Concert reviews
Review: Los Angeles Composers Collective: Wind Quintets
On Friday, October 23, the Los Angeles Composers Collective presented a concert at Ross Chapel in Pasadena, featuring seven new wind quintets by the collective’s seven members. CLAW, the Los Angeles-based contemporary wind quintet, was on hand to perform. Linda L. Rife, LACC Artistic Director, gave some opening remarks and introduced each piece, all premieres.
The concert opened with Spring From Night Into The Sun by Gregory Lenczycki, a piece that was inspired by Help On The Way by the Grateful Dead. A tuba was substituted in the CLAW wind ensemble for the usual bassoon and the opening flute arpeggios were soon joined by a booming bass line. The other instruments entered with alternately jagged lines and smoother stretches, with the combinations constantly changing. This produced a complex texture that was occasionally broken by more fluid sections. At one point a lovely horn solo rose up with a solemn, introspective feel. At other times a light, bouncy groove emerged, dominated by the horns. Spring From Night Into The Sun featured excellent coordination among the players passing around the complicated rhythms and provided an engaging contrast by the artful placement of the more soothing stretches.
Out of Time by Ryan Lester was based on a sort of biological metaphor, as three musical cells were introduced and evolved in different directions. The piece began actively, with repeating rhythms and syncopated lines, the bassoon, flute and clarinet closely interwoven with the horn, producing a complex, constantly-changing pattern of eighth notes. This had the feel of classic minimalism – with the three repeating cells – but as the rhythmic variations radiated outward there was a sense of ever-expanding complexity.
Wind Quintet No. 1 by Tu Nguyen followed and was inspired by that most agreeable of diversions: daydreaming. This piece began in a series of lush, sustained chords with a particularly lovely blend in the clarinet and bassoon. There was a more leisurely and relaxing feel to this as compared to the previous pieces, and the horn part added a particularly welcoming touch. The pleasant harmony and slower pace gave an earthy, organic feel – like lying in the sunshine of a summer day. Occasionally there would be a touch of drama or the exotic, but always followed by a return to the familiar. Wind Quintet No. 1 is a deftly charming sketch of genial reverie.
The first half of the concert concluded with Story of the Tree Seed by Danielle Rosaria. This is a story that Ms. Rosaria imagined for her unborn child involving a tree seed given by an old woman to be planted by a young girl from a mountain village high above the timber line that knew no trees. Story of the Tree Seed proceeds in four movements; the first opens with a lovely horn and clarinet duo, followed by the bassoon and horn. There is a sense of noble grandeur here – and mountainous terrain – that sets the scene. The second movement is slower and more deliberate and the bassoon solo paints a convincing portrait of the old woman – long flowing passages and an elegant counterpoint complete the picture. The orchestration of the wind instruments is precisely on target here. Movement three is active and bustling, exactly like a child full of energy. The melody lines are rapid and short, especially in the flute solo. The other woodwinds add counterpoint and the feeling is optimistic and hopeful. The final movement has a monumental feeling, especially in the horn, as the tree seed is planted with a spirit of idealism and hopefulness. Story of the Tree Seed features excellent writing for the wind quintet as applied to storytelling – you can almost see the animation unfold in your mind’s eye.
The second half started with A Buck For The Organ Grinder by Derek Dobbs, with the wind quintet augmented by electric guitar, bass guitar and the composer at the electronic keyboard. This piece was inspired by the mistreatment of the old organ grinder street musicians who were often insulted or physically chased from the street corners where they would busk for small change. Given the nature of the title and the addition of the amplified instrumentation, I anticipated a high intensity sonic barrage would ensue. This proved to be incorrect, as the guitar and keyboard began with a bright, sunny opening chord that set a buoyant tone for the rest of the piece. The bass joined in, lending an Asian feel and as the woodwinds and brass entered there were some splendid harmonies as well as an engaging counterpoint. There was a terracing effect as each instrument entered in its turn, adding to the rhythmic texture and sweet sensibility of this piece. A Buck For The Organ Grinder is a gentle and unhurried piece that is full of warmth and optimism.
Ouroboros by Nicholas White was next, and this was based on the self-devouring snake myth that is common to many cultures. Dark chords and deep notes opened this piece, giving a somewhat sinister feeling. The english horn gave a rather exotic feel and the piece became more dramatic and uncertain with the addition of some discordant tones. The exotic feeling was increased by an oboe entrance that weaved a mysterious melody, reminiscent of an early passage in The Pines of Rome. The bass clarinet added to the ominous feel and the piece turned dark and menacing, perhaps a metaphor for the completion of the circle of life as symbolized by the self-devouring snake. Ouroboros is a fine musical expression of the ancient myth, nicely captured for the wind quintet.
