recital and therein lies some of its charm.  At least one of his videos features a small sign which reads, “Don’t feed the pianist” and attests to his warmth and wonderful sense of humor.

His passion has parallels in his spirituality and he has pursued sacred pilgrimages which require a great deal of time and energy but without doubt fill a very deep and sincere need. More details and photos are available on his blog.  And, as with music, he is very open to discussing this very personal aspect of his life.

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The artist braving the elements on one of his pilgrimages.

There are conventional two hour with intermission style recitals in more conventional concert venues that he has played and Horvath also enjoys playing with an orchestra.  His performances of both of Philip Glass’ piano concertos can be viewed on You Tube and you can see the intensity of his execution.  This came through in the course of our interview as well when Mr. Horvath would speak of the music and then verbally imitate the rhythms (no doubt endlessly practiced) which drive his enthusiasm.  The music seems to be deeply integrated into his very being.

His first solo commercial recording was released in 2012.  It consists of Franz Liszt’s ‘Christus’, an oratorio composed in 1862-66 for narrator, soloists, chorus and orchestra.  Horvath plays a piano reduction done by the composer.  This is the first known recording of this unique and virtuosic set of piano works.  It is certainly an unusual choice for a debut recording but it is consistent with his very personal tastes.  (He lists Scriabin and Chopin as among his favorite composers.).   He is in the process of recording all of Philip Glass’ piano music for Grand Piano records distributed by Naxos.  At the time of this writing four well-received volumes have been released.  He is also planning to record all of Satie’s piano music and he has just recently released his rendition of Cornelius Cardew’s indeterminate masterpiece, Treatise.

I have seldom encountered a musician with such intensity and drive.  He is also one of the most skilled in using the internet to promote himself and his projects.  And though this is no doubt a man with a considerable ego he is in fact very unpretentious and very genuinely turned on, driven by the music itself.  Don’t get me wrong, he is concerned with developing his image and career but he seems happy to be doing the work he has been doing and he is, like any really good musician, self-critical and a perfectionist.

A quick look at his YouTube channel here reveals some of the range of his interests which include the standard repertoire along with interest in contemporary works.  Just released is a creative video with Horvath playing Glass’ Morning Passages while he apparently experiences a reverie involving a beautiful woman which could have been on MTV at its height.  Perhaps he is even channeling Oscar Levant who embraced roles in films along with his pianistic talents.  His website is a good resource for updates on his various projects and performances.

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Focused concentration at the keyboard.

As of the time of this writing his discography includes:

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Hortus Records 100 (2012)

A very unusual choice for a debut recording.  Nonetheless this is a distinctive recording which reflects the virtuosity as well as the careful scholarship which continues to characterize his work.  He managed to locate a couple of previously lost pieces in this set of composer transcriptions.  One also can’t miss the spiritual dimension here, as close to his heart as music and an equally important aspect of his personality.

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Grand Piano GP 677 (2015)

This first disc in the series manages to provide the listener with truly inspired interpretations of Glass’ keyboard oeuvre and gives us a world premiere recording of How Now as well.

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Grand Piano GP 690 (2015)

The complete Piano Etudes by the man who premiered the set at Carnegie Hall.  These etudes were also recorded by the wonderful Maki Namekawa and the opportunity to hear these really different takes is positively revelatory.

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Grand Piano GP 691 (2016)

The third disc in the traversal of Glass’ piano music (original and transcribed) also offers world premieres.  Horvath’s inclusion of Glass’ early Sonatina No. 2 reflects his work under the tutelage of Darius Milhaud and provides insight into the composer’s early development before he developed his more familiar mature style.

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Grand Piano GP 692 (2016)

Haven’t yet heard this disc but I have in queued for ordering in the next few weeks.

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Demerara Records (2016)

Haven’t heard this one yet either but, again, it’s in my Amazon shopping cart.

 

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Horvath’s interpretation of this important work by Cornelius Cardew

Cornelius Cardew (1936-1981) was sort of England’s John Cage, a major voice in 20th Century experimental music.  Scholarship has yet to do justice to the late composer’s work but this disc is an important contribution toward that end..

Horvath’s career is characterized by innovation and passion combined with astute scholarship and a keen sense of what is new and interesting in music  while clearly being schooled in the classic repertoire.  The piano calls him as do his other passions and I highly recommend paying attention as he answers those calls.  He is truly an artist to watch.
N.B.  Mr. Horvath generously read and approved an advance draft of this article shortly after arriving in the United States for concerts at Steinway Hall in Rockville with a Chopin program and a recital at The Spectrum in New York City which will include two pieces written for him by Michael Vincent Waller along with some Chopin pieces.

New Cello Music: Michael Nicolas’ Transitions


nicolastrans

Michael Nicolas is the new cellist of Brooklyn Rider as well as member of the International Contemporary Ensemble and numerous other affiliations.  This French Canadian/Taiwanese young man now residing in New York is definitely an emerging artist to watch and his debut album does much to demonstrate why he deserves serious attention.

