Michala Petri Goes Brazilian


OUR Recordings 6.220618

Since her debut in 1969 at the tender age of 11 Danish born recorder virtuoso Michala Petri has been one of the finest masters of the recorder.  This ancient instrument, a forerunner of the flute, has existed since the Middle Ages and has amassed a huge repertoire and Petri seems to have demonstrated mastery over all of it and has been an advocate and promoter of new music for her instrument as well.  She has inspired composers to write new works for her and she continues to entertain audiences and has assembled an ever growing discography of startling range and diversity.  Nearly single handed she has managed to honor past repertoire and firmly ensconce this instrument in the 21st century.

In this release, produced by Lars Hannibal (himself a fine guitarist and frequent Petri collaborator) Petri takes on the music of Brazil and, despite the fact that recorders have seldom found their way into the music of this geographic region, she delivers a convincing and hugely entertaining program on this disc.  Along with Marilyn Mazur on percussion and Daniel Murray on guitar the listener is given an entertaining cross section of Brazilian music ranging from the more classically oriented work of Heitor Villa-Lobos (1887-1959) and Ernesto Nazareth (1863-1934) to the smooth jazz/pop sounds of Antonio Carlos Jobim (1925-1994) and Egberto Gismonti (1947- ).  In between are included works by the album’s guitarist Daniel Murray (1981- ) and a few names unfamiliar to this reviewer including Paulo Porto Alegre (1953- ), Paulo Bellinati (1950- ), Hermeto Pascoal (1936- ), and Antonio Ribero (1971- ).

There is a remarkable unity in this Danish production which stems from a meeting between producer Lars Hannibal and Daniel Murray in Vienna in 2014.  Hannibal’s ear found a kindred spirit whose musicality is a good match for that of Petri.  And like a good chef he added the delicate and necessary spice of the tastefully understated (but extraordinary) percussionist Marilyn Mazur to create a unique trio that sounds as though they’ve played together for years.  Here’s hoping that they’ve secretly recorded enough material for a second album.

All the tracks appear to be transcriptions though the transcriber is not named (I’m guessing they’re collaborative).  What’s nice is that there is nothing artificial or uncomfortable about these arrangements.  The overall impression left is that of a skilled ensemble and listeners encountering the original forms of these works might well assume those to be the transcriptions.  So convincing are these performances.

One last thing.  The sound.  This super audio CD release was engineered by Mikkel Nymand and Preben Iwan and the sound is fabulous.  I don’t have a machine that can read the super audio tracks on this hybrid disc but what I can hear is a lucid recording which embraces the subtleties of this unique ensemble.  Enjoy!

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Percussion Extravaganza: Music of Axel Borup-Jorgenson


Axel Borup-Jørgensen (1924-2012)

Axel Borup-Jørgensen (1924-2012)

 

While I listen to a great deal of music I realize that I have a far less than comprehensive view of the percussion genre. And this is a composer about whom I knew nothing at all until I received this disc for review. Axel Borup-Jørgensen (1924-2012) was a highly respected and decorated Danish composer. This makes him a contemporary of two Danish composers whose work I do know, Per Nørgård (1932- ) and Ib Nørholm (1931- )

A bit of research reveals that there is a soundcloud page with a great selection of his works here. He is reportedly best known for his orchestral work Nordisk Pastorale Op. 51 (1965).

He is described as a modernist but not in the redefining the nature of music modernism of Cage and his peers nor is it simply academic modernism heaping unending honors to and variations on Schoenberg’s methods. This composer’s modernism is creative but not particularly difficult listening.

The Percussion Universe of Axel Borup-Jorgensen (OUR recordings 6.220608)

The Percussion Universe of Axel Borup-Jorgensen
(OUR recordings 6.220608)

But now we come to the disc at hand, a selection of his work for various groupings of percussion, sometimes with additional solo instruments such as viola, recorder and, in one track, a brass quintet. This is an excellent recording which, one customer review noted, would be a good audiophile test disc. The performances are dedicated and virtuosic. Violist Tim Frederiksen and recorder virtuoso Michaela Petri lend their substantial talents to this recording as does the Brass Quintet of the Danish National Radio Symphony Orchestra.