The final piece in the program was In passing by Jon Brenner. This began with a syncopated tutti line that quickly broke down into complex counterpoint. There was a busy, active feel of motion and movement to this. A theme emerged and was handed off to different players as the others combined in a nicely ornamented counterpoint, as if commenting on the theme. The texture was animated, with many parts emerging and then falling back again; it almost seemed as if a fugue would break out. In passing is a complex assembly with intricately moving parts, pleasing to hear and well played.
The playing by CLAW was precise throughout the concert, with good ensemble despite the wide variety of works on the program. The Los Angeles Composers Collective, formed in 2011, continues to showcase new music and emerging composers with concerts such as this.
CLAW is:
Sammi Lee – flute, alto flute
Claire Brazeau – oboe, english horn
Brian Walsh – clarinet, bass clarinet
Kat Nockels – tuba, bassoon
Annie Bosler – french horn
Review: Ray-Kallay Duo at Boston Court
Writing reviews as a composer can be a delicate business, in that the needs of one – being friends with performers – sometimes conflict with the needs of honest, unbiased writing. Every now and then, however, you come across a concert so good that it blows away any concern for that conflict, because in lauding the performers with accolades you are merely speaking the truth. Ray-Kallay Duo‘s concert at Boston Court last week was one such show.
Ray-Kallay Duo at Boston Court. Photo by Adam Borecki.
As the name implies, Ray-Kallay Duo is the four-hands project of pianists Aron Kallay and Vicki Ray. Just saying four-hands undersells it, though, as Friday’s concert had them awash in four-hands, four-feet, laptop, ankle-shakers, microtonal vs. equal-tempered keyboard rep. The show opened with Kevin Volans’ Matepe, with the pianists hocketing changing rhythms back and forth while beating out time with legs covered in seed pods. This contrasted nicely with Kyle Gann’s gorgeous and calming Romance Postmoderne, which was written for the duo.
You might expect stage changes galore, what with the unstrapping of seed pods and moving between instruments. While some ensembles get awkwardly silent during these times, Ray-Kallay has the insight to use them to their advantage, as Vicki Ray delivers affable program notes about each piece from the stage while Aron resets. The friendly vibe of the event helped out pieces like Frank Oteri’s Oasis, written for Yamaha DX7s and intended to make fun of the ridiculousness of early FM synth instrument modeling. In a “serious” recital such a piece may have felt out of place, but here it fit right in.
Composers in attendance visited the stage as well, with Isaac Schankler explaining how his piece Because Patterns (the title an answer to Morton Feldeman’s Why Patterns?) uses preparations to an acoustic piano to try to conjure the feel of electronic sounds.
Boy, did he succeed. The minimalist, groove-based piece was the highlight of the night. Extremely transparent, it not only showed off Schankler’s feel for phrase and musical structure and attention to sound (almost like a friendlier Tristan Perich), and the non-pandering influence of electronic artists like Matmos and Aphex Twin, but highlighted just how tightly the pianists were synced. It would be easy to convince a listener that it was one musician sitting at the piano.
Dylan Mattingly’s piece The Rest is Silence also benefitted from the cohesion of Ray and Kallay, this time with one at the piano and the other at a just-intoned keyboard. This piece is strikingly lush and beautiful, and calls into question the idea that JI music is music for specialists. It’s my favorite Mattingly piece I’ve heard yet.
When writing for four hands, I’m often thinking about chord voicings and contrapuntal writing that one pianist couldn’t achieve within their span. The range of things that Ray-Kallay demonstrated are possible with two performers of this caliber was inspiring. I hope they continue to build a rep for their infinitely-malleable setup and concertize everywhere, not just as two pianists, but as two extremely versatile musicians.
Review: Missy Mazzoli/LA Opera: Song from the Uproar
I can imagine no better way to be introduced to the LA Opera than by this show. I had no idea what to expect, only hope that it might be a nice way to spend a Friday evening. Of all the shows in LA, I figured I might as well check out something brand new. I was in for a treat.
Isabelle Eberhardt, played by the incredibly talented Abigail Fischer, had several distinct lives and deaths, recollected through cobbled diary pages. Missy Mazzoli wanted to give her a proper homage through equally cobbled yet bleakly beautiful music. Using distorted guitars, stuttering electronic sounds, pure voices, and a wailing cello and flute tell Isabelle’s tragic stories. Videos on transparent scrims add further layers of emotion to the story, complementing the music. The chorus sometimes acted as a reflection of Isabelle, and other times sang duets with her. The musicians and their instruments were as much characters in the story as Isabelle. The cello cried, the flute sang, and clarinet drank coffee and the piano just drank.
