Visions of a Dreamer: Keane Southard’s Waltzing Dervish


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Keane Southard (1987- ) is a composer and pianist whose work is influenced by a variety of styles including standard classical and pop and folk influences.  This major debut disc is a fine sampling of his work though it is important to realize that his work is for diverse ensembles of pretty much every description and the present sampling is of music for wind ensemble.

Just like every specialized grouping, be it string quartet, string orchestra, wind quintet, solo piano, full orchestra, etc., one encounters composers with varying degrees of facility in each configuration.  Southard seems very much at home with the wind ensemble/band and its possibilities.  A quick look through his extensive works list at his site suggests a hugely prolific musician with a wide variety of skill sets in a variety of musical configurations.  Wind ensemble is clearly one of his strengths and the Northeastern State University Wind Ensemble of Oklahoma under conductor Norman Wika are up to the challenges.  Southard playfully refers to this grouping as a “wind powered” ensemble using it as a metaphor for ecologically sustainable power systems.

There are nine tracks of which three are transcriptions of other composers’ work and the remaining six are by Southard.  His metaphors are as eclectic as his musical choices but fear not, his choices are friendly ones.  The first track, Waltzing Dervish sets the tone as an original and substantial composition of some ten minutes duration in which he takes on the waltz and its various meanings both public and personal to create an original band composition concerned as much with ecological metaphor as with a striving for multicultural diversity in an optimistic and thoughtful exploration of what can easily be a tired dance form.

The second piece is an arrangement of a piece by Francisco Mignone (1897-1986), one of the composers whose music he encountered during his 2013 Fulbright Fellowship in Brazil.  The piece is scored for optional choir (not used in this recording) and band, an arrangement Southard made with the intention of sharing this music as a highly viable selection for concert band.  It is indeed a joyous affair and one could easily imagine this being adopted as a staple in the rarefied realm of concert band music.

Do You Know How Many You Are? is the composer’s 2013 band arrangement of a 2010 choral piece which he describes as having basically come to him in a dream.

Claude Debussy’s Menuet (ca. 1890) was originally a piano piece which Southard envisioned in this orchestrated form during the course of his studies of orchestration.  That sort of inspiration is not uncommon for a composer but the result is not always as ideal as the composer imagined.  Fortunately this orchestration works quite well and again would proudly fit in a given band’s repertoire as an audience pleasing piece.

The next piece, originally an orchestral piece from 2013 is presented in the composer’s own arrangement for band.  No Interior Do Rio De Janeiro (2013/15) is another of the inspirations from the composer’s 2013 Fulbright Fellowship and was inspired by his work with “Orquestrando a Vida”, a Brazilian music project inspired by Venezuela’s famed “El Sistema”.  The band version was written on a commission from the present NSU Wind Ensemble.  Here is perhaps a departure from the dance theme of the first three tracks.  It seems to be a thesis or musical diary entry reflecting his personal take on the experience of working with this project though the spirit of the dance remains throughout.

Carousel (2008/2010) is the arrangement for band of the third movement of a mini-symphony (perhaps a scherzo?) for orchestra.  Curiously he describes his inspiration as coming from the sound of the calliope, a sort of steam driven organ common in circuses of the late 19th and early 20th centuries.

Cortège et Litanie (1922) by French composer and organist Marcel Dupré (1886-1971) is a bit of a departure.  Neither a dance nor derived from Brazilian sources this piece was originally written for organ.  The organ (like the calliope in the previous piece) is arguably a wind instrument and this transcription retains some of the ambiance of that grand instrument.  It is among Dupré’s better known pieces and seems a natural for band.

Uma Pasacalha Brasiliera (2015) is a commission from a the Arrowhead Union High School Wind Ensemble and conductor Jacob T. Polancich.  The composer describes various influences in the circuitous path the the completion of this work but it is basically a sort of homage to the baroque form of the pasacaglia (variations over a repeating bass line) as well as to some of the great folk song influenced composers such as Percy Grainger.  Brazilian influences dominate much of the composer’s work from this period and they combine with the aforementioned baroque and folk influences to form a wonderfully creative take on that form of baroque counterpoint.

