Ross Feller: X/Winds


feller-x-winds

Innova 911

 

This album is both an auspicious debut and a fine representative sampling of the compositional efforts of Ross Feller.  Feller holds MM and DMA degrees from the University of Illinois Champaign/Urbana, that venerable rural Illinois institution which oversaw some of the most significant early developments in computer technology.  More importantly for the present context it is has been the home of many important composers whose works have incorporated this technology directly or indirectly.  Like similar centers in New York (Columbia-Princeton), Oakland (Mills College), Stanford (CNMAT), Berkeley (CCRMA) among others a distinctive musical thread developed in that rural outpost and it is this provenance that makes this recording of particular interest.  Feller is also an editor at the Computer Music Journal and teaches at Kenyon College.

Ross Feller at the Paul Sacher Stiftung

Feller represents the current state of the art whose ancestry includes the likes of Lejaren Hiller and Salvatore Martirano, both major innovators in both music and technology.  Martirano was one of his teachers and Martirano’s widow, the fine violinist Dorothy Martirano, performs on this recording.  This writer had the pleasure of hearing the Martiranos in concert some years ago and can attest to the astounding quality of the work of this too little known composer.  Judging by the works on this recording Feller appears to be a worthy successor.

Eight works are represented here ranging from solo to acoustic ensemble to electroacoustic works.  The only thing missing is a purely electronic work and one hopes this will occur in a future release.  Composition dates range from 1994 to 2008 though, properly speaking, the 1994 work was revised in 2006.

Triple Threat (1994, rev 2006) is a sort of mini concerto for three soloists (B flat clarinet, trumpet and violin) and an ensemble of nine.  It is a sort of contemporary concerto grosso in that the soloists are more integrated into the overall texture of the piece.  It is a taught, well organized composition whose technical aspects discussed in the composer’s very useful notes are beyond the scope of this review.  What is well within the scope of this review is the fact that this is a marvelously engaging work in a sort of neo-mid century modernism sort of vein.  The technical aspects which will no doubt entertain theorists function in service of the music and are not an end in themselves.

Still Adrift (2013) is the first of three electroacoustic pieces on the disc.  This is an intense and virtuosic essay ably handled by soloist Adam Tendler.  It is obviously a very personal work evidenced both by its intimate focus and the composer’s own liner notes.  One suspects, however, that something is lost without the visuals and immediacy of seeing a live performance.  Nonetheless this piece easily stands on its own sonic merits.

Bypassing the Ogre (2006) is the first of two tracks for soloist without electronics.  This is perhaps the most experimental of the pieces on this disc.  It is essentially an etude focused on the soloist’s (Peter Evans) formidable improvisatory techniques on the trumpet.  It reminds this reviewer at times of the more experimental work of the justly lauded West Coast composer Robert Erickson (1917-1997) whose work also pioneered developments in electroacoustic musics as well.

Disjecta (2006) for percussion ensemble is actually the most extended work here at 14’10”.  It is sort of a catalog of Feller’s experiments with writing for percussion ensemble using playing techniques and naturally occurring (instead of electronically mediated) acoustic phenomena.  The title comes from Samuel Beckett’s term which he applied to a collection of miscellany.  This one requires close ,multiple listenings to grasp the composer’s intent but it appears to point the way to innovations in writing for percussion.

Sfumato (2006) for violin, bass clarinet and electroacoustic sound comes from the same apparently very productive year, 2006, as do three other tracks on this album.  This is the second electroacoustic track here.  As is often the case with electroacoustic compositions it is frequently difficult for the listener to determine whether the sounds heard are acoustic, electronic or some combination of the two without seeing a score or at least seeing the performance.  What is important is the sound and the impact of the music.  Again the music is engaging and satisfying.

Retracing (2009) for violin and electroacoustic sound is related to Still Adrift in that it incorporates gestures as well as textiles and dancers but stands on its sonic merits as a concert piece as well.  This is a very intense essay beautifully handled by Dorothy Martirano.  Even without the visuals there is much to engage the listener.