One of my favorite moments was when Isabelle moved off her pillow in an opium den and sat with the pianist on his bench. He abandoned her there, and she carried on the tune the best she could. A melody usually implements small intervals for easy singing, but the song in the opium den had enormous intervals, which I imagined represented the highs and lows of drug use. My favorite song overall was “One Hundred Names for God,” when she goes through her religious phase near the beginning. The choreography was stunning, and the many different names dripped like glittering water from Isabelle’s mouth while the instruments lilted along deferentially.
Other songs featured amplified flute signaling a period of exploration, and guitar performing a heartbeat emulating blood rushing to one’s ears in a moment of high tension and fear. At the very end, when Isabelle dies in a flash flood, the guitar swells and grows like a physical presence, and cuts short the instant her life does. This perhaps sounds cliché, and rereading this review sheds light on what made the music so subtly effective in the moment. It’s a silken beauty like seeing the ocean in the moonlight that makes one wax poetic and at the same time fail to find the words. Through such a short but intense opera, the audience falls in love with Isabelle Eberhardt and our hearts break when the music ends her life.
In short, I cannot rave about this opera enough, especially the musicians. It only ran for the one weekend, but there will be many more performances by the LA Opera and from the Beth Morrison Projects this season. Buy your tickets early!
Review: WasteLAnd’s Future of Terror
There’s something fitting about the fact there was a zoetrope of the Artic Circle upstairs above the stage during the performance. When the show is called the future of terror, the ensemble is named wasteLAnd, and there’s a stag head mounted on the wall staring at you the entire time, you know it’s going to be bleak and beautiful.
My initial thought on Emergence by Elise Roy for flute and soprano saxophone was, “I need this for my alarm clock!” Beginning literally and figuratively like a train pulling out of a station, Emergence features multiphonics, key clicks, vocal fry and hiccups from the flutist. There was even a section of vocal fry duet between Elise on flute and Elise on the recorded tape. Both the flutist and saxophonist exhibited more and more extended techniques over the course of the piece, seeming to emerge from their shells as mere instruments and becoming something more. Given the title, I constantly wondered what was emerging; sometimes it sounded like an egg hatching, and other times like a rift in time and space (I watch too much Dr. Who), and anything in between. The ending on a sustained vocal fry, no diminuendo or crescendo, left the piece feeling deliciously incomplete.
Multiplicities for solo flute by Jason Eckardt bounces off the walls like a game of registral tag. This piece sounded like an argument between different personalities, perhaps between a shoulder angel and shoulder devil. Or Smeagol and Gollum. After the last note fades out, there is one final tiny “I told you so” that made me laugh out loud. The sheer amount of energy and technique Elise put into this solo is superhuman. She exhibits superhuman control and stamina over every note, gliss, click and hum, and it was utterly spellbinding.
Elise Roy and Stephanie Aston premiere Kurt Isaacson’s “The Future of Terror”
I idly wondered who miscalculated that the concert would be almost two hours long, because I estimated the first two pieces to be approximately ten minutes each. Never underestimate the future of terror. Kurt Isaacson weaves a desolate wasteland with piccolo (and then flute), simple percussion, and soprano Stephanie Aston singing words by Matthea Harvey. The music of the piece lies not in the spoken words alone, or in fact in any one sound, but in the electronic artifacts on tape, the phonemes of the poem, the tapping of the snare like heartbeats or rainfall, and the whispering and tweeting of the piccolo. It seems to transcend melody and harmony, and only the rhythm and the sounds in each moment matter. It’s a tapestry of children’s chants, white noise and growling snare drum, screech owl imitation by piccolo, and thought-provoking lyrics. Almost a solid hour in length, the music was exhausting even for the audience. It never let up. The intensity of the sounds and intricate detail in motifs never allowed the mind to wander. We the audience existed on the Twilight Zone line between watching and participating, and the end felt like waking from a dream only to realize we had been awake all along.
Review: Southland Ensemble, Gerhard Stäbler and Kunsu Shim
While wild Up clattered, reoriented itself, and clattered again downtown on Friday night, a much quieter kind of recapitulation of materials took place at Curve Line Space in Eagle Rock: Southland Ensemble, known for their careful presentations of underrepresented composers, performed intimate works by composers Gerhard Stäbler and Kunsu Shim. The pieces titillated and occasionally challenged, and as violist Cassia Streb commented, consistently offered an “intellectual puzzle.”