This selection of mid/late twentieth and twenty first century cello pieces comprises an intelligent survey of this repertoire introducing new music and providing a younger performer’s take on some classics of solo cello with electronics as well some more recent works.  As he says in his liner notes this survey is concerned with the dichotomy between the solo instrument and the attendant electronics in various guises (even the quasi-Max Headroom cover art seems to reflect this).  Erin Baiano did the photography and Caleb Nei did the graphic design.  If I have a criticism of this fine album it is perhaps that the liner notes provide less detail than this listener prefers so I have tried to provide a few details here.

Beginning with Mario Davidovsky‘s classic Synchronisms No. 3 (1964) for cello and electronic sounds (one of twelve such works for solo instrument with electronics) and continuing with Steve Reich‘s Cello Counterpoint (2003) Nicolas begins his survey with two relatively well-known pieces in this genre and he certainly does them justice.  These pieces serve as Nicolas’ sort of homage to the past which he follows with some very current compositions.

He introduces some pieces unfamiliar to this writer.  David Fulmer‘s Speak of the Spring (2015) is a piece for solo cello with electronics.  Fulmer is a composer/performer apparently worth watching from a quick read of his web site.  As I was unable to determine the date of composition I contacted the composer who graciously responded despite his busy travel schedule: “The work was written last year, in 2015 specifically for Michael Nicolas and this particular project (cello and electronics). Michael had asked me for a piece for his recording project, and having known him (we went to school together) for many years, and admiring his playing so much, I was very interested in writing this piece for him. As for perspective…as a string player, I always enjoy writing string works. I’m interested in the beautiful timbres that the strings have. Tuning is also an important concept for me; at the end of the work, the cello electronics (pre-recorded cello) is scordatura.All of the prerecorded lines are recorded by Michael. I see this as a work written for Michael, played by Michael, and many versions of Michael.”

Next are two pieces by Annie Gosfield for cello and sampler.  Four Roses (1997) and “…and a Five Spot” (2015, commissioned by Nicolas as a companion to the former).  Both pieces are basically lyrical with spectral effects, microtonal passages, extended techniques and the samples of course.  The first piece is more assertive and direct while the second seems more introspective.  Both appear to be typical of Gosfield’s fully developed style.

Next up is a piece by the Icelandic composer Anna Thorvaldsdottir whose album length “In the Light of Air” performed by ICE was reviewed here.  Her piece on this disc for solo cello and electronics Transitions (2015) has a similarly ethereal character but one gets the impression that her approachable style belies complexities that underlie her work.

The last piece is flexura (2015) by Jaime E. Oliver La Rosa, a Peruvian born composer now working in New York.  This piece functions almost like a bookend with the Davidovsky piece that opens this disc (Davidovsky also comes from South America having been born in Argentina).  La Rosa holds a PhD. in computer music from the University of California San Diego and is developing open source software (and hardware) for live performance.  His MANO controller can be seen in the video on his website.  This last piece inhabits a similar sound world to that of the Davidovsky.  It is thorny and modern sounding and works as a showcase for the cellist.  Strictly speaking I suppose this piece is more of a duet in that there are two musicians required to perform it.

As always the impeccable production by Sono Luminus makes for a wonderful listening experience and this is quite an impressive debut for this interesting young musician. Kudos to producer Dan Mercurio recording technician David Angell  and executive producer Collin J. Rae.

Perhaps I am premature in saying this but this release has the earmarks of a being classic survey of the current status of this genre.  One of the joys of such a project is to hear new interpretations of established works and to hear an intelligent selection of new pieces.  Definitely want to hear more from Mr. Nicolas as well as from the composers represented.

 

Spektral Quartet, Serious Business


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OK, bear with me here for just a moment.  The proliferation of string quartets (and by that I mean the grouping of musicians as a performing entity) has been positively dizzying over the last 30 years.  For those who grew up with the standard Julliard Quartet, Guarneri Quartet, etc. there were just a few outstanding names in this genre.  However since the advent of the new quartets like Kronos and then Turtle Island, Arditti,etc. the field has expanded rather prolifically. Couple this with a boom in string quartet writing notably Elliot Sharp, John Zorn, Wolfgang Rihm. Elliot Carter, Peter Maxwell-Davies, Ben Johnston among many others and I was filled with some trepidation upon receiving this disc for review.  I mean, how many things can you do with a string quartet?

Apparently there is a great deal more to be explored in this genre.  I am happy to say that these folks are up to the task as are the composers whose work they present.  Serious Business is some seriously interesting music performed with serious skill by this new quartet, the Spektral Quartet.  They are the string quartet in residence at the University of Chicago, itself a venerable place for new music.

We start here with a piece by Sky Macklay called Many Many Cadences (2014) a piece that seems to come from a similar place to that of the work of Conlon Nancarrow with intricate rhythms within a somewhat conservative tonal idiom.  The title is suggestive of Gertrude Stein (Many, Many Women).  It was commissioned for the Spektral Quartet by the Walden School.  The piece is immediately engaging and ultimately satisfying.