Glossolalia (2002) is the second of the two unaccompanied solo pieces here.  This one is for cello.  Unlike Bypassing the Ogre this piece seems to have impressionist leanings.  It is certainly filled with a variety of techniques but the end result is a coherent musical narrative.  It is abstract without an obvious narrative so the listener is free to apply their own impressions elicited by this very intense piece.

X/Winds (2008) for symphonic woodwind ensemble is the piece from which the album derives its title.  Here we return to the rich orchestral palette of the opening track.  Feller seems particularly strong in his ability to write meaningful and engaging music for large ensembles.  It left this reviewer wanting more.

These are incredible performances by highly competent and creative musicians of music which is well served by these skills.  Very engaging music very well performed and recorded.  

Christopher Bailey: Glimmering Webs, New Piano Music


glimwebs

I admit to some trepidation when I received this 2 disc set of piano music by an unfamiliar composer.  Even in the best of circumstances the “double album” concept can be a trying thing even to fans of a given artist.  I think I recall some similar trepidation confronting the newly released Elton John Yellow Brick Road double album.  I invoke some pop sensibility here in part for humor but also because that sensibility is one of the many threads that imbue this rather massive collection of pieces.

bailey2

Christopher Bailey

Christopher Bailey is a freelance composer who holds degrees from Eastman (BA, 1995) and Columbia University (MA, 1997 and PhD, 2002).  This is the eighth disc to contain his music though only the second to be dedicated entirely to his works (and his first double album).

The first disc is a journey of styles ranging from electroacoustic music (like the opening track which resembles the work of Mario Davidovsky at times) to several whose inspiration seems to venture closer to that of Pierre Boulez and ends with a lengthy sort of post minimalist piece appropriately titled, Meditation.  The composer says in his liner notes that this piece is his homage to “ambient music” and in particular, Harold Budd. The second track is a piece which is a sort of deconstruction of a Hall and Oates song, the pop sensibility to which I referred earlier.  And, yes, there is some nod to microtonalism as well.  Can you say eclectic?

The second disc contains the large Piano Sonata and a host of smaller works in various styles ranging from neo-classical to microtonal.

In the rambling liner notes the composer provides useful clues as to the genesis and intent of some of his ideas.  One need not read the notes to appreciate the music but the clarity that they provide was useful to this listener. More notes would have been appreciated though.  The composer’s and the pianists’ web sites are certainly useful but I doubt that the average listener will spend that much time researching these things and is then left with gaps in information and consequently in understanding.

The composition dates here range from 1994 to 2013 and embrace a wide swath of styles all with a strongly virtuosic aspect.  The second disc starts with the brief Prelude-Fantasy on the So-Called Armageddon Chord (2011).  The title is almost longer than the piece and, while it’s a fine work, the placement at the beginning of the disc preceding the major opus of his four movement Piano Sonata (1994/1996/2006) is a bit confusing.

I don’t mean to quibble with such things as track order and such but I was left with a sense of difficulty focusing.  Here is a large collection of music which ranges through pretty much the entire gamut of the last 200 years of music and it is presented en masse.  I think some re-ordering might have been helpful but that is one of the difficulties with multiple disc issues.  I listened numerous times to these discs and find the sheer volume and diversity a bit overwhelming.  It is as though this is too much for a single release.

Bailey says that the sonata is an homage to Stravinsky and those neo-classical elements are certainly clear but this listener hears some ghosts of Charles Ives and the polystylism of Alfred Schnittke as well.  The Sonata seems to be the highlight here.   It is wonderfully complex, kaleidoscopic, loaded with quotation, even grandiose at times, but eminently listenable and it is a highly entertaining piece also because of it’s virtuosity which is ably handled by the performer.