Finally the big finale is presented in another transcription, this time of a concerto for piano and organ from 2008.  Of course the organ again lends it’s sound easily to a band transcription and we have this Concertino for Piano and Wind Band (2008 rev. 2015) which allows us to hear the considerable keyboard skills of the composer.  This is the most substantial work on the disc and provides a satisfying finale to this portrait of a prolific and optimistic young composer at the very successful beginnings of what this writer (optimistically) hopes will be a long and productive career.

 

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Other Minds 22, Resounding Sacred Tributes from Music to Wheaties


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

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

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

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

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

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

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The organ console at the Basilica.

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

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

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

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

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

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

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

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

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

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

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

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

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

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The breakfast of new music champions.

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

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

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

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

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

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

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

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

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

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

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

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

When Politics and the Arts Clash, OM 22


Isang Yun (1917-1995)


The relationship between politics and music is complex and varied.  There are many instances of clashes between these two disciplines from the politics of state and church sponsored music to its repression by those same institutions.

After centuries of Catholic church sponsored music a decision was made in 1903 to repress the performance of anything but Gregorian chant and any instruments except for the ubiquitous organ.  The reasons for this decree have been discussed but the end result was less work for musicians.

More recently the Nazi “degenerate art” concepts and the later proscriptions on “formalist music” in Soviet Russia similarly put artists and musicians out of work.  In fact many were jailed or killed.  Shostakovich and Prokofiev were high profile musicians who endured bans on performances of their music based ostensibly on claims that it brought (or potentially brought) harm to the state’s political visions.

Even more recently the blacklist created by Joseph McCarthy and his acolytes perpetrated a similar assault on actors, directors and writers like Dalton Trumbo (recently dramatized in the excellent film Trumbo with Bryan Cranston leading the fine cast).  This sad chapter of history did not completely end until the 1970s and only recently have efforts succeeded in restoring suppressed screen credits to these films.  Many lives were destroyed or irreparably harmed.  One hopes, of course, that such travesties will not be repeated but the recent efforts to eliminate the NEA suggest that such struggles remain with us.

On February 18th Other Minds will present a centennial celebration of two composers’ births.  Lou Harrison certainly expressed some political themes in some of his music but did not incur state sponsored political wrath.  Unfortunately this was not the case with the other honoree of Other Minds’ 22nd season.

In 1967 Korean composer Isang Yun was kidnapped by South Korean intelligence officers and taken to South Korea to face accusations of collaboration with the communist government of North Korea.  He was held for two years and was subjected to interrogation and torture based on information later acknowledged to have been fabricated.  Even so South Korea declined to allow the ailing composer’s request to visit his hometown in 1994.  He died the following year in his adoptive home in Berlin, Germany.

A petition signed by over 200 artists including composers Karlheinz Stockhausen, Hans Werner Henze, Gyorgy Ligeti and conductors Otto Klemperer and Joseph Keilberth among the many was sent to the South Korean government in protest.  A fine recent article by K. J. Noh, Republic of Terror, Republic of Torture puts the incident in larger political context. It is a lesson sadly relevant even now in our politically turbulent times.

The concert will feature works from various points in his career, both before and after the aforementioned incident.  It is a fine opportunity to hear the work of this too little known 20th century master.  Conductor and pianist Dennis Russell Davies knew and worked with both Harrison and Isang.  It is so fitting that he will participate along with his wife, justly famed new music pianist Maki Namekawa, in this tribute to the the late composer.  This can’t right the wrongs but what better way to honor a composer than by performing his music?

The performance is at 7:30 PM at the historic Mission Dolores Basilica at 3321 16th Street
San Francisco, CA 94114.  Tickets available (only $20) at Brown Paper Tickets.

Paula Matthusen’s Pieces for People


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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.

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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.

