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.

Captain Kirk and the Buddha Speak Esperanto: Other Minds 22 Commemmorates Lou Silver Harrison at 100


Esperanto is a constructed language brought into being in an 1887 book by a Polish-Jewish doctor by the name of L. L. Zamenhof (1861-1917).  This constructed language was intended in part as an intellectual exercise which might contribute to greater international discourse and perhaps understanding.  He outlined his intentions as follows:

  1. “To render the study of the language so easy as to make its acquisition mere play to the learner.”
  2. “To enable the learner to make direct use of his knowledge with persons of any nationality, whether the language be universally accepted or not; in other words, the language is to be directly a means of international communication.”
  3. “To find some means of overcoming the natural indifference of mankind, and disposing them, in the quickest manner possible, and en masse, to learn and use the proposed language as a living one, and not only in last extremities, and with the key at hand.

Esperanto did gain a great deal of popularity and there are still adherents today (an estimated 2 million people worldwide).  Lou Harrison was one of the users of this language (users are known as “Esperantists”).

L. L. Zamenhof (1859-1917)

In 1966 a horror film, “Incubus”, written and directed by Leslie Stevens (of Outer Limits fame) was released starring the just pre-Star Trek William Shatner.  Once thought lost, this film was restored from a copy found in a French film library.  It was only the second (and apparently last) feature film done entirely in Esperanto (the first being the 1964 French production, “Angoroj” or Agonies).  It was thought that the use of Esperanto would add a mysterious dimension to the production though detractors challenged the actors’ ability to properly pronounce the dialogue.  A link to a Shatner scene is here.  https://www.youtube.com/watch?v=accFmyaOj7o

And if you want to sit through the entire film (definitely a cult film experience) you can find it here: https://www.youtube.com/watch?v=LHUfHj2lTaM

Curiously 1917, the year of Dr. Zamenhof’s death, is also the birth year of Lou Harrison, the principal subject of this essay.  This patriarch of 20th century modernism was a composer, conductor, musicologist, performer, teacher, dancer, calligrapher, and Esperantist.  He used Esperanto to title many of his works and set some Esperanto texts to music.

Lou Silver Harrison

And the Buddha Becomes an Esperantist

In his masterful big composition, La Koro Sutro (1972) translated portions of the text of the Buddhist Heart Sutra (into Esperanto) are set for mixed chorus and American Gamelan.  Gamelan is an Indonesian mostly percussion orchestra which Harrison studied extensively following the example of pioneering Canadian ethnomusicologist and composer Colin McPhee (1900-1964).

Gamelan was first introduced to western audiences at the 1889 Paris World’s Fair where composers such as Claude Debussy and Erik Satie heard the instruments and later incorporated some of those sounds in their music.  (That Gamelan now resides in Chicago’s Field Museum of Natural History.) Harrison’s life partner Bill Colvig, an instrument maker, constructed a percussion ensemble which they called the American Gamelan to differentiate it from the traditional Indonesian ensemble.  The American Gamelan, consisting of five percussion instruments (augmented with organ, harp, and chorus) was first used in the cantata La Koro Sutro.

Harriso (left) with Bill Colvig

This composition is very much a synthesis of the composer’s musical and philosophical ideas.  Harrison was an avowed pacifist and the Heart Sutra is a key Buddhist scripture which supports introspection and non-violence.  Here he uses his expertise as an esperantist, his knowledge of Indonesian as well as western classical music to create one of his largest and finest works.

Lou Harrison with Charles Amirkhanian (curator of this concert series) in 1966

It is a testament to Harrison’s influence that this is the fourth performance of La Koro Sutro in the Bay Area.  It was written for an Esperanto conference in Seattle in 1972 with a translation by fellow esperantist Bruce Kennedy and was premiered that same year at Lone Mountain College  in San Francisco (now part of the University of San Francisco).  Additional performances (available on You Tube) were staged in Berkeley in 1973 and again in 2012.  This is truly an American masterpiece as well as a prayer for our times.

The performances will take place in the Mission San Francisco de Asís Basilica, better known as Mission Dolores.  The mission was founded in 1776 and the still active small adobe church next to the Basilica, built in 1791, is the oldest surviving building in San Francisco.  The much larger Basilica next to the adobe church (and the actual location of said concert) was dedicated in 1918.

Interior of the historic Mission Dolores Basilica

For the record, a Basilica is a reference to both architectural and spiritual aspects of any church so designated.  In the Catholic Church a Basilica is a pilgrimage site, a place to which the faithful travel in a spiritual quest.  I don’t believe it is too much of a stretch to view this event as a musico-spiritual pilgrimage open to all ears and minds, and hearts.  You won’t come out speaking Esperanto but you will never forget what you’ve heard.
The program will include:


Threnody for Oliver Daniel for harp (1990) 

Suite for Cello & Harp (1948)

Meredith Clark, harp

Emil Miland, cello

Pedal Sonata for Organ (1987/1989) Praises for Michael the Archangel (1946-47)

Jerome Lenk, organ

Suite for Violin & American Gamelan (1974, composed with Richard Dee) 

Shalini Vijayan, violin

William Winant Percussion Group

La Koro Sutro (The Heart Sutra, 1972)

For large mixed chorus, organ, harp, and American Gamelan

The Mission Dolores Choir, Resound, Jerome Lenk, organ, Meredith Clark, harp, and the William Winant Percussion Group conducted by Nicole Paiement.
Saturday, May 20, 2017- 7:30 p.m. 

Mission Dolores Basilica

3321 16th St.

San Francisco, CA
The very affordable tickets ($12-$20) are available at:

http://om22concerttwo.brownpapertickets.com/

Revido tie. (See you there.)
 

Of Mourning and Unity, 2016


 

oliverosolstice20160075Every year on June 21st, the Summer Solstice, there is a rather unique concert event in which musicians from the Bay Area and beyond gather in celebratory splendor in the sacred space of the Chapel of the Chimes in Oakland.  The chapel is a columbarium  (a resting place for cremated remains) and a mausoleum.  The space is in part the work of famed California architect Julia Morgan.

On December 19th Sarah Cahill with New Music Bay Area secured permission to use this space for four hours from 11AM to 3PM.  She invited many musicians who had been involved in one way or another with Pauline Oliveros whose death preceded by a week or two the tragic “Ghost Ship Fire” as it’s become known.  The idea was to pay homage to both this wonderful theorist, composer, performer and teacher and also to pay homage and to mourn the losses of some 36 young artists who will now never realize their ambitions.

What follows here is a simple photo essay of my personal impressions of this event.  The slant of the winter light added a dimension to those beautiful spaces as a large roster of musicians played pieces by and about Pauline Oliveros.  It was a lovely and reverent experience.

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The angle of the winter light adds its dimension.

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OM202022

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).

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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.

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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.

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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