There are apparently three pianists on this recording, Jacob Rhodebeck, Shiau-Uen Ding and Augustus Arnone.  The problem is that it is not clear from the labeling or the notes who plays what.  This is actually a fascinating and engaging collection, well played, but I was surprised to be unable to attribute the various virtuosities to the deserving performers.

The recording, mastered by Silas Brown, is as good as it gets.  Overall quite a collection but one that left me with many questions as well.  Perhaps that was, at least partly, the intent but it is my hope that these ambiguities will not distract the listener and that more releases will be forthcoming.  This is very interesting music deserving of serious attention.

 

 

 

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.

inside my own exhibit

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.

SONY DSC

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.

SONY DSC

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.

c _______ ______

Focused concentration at the keyboard.

As of the time of this writing his discography includes:

horvathchristus

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.

glassw1

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.

glassw2

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.

glassw3

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.

glassw4

Grand Piano GP 692 (2016)

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

acedia

Demerara Records (2016)

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

 

horvathcardewtreat

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.

Young American Inventions: Music by Steven Ricks


Young American Inventions (New Focus FCR 158)

Young American Inventions
(New Focus FCR 158)

Let me say at the beginning here that this disc contains music of a rather experimental nature.  It has underlying complexities and this is not the kind of CD one would have playing at most parties except perhaps to clear the room.  That being said this is not bad music but it is challenging listening.

I had not been familiar with Steven Ricks (1969- ) or his music prior to receiving this disc for review.   Ricks earned his B.M. in Composition in 1993 from Brigham Young University, and M.M. (also in composition) from the University of Illinois at Urbana in 1995, a Certificate of Advanced Musical Studies from King’s College in 2000 and  Ph.D. from the University of Utah in 2001.  His teachers have included Morris Rosenzweig, Sir Harrison Birtwistle, Bill Brooks, and Michael Hicks.

He is currently on the Board of Advisors of the Barlow Endowment, and an Associate Professor of Music Theory and Composition at BYU where he also directs the Electronic Music Studio.  His works fall primarily into the realm of the “electroacoustic”.  His training and interests seem to put him into orbits that likely include Milton Babbitt, Mario Davidovsky, Lejaren Hiller and perhaps Salvatore Martirano (all, by my definition, great composers but difficult listening and with electroacoustic outputs primarily).

I must confess that I know relatively little about the forefront of electronic music these days and I am working on catching up on this history (which seems to exist almost completely separate from classical music per se).  Even the hybrid of “electroacoustic” music seems, for this writer at least, to remain rather marginal in terms of its listening audience and its prevalence in the concert hall.

Now, having loaded the reader with these prefaces, apologies and excuses, I move on to the music itself.

I listened numerous times to the tracks on this disc.  Sometimes I listened with direct intention and concentration, other times I listened with this disc playing ambiently (can I use that term here?) whilst pursuing other tasks (not recommended).  The music is assertive and, at times downright intrusive.

I get the feeling overall of a great deal of experimentation and complexity that nearly raises Milton Babbitt’s famous question, “Who cares if you listen?”.  Certainly the composer and performers care but that doesn’t rule out the likelihood that this music may speak to a limited audience who are better trained and more familiar with these techniques/ideas.

What I like about this disc, though, is that bold, experimental, doesn’t matter who is listening approach.  Were it not for such innovation a lot of good musical ideas would never have been expressed.  This music is experimental and perhaps more than a little “inside”, meaning that other composers/scholars might get things that the average listener would probably miss.  Call it an adventure.

Curiously I was/am intrigued by Ricks’ interest in algorithmic composition (an iffy genre as well, I know).  I was pleased to find that he has available for free download on his site a program he wrote called Universal Music Machine and I have been rather entertained by it both as a compositional tool and as a teaching/learning method.   And I promise to post mp3 files of any masterpieces I might generate.

There are 9 separately identified pieces here written between 2001-2014.  Two are multi-movement works and all but two involve electronics in performance to some degree.