Now to the music itself. I must confess that this music, unfolding slowly, using a wide range of percussion instruments was not easy to grasp but requires a bit of concentration. I think this disc will be more interesting as I learn some of this man’s other compositions and place them in context.   I think this recording will be of great interest to percussionists as well as devotees of this composer.  And three of the five works featured  on this recording are world premieres.

All this is held together by veteran percussionist and conductor Gert Mortensen.  The album was recorded at the Concert Hall of the Royal Danish Academy of Music.  It was produced, mixed and mastered by Preben Iwan with thankfully informative liner notes by Jens Brincker and Henrik Friis were translated by John Irons.

The Danes have a rich musical history which this disc celebrates and the documentation of this lesser known composer’s work is a welcome addition to the catalog.

Axel Borup-Jørgensen at his work desk.

Axel Borup-Jørgensen at his work desk.

 

 

Other Minds 18, three nights on the leading edge


The stage at Kanbar Hall stands ready to receive performers on opening night of OM 18

The stage at Kanbar Hall stands ready to receive performers on opening night of OM 18

OM 18 has been my fifth experience at the Other Minds festival.  The most amazing thing about Other Minds is their ability to find new music by casting a wide net in the search for new, unusual and always interesting music.  As I said in my preview blog for these concerts this year’s selection of composers was largely unfamiliar to me.  Now I am no expert but my own listening interests casts a pretty wide net.  Well this year I had the pleasure of being introduced to many of these composers and performers with no introduction save for the little research I did just before writing the preview blog (part of my motivation for doing the preview blog was to learn something about what I was soon to hear).

Gáman

Danish folk trio Gáman

The first night of the series consisted of what is generally classified as “folk” or “traditional” music.  Not surprisingly these terms fail to describe what the audience heard on Thursday night.

First up was the Danish folk trio ‘Gáman’ consisting of violin, accordion and recorder.  This is not a typical folk trio but rather one which uses the creative forces of three virtuosic musicians arranging traditional musics for this unusual ensemble.  On recorder was Bolette Roed who played various sizes of recorders from sopranino to bass recorder.  Andreas Borregaard played accordion.  And Rune Tonsgaard Sørensen was on violin.

The first piece, ‘Brestiskvædi’ was their rendering of this traditional song from the Faroe Islands (a group of islands which is under the general administration of Denmark but which has its own identity and a significant degree of independence).  It struck my ears as similar in sound to the music of Scotland and Ireland, lilting beautiful melodies with a curiously nostalgic quality.

Next was a piece by Faroese composer Sunleif Rasmussen.  It was the U.S. premiere of his ‘Accvire’ from 2008, a name derived from the two first letters of the instruments for which it was written (as we learned in the always interesting pre-concert panel).  It was commissioned by this ensemble.  The work reflected the composer’s facility with instrumentation and retained some suggestion of folk roots as well.  It employed a rich harmonic language within a tonal framework in what sounded almost like a post-minimalist piece.  The trio met the challenges of the music and delivered a lucid reading of this music which seemed to satisfy both the musicians and the audience.

The trio followed this with three more folk arrangements, two more from the Faroe Islands and one from Denmark.  Like the first piece they played these had a similar ambience of calm nostalgia.

The Danish folk piece set the stage for the next work, a world premiere by one of Denmark’s best known living composers, Pelle Gudmunsen-Holmgreen.  The piece ‘Together or Not’ from 2013 is an Other Minds commission.  The composer, who was not present, wrote to Other Minds director Charles Amirkhanian saying, “the title is the program note”.  While the statement was rather cryptic the music was not.  This was less overtly tonal than the Rasmussen work and was filled with extended instrumental techniques and good humor.  Again the instrumentalists demonstrated a comfortable facility with the technical challenges of the music and delivered a fine reading of this entertaining piece.

The nicely framed program continued with two traditional drum songs from Greenland (the violinist, holding his instrument rather like a guitar produced a sort of modified pizzicato technique which played the drum part).  These haunting melodies seemed to evoke the desolate landscape of their origin.

The program ended with a Swedish polka and, in response to a very appreciative audience, an encore of another spirited polka.  These were upbeat dance music that all but got the audience up and dancing.  The audience seemed uplifted by their positive energy.