A Really Great Brass and Organ Album, Chicago Gargoyle Brass and Organ Ensemble


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MSR Classics MS 1598

At first this disc seemed to be one of those “audiophile spectacular” niche market items designed to show off one’s stereo system.  I expected a well-recorded album with wide dynamic range and a clarity that would stun the listener but these types of albums frequently have well-recorded but uninteresting music or, worse, cloying showpieces that don’t bear repeated listening.

The first listen dissuaded me from that notion immediately because this is interesting and well-played music.  Except for three clever transcriptions of late 19th/early 20 century pieces all the music is from 2005-2013 (as are the transcriptions for that matter).

The music is, on the whole of a somewhat conservative nature but that is not a negative thing.  All of the music is pleasantly engaging and/or downright exciting.

The first four (of a total of 15) tracks present the music of Carlisle Sharpe (1965- ).  The first work Flourishes (2005/10) is a festive fanfare which was revised for this ensemble. The next three tracks contain the Prelude, Elegy and Scherzo (2012) is a commission by the present artists.

Next we move on to one of the arrangements by Craig Garner (1959- ).  This is, I think, a difficult arrangement to play but is handled with such ease by these players that one could be fooled into thinking it was easy.  The arrangement of the popular drinking song from Verdi’s La Traviata (1853) is a lucid and detailed transcription.  It is the clarify of the recording that makes this obvious as we are able to hear the various challenging lines that allow pretty much everyone in the ensemble to demonstrate their facility.

William Whyte (1983- ) is the next featured composer with a satisfying little suite called Dwarf Planets (2012).  It is in five brief movements.  The piece was also commissioned by and dedicated to Chicago Gargoyle Brass and artistic director Rodney Holmes.

Earthscape (2011) by David Marlatt is cast in a similar vein and, with the previous five tracks these are effectively musical appendices to Holst.  Marlatt, a Canadian composer has written this lyrical piece for the Gargoyle Brass.

Tracks 12 and 13 are another great transcription of a type of work which conductor Sir Thomas Beecham was fond of calling “bon-bons”, an appellation that was a proto-pop concert concept describing short, popular encore pieces.  It is the Polka and Fugue from “Schwanda the Bagpiper” by Jaromir Weinberger (1896-1967), a Czech composer whose reputation lies pretty much entirely on this work.   Originally for orchestra, this engaging work is very effectively arranged for this ensemble.

Tracks 14 and 15 comprise another transcription, this time of two movements from Camille Saint-Saens’ (1835-1921) 3rd Symphony (1886).  This is another truly great piece of music that always plays well with audiences.  The original is for a large orchestra and an organ.  The transcription is remarkably faithful to the score and it’s hard not to get hooked on that finale.  The entire symphony is actually based on the “Dies Irae” chant from the Requiem Mass though this is not a somber piece at all.

The last track is Velvet Blue (2012) by Peter Meechan (1983- ), a British born Canadian composer.  Originally written for a “rock” organ (the Hammond variety) and here played on a traditional pipe organ this is one of the most unusual pieces here.  It’s blues/jazz inflections harken back to big band sounds of the 1930s.

Brass instruments and organs are not instruments known for their agility.  Combine that with the resonant recording space of the churches involved and you have some serious engineering challenges.  Hudson Fair at Hudsonic has met these challenges and succeeded in capturing these performances in lucid detail with a true audiophile recording.  The dynamic range is wide and the the recording is about as clear as I have ever heard done  in this setting.

The musicians Lev Garbar, trumpet; Andrew Hunter, trumpet and flugelhorn; Amy Krueger, horn; Kathryn Swope, horn; John Grodrian, trombone; Graham Middleton, trombone; Ryan Miller, trombone; Andrew Vandevender, tuba; Paul Ramsler, tuba; Joshua Wort, tuba; Michael Schraft, tympani and drum set; Jared Stellmacher, organ; Mark Sudeth, piano; and Steven Squires, conductor all play with precision, lyricism and feeling.

One more piece of what I call “audio porn” is nicely included, the statistics on the two beautiful organs played at the two churches where these recordings were made.  Nice touch. Great fun album.