The opening track, Ten Short Musical Thoughts (2002) serves well as an introduction.  It makes use of sampling and of algorithmic composition.  Indeed these are short musical ideas with some spoken word comments integrated with the music.

If you are not watching/listening closely you may miss the transition between the opening track and the next, “Young American Inventions” (2007) for solo piano and electronics.  The title, a mashup of David Bowie’s “Young Americans” and Steve Martland’s “American Inventions” reflects Ricks’ eclectic interests and fascination with both contemporary classical as well as popular culture.  Pianist Scott Holden navigates the challenging keyboard part accompanied by the electronic score.  Here is where Ricks’ work reminds me of Mario Davidovsky’s “Synchronisms” series.

The four movement, “Extended Play” (2007) continues the pop culture references as the composer states that those four movements are intended to mimic or approximate the four tracks which are found on most vinyl EP productions.  The ensemble composition, which is also full of more specific references to both classical and popular music, is executed by Flexible Music and is the most easily accessible work on this disc (to this listener’s ear).

“Ossifying (Keeping us from…) (2012), listed as “electroacoustic” is a piece of sound art like the opening track (no live performers in the concert hall here) and is one of the most experimental pieces on the disc.  It seems both deeply personal and inextricably self-referential.

“Geometria Situs” (2012) is the musical portion of a multimedia work called “WRENCH” which was written for and performed by Hexnut.  Mezzo-soprano Michaela Riener handles the delicate vocal lines with grace and ease.

“Sounded along dove dôve” (1999) is the last of the non-live “electroacoustic” pieces and, like its predecessors, is similarly cryptic and self-referential, a puzzle perhaps, in which the components of language itself are used as determinants of the settings of the texts.

A bit of an “aww” moment occurs with “Waves/Particles” (2008) which is performed by the Canyonlands Ensemble conducted by the composer’s former teacher Morris Rosenzweig.  Rosenzweig founded the ensemble in 1977.  This is both homage and acknowledgement between the two generations of artists.  It is lovingly played.

“Young American Inventions REMIX” (2014) invokes another pop culture metaphor of remixing a song.  This is another iteration/elaboration of the material in the earlier version of this piece.  Scott Holden is the soloist once again with the electronics.

“Stilling” (1997, rev. 2011) is a piece for solo piano.  This is described by the composer as being an impressionistic piece, perhaps a sort of tone poem.  The language is thorny and modern.  The very capable pianist here is Keith Kirchoff.

The lucid liner notes are by Jeremy Grimshaw.  The New Focus recording is clean and clear.  So if you enjoy adventures in experimental/electroacoustic music this is your disc.

 

 

 

 

 

The Ensemble Formerly Known as Zeitgeist (?), Music by Scott Miller


Scott Miller- Tipping Point (New Focus fcr 161)

Scott Miller- Tipping Point (New Focus fcr 161)

ADDENDUM:  Mr. Miller kindly supplied the correct composition dates for the pieces in this album and they have been placed in the text.  Also I was pleased to receive a link to their discography:(http://www.zeitgeistnewmusic.org/discography.html)  I hope that is a recent addition and not my oversight (apologies if it’s an oversight).

 

I was particularly pleased to receive this disc for review as I am a long time fan of the Minnesota based Zeitgeist ensemble.  This varied ensemble has been a vital part of the new music scene in Minnesota since about 1977 (I still have some of their vinyl LPs).  Happily they are in the process of making these out of print items available again on CDs via their website.

Curiously there is very little on the ensemble’s web site or on the internet in general on the history of this group prior to about the year 2000  A Google search yields few references to this group and Discogs does not have much listed in their discography of Zeitgeist.  Their Wikipedia page is also in serious need of updating. The Innova records site is perhaps the most useful in identifying the albums released by this group in its various configurations and solo or other collaborations by its members (though the re-release of the older discs are not distributed there).  I realize that this group began in the pre-internet era but perhaps it is time to clarify this and present a comprehensive history and discography of this significant new music ensemble.