Sachdev

G.S. Sachdev (left) and Swapan Chaudhuri.

The second half of the first night’s concert consisted of two traditional Hindustani Ragas.  These pieces are structured in aspects of the the music but allow for a great deal of repetition and improvisation in which the musicians bring the music to life.  Hindustani music is deeply rooted in culture and spirituality.  The ragas are associated with yogic chakras, moods and time of day.  Their performance is intended to enhance the audience esthetically and spiritually.

G.S. Sachdev is a bansuri player.  The bansuri is a wooden flute common in this type of music (though Sachdev’s level of mastery is hardly common).  He was accompanied by the familiar tanpura drone produced by digital drone boxes instead of the actual instruments which produce the familiar drone sound that underlies Hindustani music performances.  Swapan Chaudhuri played tabla.  It is difficult to see the tabla as an “accompanying” instrument as much as it is a complementary instruments especially when played by a master such as he.  Chaudhuri is the head of the percussion department at the Ali Akbar Khan school in San Rafael in the north bay.  Sachdev has also taught there.  Both men have ties to the bay area.

The musicians performed Raga Shyam Kalyaan followed by Raga Bahar.  Originally I had thought of trying to describe these ragas in their technical aspects but my knowledge of Hindustani music cannot do justice to such an analysis.  Rather I will focus on the performances.

Raga Shyam Kalyaan was first and received an extended reading.  How long?  Well I’m not sure but this music does create a sort of suspended sense of timelessness when performed well.  Indeed that was the effect on this listener.  The whole performance of both ragas could not have exceeded one hour  but the performances by these master musicians achieved the height of their art in producing riveting performances of this beautiful music.  Sachdev’s mastery certainly has virtuosity but his genius lies in being able to infuse his performance with spirituality from within himself and to impart that spiritual resonance to his audience.  He was ably aided in that endeavor by Chaudhuri who, clearly a master of his instrument and connected with Sachdev, channeled his connection with the infinite.

The audience responded with great warmth and appreciation concluding the first day of the festival.

D. Lee OM18

Composer, performer, designer, shaman Dohee Lee performing her work, ‘ARA’.

Friday night began with the world premiere of the music theater performance piece, ‘ARA’ by Korean-American artist Dohee Lee.  Continuing with the spiritual tone set by yesterday’s Raga performances Lee introduced her multi-disciplinary art derived from her study of Korean music, dance and shamanism as well as costume design and music performance.

She was aided in her efforts by the unique instrument designed for her by sculptor and multi-disciplinary artist Colin Ernst.  The Eye Harp (seen in the above photo) is an instrument that is played by bowing and plucking strings and is connected to electronics as well.

The art of lighting designer David Robertson, whose work subtly enhanced all the performances, was clearly in evidence here.  This was  a feast for the eyes, ears and souls.  Dohee Lee’s creative costume design was integrated with the visually striking Eye Harp instrument.  And the music with sound design processing her instrument nicely complimented her vocalizations.  All were lit so as to enhance the visual design and create a unified whole of this performance.

Dohee Lee on the carefully lit stage off Kanbar Hall.

Dohee Lee on the carefully lit stage off Kanbar Hall.

Her performance began slowly with Lee in her beautiful costume took on the role of a modern shaman conjuring glossolalia in shamanic trance along with choreographed movement and accompanied by her Eye Harp and electronic sounds through the theater’s great sound system.   Like the raga performances of the previous night I wasn’t aware of how long this timeless performance lasted (the program said it was 10 minutes) .  But I wished it would have gone on longer.  Even with photographs the experience here is difficult to articulate.  The sound enveloped the audience who viewed the carefully lit stage in the otherwise darkened hall as the sounds communicated a connection with the sacred.

I am still trying to digest what I saw and heard on this Friday night.  I don’t know how most of the audience experienced this piece but they seemed to have connected with it and responded with grateful applause.  She seemed to connect as both artist and shaman.

Anna Petrini performing with her Paetzold contrabass recorder.

Anna Petrini performing with her Paetzold contrabass recorder.