The second piece, The Ancestral Mousetrap (2014) by David Reminick features a less common use of a string quartet in that there is a vocal component. This is not the vocalist component pioneered by Schoenberg in his second quartet.  These vocalizations are performed by the quartet.  This is no simple feat either because the vocal writing is itself a challenge in its rhythmic complexity.  The piece resembles a little opera and indeed the text by poet Russell Edson is here called a libretto.  This piece was commissioned by the Spektral Quartet.

The third piece here is an unusual choice (and the only one not commissioned for the Spektral Quartet) which is explored in the liner notes .  Haydn’s Quartet Op. 33 No. 2, subtitled “The Joke” is one of the relatively few examples of attempts at program music (vs absolute music) to be found in the classical era.  First, no one will buy this disc just for the Haydn. Second, many collectors will already have this Haydn piece in their collection.  But with that said this is a lovely performance of one of the emblematic pieces of music that created the need for the performing ensemble known as the string quartet and it is a lovely performance as well.  I will leave it to other listeners to read the program notes and get into the rationale about its inclusion here.

The final piece, Hack (2015) by Chris Fisher-Lochead is perhaps the most unusual of the lot in that the composer uses vocal inflections by a collection of comedians (yes, comedians) as the source for his rhythmic and melodic contours and creates 22 separate pieces about 16 comedians (some get more than one piece).  This piece requires more concentration by the listener but, like any well-written piece, it reveals more of itself with repeated listenings.  The Barlow Endowment at Brigham Young University commissioned this piece for the Spektral Quartet.

The Spektral Quartet is Clara Lyon, violin; Austin Wulliman, violin; Doyle Armbrust, viola; Russell Rollen, cello.  The recording, as with every Sono Luminus release I’ve heard is glorious and lucid.

Paula Matthusen’s Pieces for People


matthusen

This is the first disc devoted entirely to the music of Paula Matthusen who as of July is a newly minted associate professor at Wesleyan University where she walks at least partly in the footsteps of emeritus professor Alvin Lucier whose course Music 109 she inherited from him.  I had the pleasure of meeting Ms. Matthusen at Other Minds 18 where she was one of the featured composers.  In our all too brief conversation she was affable and unpretentious but certainly passionate about music.

Paula Matthusen

Paula Matthusen performing her work, ‘…and believing in…’ at Other Minds in 2013

 

She holds a B.M. from the University of Wisconsin and an M.A. and PhD. from New York University.  She announced her recent promotion to associate professor on Facebook as is, I suppose, customary for people of her generation.  It is on Facebook that I contacted her to request a review copy of this CD to which she quickly and graciously agreed.

This CD contains 9 tracks representing 8 works.  They range from solo to small ensemble works, some with electronics as well.  Her musical ideas seem to have much in common with her emeritus colleague Alvin Lucier but her sound world is her own despite some similarities in techniques, especially her attention to sonic spaces and her use of electronics to amplify sonic micro-events which might even include her heartbeat.

 

sparrows in supermarkets (2011) for recorder looks at the sound of birds in the acoustic space of a supermarket and their melodic repetition.  It is for recorder (Terri Hron) and electronics

limerance (2008) is another solo work, this time for banjo (James Moore) with electronics.  She says she is working with the concept of reciprocation here but that seems rather a subjective construct.  Like the previous piece this is a contemplative and spare work with some spectral sounds as well.

the days are nouns (2013) is for soprano and percussion ensemble and electronics.  Here she is concerned with resonances within the vibrators of the instruments as well as the acoustics of the room.  It is a dreamy, impressionistic setting of a poem by Naomi Shihab Nye whose poem supplies the title but the text is fragments of a Norwegian table prayer.  A very subtle and effective work.

AEG (2011) is represented by two movements (of four?) all of which were written for the Estonian ballet.  It is similarly concerned with resonances and words at times.  Of course it would be interesting to hear those other movements but perhaps another time.

of architecture and accumulation (2012) is the first of two purely acoustic compositions on this disc.  This one is for organ solo (Will Smith) and explores long tones within the acoustic space.  It is a very satisfying work even if one doesn’t go into the underlying complexities.

corpo/Cage (2009) is  the longest and largest work here and is the second purely acoustic piece on this recording.  It has echoes of Stravinsky at and it is an enticing example of Matthusen’s writing for orchestra.  This reviewer certainly looks forward to hearing more of this composer’s works for larger ensembles.  Very effective writing.

in absentia (2008) is the earliest work here.  It is written for violin, piano, glasses and miniature electronics (not quite sure what that means).  Like many of the works on this disc the concern or focus seems to be on small events and sounds.  This is a rather contemplative piece that nicely rounds out the recording.

Matthusen resembles Lucier in some of her techniques and focus on small sounds otherwise missed and she certainly owes a debt to people like Pauline Oliveros.  But in truth she sounds like no one as much as Paula Matthusen.  The composer presents a strong and intelligent voice and one wishes for more from this interesting artist.  Thank you for the opportunity to review this.