Scott Miller

Scott Miller

The present disc is a collection of recent works by Scott Miller, a Minnesota based composer and teacher whose association with Zeitgeist goes back to 1993.  He is currently the president of SEAMUS (Society for Electro Acoustic Music in the United States) and professor of music at St. Cloud State University.  You can find his work on youtube and Sound Cloud.

Now let me say here that it is my observation that electroacoustic music, while not an uncommon genre, seems to be a specialized one which, like Zeitgeist, is not consistently well-promoted.  At least that is my explanation (excuse perhaps) for my limited knowledge of Mr. Miller’s music up to this point.

The CD is a collection of six tracks with vocals by soprano Carrie Henneman Shaw on tracks  2, 4 and 6.  Each track is a separate work and they are listed in the proper order on the back of the CD case but are discussed out of order in the notes for some reason.

But now I must stop my whining and criticisms (and thinly veiled references to Prince) and turn to the actual music. This is really wonderful music, well-performed and well worth your attention.  And if the term “electroacoustic” puts you off don’t worry.  What we have here is an artist who has managed to integrate a variety of techniques into an effective musical language that transcends mere experimentalism to yield some really good music.

The first piece, the one from which the album receives its title, is Tipping Point (2010) and was originally included on the SEAMUS CD Volume 20 (EAAM-2011).  This is a remixed and remastered version of that recording from 2010.  This writer hears echoes and homages to (or influences by, you decide which) Terry Riley, Steve Reich as well as perhaps Morton Subotnick and even the thornier sound of Mario Davidovsky at times.  To my ears this is an integration of many ideas which work effectively together.

The second track, Forth and Back (2003) is the longest track and is a setting of the poem by Catalan poet Felip Costaglioli.  The setting is atmospheric, appropriate to the lovely texts and the vocal writing is simply beautiful.  Carrie Henneman Shaw delivers this work with the success of interpretation that one would expect of a musician who understands the composer’s intent.  Not an explicitly virtuosic piece it nonetheless challenges the performer with sotto voce passages that I imagine are quite a balancing act for a singer.  This is a beautiful piece and the fact of its electroacoustic aspects take on far less important place than the effectiveness of the setting.

Next up is Pure Pleasure (2008) is a percussion piece.  The composer goes into some detail in the notes as to the genesis of this piece and that is interesting but so is the act of listening to it.  This is one of the more obviously experimental works here.

Twilight (2008-13) is actually a portion of a larger work, a collaboration between Miller, Pat O’Keeffe and video artist Rosemary Williams called, The Cosmic Engine.  This is a multi-media chamber opera which premiered in 2008 and this section was revised in 2013.  The text is by Walt Whitman.  Again, Shaw does a lovely job with the lyrical vocal lines.

Funhouse (2003) is a marvelous use of electroacoustic methods.  It is a piece with rather complex origins as explained in the notes but, consistent with its title, this is a fun piece to hear and, I imagine, to play.  Along with the percussion piece it represents the more overtly experimental work of this artist.

The final track, Consortia (2013), as  with Twilight, is an outgrowth or by product of work on the multimedia opera, The Cosmic Engine.  Here the composer enlists computer processing to create a sort of live polyphony with live mixing of tracks of pre-recorded and live improvisational structures based on some renaissance tunes and techniques.  I will leave it to the listener to read through the technical details but the result is a pretty entertaining piece of music.

Zeitgeist does a wonderful job here playing with passion and dedication.  I can only hope that we hear more from both Zeitgeist and Mr. Miller.

The recording done at Wild Sound Recording Studio in Minneapolis (Mark Zimmerman, master engineer on tracks 1 and three; Steve Kaul, master engineer on tracks 2 and 4-6) is lucid and warm.  The art and design by Raul Keller makes for an attractive product.  This release from New Focus Recordings belongs in the collection of any new music fan and certainly every Zeitgeist fan.