Following Dohee Lee were three pieces for an instrument called the Paetzold contrabass recorder (two before intermission and one after).  Paetzold is the manufacturer who specializes in the manufacture of recorders, forerunner of the modern flute.  The square contrabass recorder is a modern design of this woodwind instrument.  However, knowing the sound of the recorder in music of Bach and his contemporaries, gives the listener no useful clues as to what to expect from the unusual looking instrument pictured above.

Anna Petrini is a Swedish recorder virtuoso who specializes in baroque and modern music written for the recorder.  At this performance she played her contrabass instrument augmented variously by modifications, additions of microphones, little speakers and electronic processing.  These pieces were perhaps the most avant-garde and the most abstract music in this festival.

Anna Petrini performing on the stage of Kanbar Hall at the Other Minds festival.

Anna Petrini performing on the stage of Kanbar Hall at the Other Minds festival.

The creative stage lighting provided a useful visual counterpoint to the music.  The first piece, ‘Split Rudder’ (2011) by fellow Swede Malin Bang was here given it’s U.S. premiere.  This piece is concerned with the sounds made inside the instrument captured by small microphones inserted into the instrument.  The resulting sounds were unlike any recorder sound that this listener has heard.  The piece created percussive sounds and wind sounds.

The next piece, ‘Seascape’ (1994) by the late Italian composer Fausto Rominelli (1963-2004) used amplification but no electronic processing.  These abstract works were received well by the audience.

‘SinewOod’ (2008) by Mattias Petersson involved introducing sound into the body of the  instrument as well as miking it internally and setting up electronic processing with which the performer interacts.  Like the two pieces that preceded it this was a complex exercise in the interaction between music and technology which is to my ears more opaque and requires repeated listenings to fully appreciate.

Taborn

Craig Taborn performing on the stage of Kanbar Hall at the 2013

The second concert was brought to its conclusion by the young jazz pianist and ECM recording artist Craig Taborn.  Detroit born, Taborn came under the influence of Roscoe Mitchell (of AACM fame) and began developing his unique style.  Here the term jazz does little to describe what the audience was about to hear.

Taborn sat at the keyboard with a look of intense concentration and began slowly playing rather sparse and disconnected sounding notes.  Gradually his playing became more complex.  I listened searching for a context to help me understand what he was doing.  Am I hearing influences of Cecil Taylor?  Thelonius Monk?  Keith Jarrett maybe?

Well comparisons have their limits.  As Taborn played on his music became more complex and incredibly virtuosic.  He demonstrated a highly acute sense of dynamics and used this to add to his style of playing.  I was unprepared for the density and power of this music. Despite the complexity it never became muddy.  All the lines were distinct and clear.  And despite his powerful and sustained hammering at that keyboard the piano sustained no damage.  But the audience clearly picked up on the raw energy of the performance.

This is very difficult music to describe except to say that it had power and presence and the performer is a creative virtuoso whose work I intend to follow.

Amy X Neuberg along with the William Winant percussion group playing Aaron Gervais.

Amy X Neuberg along with the William Winant percussion group playing Aaron Gervais.

The final concert on Saturday began with the world premiere of another Other Minds commissioned work, ‘Work Around the World’ (2012) for live voice with looping electronics and percussion ensemble.  This, we learned in the pre-concert panel is another iteration in a series of language based works, this one featuring the word ‘work’ in 12 different languages.

Amy X Neuberg singing at the premiere of Aaron Gervais' 'Work Around the World'.

Amy X Neuberg singing at the premiere of Aaron Gervais’ ‘Work Around the World’.

Language is an essential part of the work of local vocal/techno diva Amy X Neuberg’s compositions and performance work.  With her live looping electronics she was one instrument, if you will, in the orchestra of this rhythmically complex work.  William Winant presided over the complexity leading all successfully in the performance which the musicians appeared to enjoy.  The audience was also apparently pleased with the great musicianship and the novelty of the work.  Its complexities would no doubt reveal more on repeated listenings but the piece definitely spoke to the audience which seemed to have absorbed some of the incredible energy of the performance.

Michala Petri performing Sunleif Rasmussen's 'Vogelstimmung'.

Michala Petri performing Sunleif Rasmussen’s ‘Vogelstimmung’.

Back to the recorder again but this time to the more familiar instrument if not to more familiar repertoire.  Recorder virtuoso Michala Petri whose work was first made known to the record buying public some years ago is familiar to most (this writer as well) for her fine performances of the baroque repertoire.

Tonight she shared her passion for contemporary music.  First she played Sunleif Rasmussen’s ‘Vogelstimmung’ (2011) which he wrote for her.  It was the U.S. premiere of this solo recorder piece.  Vogelstimmung is inspired by pictures of birds and is a technically challenging piece that Petri performed with confidence.  At 17 minutes it was virtually a solo concerto.

And then back to electronics, this time with Paula Matthusen who now teaches at Wesleyan holding the position once held by the now emeritus professor Alvin Lucier.  Her piece for recorder and electronics, ‘sparrows in supermarkets’ (2011) was performed by Ms. Petri with Ms. Matthusen on live electronic processing.  This was a multi-channel work with speakers surrounding the audience immersing all in a complex but not unfriendly soundfield.

Michael Straus (left) with Charles Amirkhanian

Michael Straus (left) with Charles Amirkhanian

 

Some technical difficulties plagued the beginning of the first piece after intermission so the always resourceful emcee, Other Minds executive director Charles Amirkhanian took the opportunity to introduce the new Operations Director Michael Straus.  Straus replaces Adam Fong who has gone on to head a new music center elsewhere in San Francisco.

Mr. Amirkhanian also spoke of big plans in the works for the 20th Other Minds concert scheduled for 2015 which will reportedly bring back some of the previous composers in celebration of 20 years of this cutting edge festival.  No doubt Mr. Straus has his work cut out for him in the coming months.

 

Ström, part of the video projection

Ström, part of the video projection

With the difficulties sufficiently resolved it was time to see and hear Mattias Petersson’s ‘Ström’ (2011) for live electronics and interactive video in its U.S. premiere.  Petersson collaborated with video artist Frederik Olofsson to produce this work in which the video responds to the 5 channels of electronics which are manipulated live by the composer and the five lines on the video respond to the sounds made.  The hall was darkened so that just about all the audience could see was the large projected video screen whilst surrounded by the electronic sounds.

The work started at first with silence, then a few scratching sounds, clicks and pops.  By the end the sound was loud and driving and all-encompassing.  It ended rather abruptly.  The audience which was no doubt skeptical at the beginning warmed to the piece and gave an appreciative round of applause.

Paula Matthusen performing her work, '...and believing in...'

Paula Matthusen performing her work, ‘…and believing in…’

Next up, again in a darkened hall was a piece for solo performer and electronics.  Composer Paula Matthusen came out on stage and assumed the posture in the above photograph all the while holding a stethoscope to her heart.  The details of this work were not given in the program but this appears to be related to the work of Alvin Lucier and his biofeedback work on the 1970s.  Again the sounds surrounded the audience as the lonely crouching figure remained apparently motionless on stage providing a curious visual to accompany the again complex but not unfriendly sounds.  Again the audience was appreciative of this rather meditative piece.

Pamela Z (left) improvising with Paula Matthusen

Pamela Z (left) improvising with Paula Matthusen

Following that Ms. Mathussen joined another bay area singer and electronics diva, Pamela Z for a joint improvisation.  Ms. Z, using her proximity triggered devices and a computer looped her voice creating familiar sounds for those who know her work while the diminutive academic sat at her desk stage right manipulating her electronics.  It was an interesting collaboration which the musicians seemed to enjoy and which the audience also clearly appreciated.

Pamela Z performing Meredith Monk's 'Scared Song'

Pamela Z performing Meredith Monk’s ‘Scared Song’

For the finale Pamela Z performed her 2009 arrangement of Meredith Monk’s ‘Scared Song’ 1986) which appeared on a crowd sourced CD curated by another Other Minds alum, DJ Spooky.  Z effectively imitated Monks complex vocalizations and multi-tracked her voice as accompaniment providing a fitting tribute to yet another vocal diva and Other Minds alumnus.  The audience showed their appreciation with long and sustained applause.

All the composers of Other Minds 18

All the composers of Other Minds 18

Left Coast Classical


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Dear friends of new music,

The annual Other Minds concert series is coming up on February 28, March 1 and 2. Now in its 18th iteration the festival seems to constantly be able to find new and interesting music from all over the world. And it gives every season’s musicians a week’s retreat at the Djerassi Resident Artists program during which they perform and discuss their music with each other sharing what must be a wonderful mind-expanding experience for them.

Kanbar Hall at the Jewish Community Center of San Francisco provides a comfortable venue that is both visually and acoustically well-suited to the marvelously diverse collections of composers and musicians that come together for three nights following their week-long workshop/retreat. Under the direction of Charles Amirkhanian who was music director at KPFA radio from 1969 to 1992 this concert series threatens to invade the musical consciousness and tastes of Northern California and beyond. At the very least it holds off the danger of the music scene becoming stuck in a rut. And at best it cross pollinates the DNA of the musical world to yield as yet unknown artistic mutations.

For die hard fans of new music like myself the festival provides an opportunity to hear some exciting artists whose work has interested me as well as an opportunity to widen my horizons and hear younger artists whose work is yet known only to a smaller audience. There are world and local premieres every year. And one of the thrills, at least for me, is the chance to hear artists who later rise to greater fame, “I remember when I first heard…”

This year’s line up is no less varied than previous years. Casting its usual wide net composers are included from Denmark, India, South Korea, Sweden, Canada and the United States. For me it will be the first time in which I will have had practically no knowledge before hand of these composers. But some of the performers are known to me including electronic diva gurus Amy X Neuberg and Pamela Z, two Bay Area artists with distinctly different approaches to the ‘voice with electronics’ genre. Having appeared previously in the ‘Other Minds’ concerts presenting their own compositions (composers thus far have only been allowed a single appearance presumably to make room for the new) they are engaged to perform music by other composers.

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Neuberg recently appeared doing her own arrangement of Joni Mitchell’s ‘California’ in a well-received performance with 9 other bands playing their arrangements of the other nine tracks from Mitchell’s classic album, ‘Blue’. This wonderful concert was reviewed in a previous blog. She will perform along with virtuoso percussionist William Winant and his percussion group in the world premiere of Canadian American Aaron Gervais ‘Work Around the World’.

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Pamela Z is also well known and is pictured above in a performance at the annual Chapel of the Chimes Summer Solstice concert. The world premiere of her Kronos Quartet commission, ‘And the Movement of the Tongue’ for string quartet and electronics occurs on February 20 and 21 at San Francisco’s Yerba Buena Center. She will be performing an improvisation with another soloist with electronics performer, Paula Matthusen as well as her own arrangement of Meredith Monk’s ‘Scared Song’ on the last day (Saturday).

While I had been aware of recorder player Michala Petri I am only familiar with her recordings of baroque music. But we will get to hear her artistry in performances of fellow Danes Sunlief Rasmussen and Paula Matthusen in contemporary pieces, one a U.S. premiere.

In addition there will be performances by Danish folk trio (recorder, accordion, violin) and Indian Bansuri master G.S. Sachdev as well as a performance by jazz pianist and ECM recording artist Craig Taborn.

Swedish contrabass recorder artist Anna Petrini will perform three works for contrabass recorder and electronics (an unusual combination to say the least) by three Scandinavian composers. Mattias Petersson is featured in a performance with video and electronics of his work ‘Strom’ from 2006 in its U.S. premiere.

And the second (of three) nights will feature the world premiere of a theatrical work, ‘ARA’ by the South Korean vocalist Dohee Lee featuring video and multi-channel electronics. I’m betting that this may be a major premiere.

If, as most biologists now believe, diversity is crucial to the survival of a species then the Other Minds festival appears to be mixing enough artistic DNA to keep new music alive for a couple of hundred years. I don’t know how many friends and acquaintances will be awed in 5-10 years when I tell them I was at the premiere of ‘ARA’ or ‘Work Around the World’ or try to describe the sound of a contrabass recorder with electronic enhancement but even the blank stares with some scratching their heads won’t detract from my own self satisfaction of having been there.

Hoping to see you at Other Minds,

Allan