A particular pleasure was the stark simplicity of In Zwei Teilen, or In Two Parts, by Shim. The Teils, or parts, bookended the concert, an appropriate metaphor for the concert overall; in music this purified, when materials are stripped to their essence, structure becomes content. Teil 1, conducted by the composer, consisted of two tableaus: rain-like pianissimo plinks from a thumb piano against a sustained tone in the cello, alternating multiple times with long, glassy dissonant chords through a dispersed ensemble of recorder, cello, violin, and viola. The same tableaus ended the concert, presented as Teil 2. When our ears are bombarded daily, it’s gently fulfilling to apprehend something as fundamental as binary form. One forgets, there is clarity and power in simply reconsidering an idea after another has been presented.
Another highlight was Southland Ensemble’s a playful interpretation of Hart Auf Hart by Stäbler, a graphic score comprised of a bar-coded grid with coordinates. Ensemble members turned handheld radios and cassette decks off and on to Battleship-style coordinates shouted over a megaphone, rewinding and piping in tinny AM radio, bringing to mind Cage. More like Cage, some grid squares contained nothing at all, and silence delimited the material with an uncomfortable objectivity.
]and on the eyes black sleep of night[ by Stäbler presented more thoughtful juxtapositions, for piccolo, clarinet, and violin, in which breath-like cadences on piercing intervals alternated with passages of dissonant activity. Piccolo amplified the higher partials of the clarinet, as overtones interacted in the beating atmosphere, and the piccolo seemed to take on aspects of the clarinet, its woodiness suddenly apparent in the lower dynamics. Violin, a mediating force, held these fast.
Shim’s luftrand for violin, viola and cello continued the theme of self-contained scenes, but in a darkened tone. While Stäbler explores a taut, considered objectivity, in Shim, things loosen, junctures come apart. Wavering sul pont harmonics and unsure gestures are suspended precariously in short, motivic units. Each scene is presented as an aphorism, but an apprehensive one, made by somebody lost on some bleak shore. The form occurs within these aphorisms, musical meaning leaping between lilypads, bounded by silence. The dual structure evokes an individual voice, weighing options, assessing alternatives, all with emotional intensity.
Happy for No Reason by Shim, in contrast, was a straightforward conceptual exploration of noise and quietude – buckets, boxes, and bags of bells were dropped and thrown at random intervals, before a B section in which players reconfigured with deft, tiny gestures, while the Stäbler slowly pulled a roll of masking tape from wall to wall, around various players. Again, the simplicity of the binary form was remarkably effective.
X (February ’94) by Stäbler, “for closures and fasteners” featured the ensemble working with ziplock bags, Velcro, tape, zippers, shoelaces, staplers, boxes and clamps, manipulating each according to dice rolls. All of these items can only exist in one of two states: open, or closed. As dry as the content and structure seemed to be here, this choice of materials, and their implied states, suggested a subtle poeticism.
There is plenty of academic work on Stäbler and Shim’s music, exploring its theoretical and political underpinnings, but for the average, curious concert-goer, this music more than speaks for itself, with its careful emphasis on form, expectations, and purity.
Review: ACF/wild Up at REDCAT
wild Up! at REDCAT. Photo by Adam Borecki.
Art should make you feel something. Be it the discomfort of eye contact, mirth at the absurdity of a bitterly happy man (nope, not a typo), or literal vibrations in your skeleton, the winning pieces of the 2015 American Composers Forum National Composition Contest dealt it all through wild Up. The concert began with When Eyes Meet by Nina C. Young, a variably atonal work narrating the palpable awkwardness of eye contact with a stranger. Segments of pointillism and others of smooth lyricism portray sneaking glances and the development of silent rapport, cut short audibly by one party guiltily turning away. In short, an aural captivation of “the struggle is real.” Next up was The Man Who Hated Everything by Alex Temple. The title alone speaks volumes on what this tribute to Frank Zappa contains. It’s a witty collage of quotations barreling through a train of thought that could exist equally in Zappa or Temple’s heads, and spills out in jazz improvisation and big band bellows and words spoken by the performers assuming characters almost but not quite themselves. The performers have entirely too much fun, and it afflicts the audience delightfully, and laughter mingles with the applause. The third and final piece is Chiaroscuro by William Gardiner. Beginning with two notes in the middle range of a vibraphone, the sound seems to come physically forward from the stage into your body as the sound is transformed into sound waves with subharmonics. The other instruments play high and light over the thick, visceral vibrations, and though there is a rhythm in the high end only the harmonic rhythm in the bass is truly observed. Each chord moved a different part of myself; first my feet, then my knees, and then my chest and finally my face. Have you ever had your sinuses stuffed from the LA haze, and then inexplicably and gently stirred by pure bass notes? It is a strange thing to claim, and an even stranger thing to experience. It was emotional without emotions, and utterly spellbinding. I wanted to hear it at least a dozen times more over the course of the night.
My wish was partly granted. After the three pieces were presented in this order, the composers came down and answered a few questions with Chris Rountree, the conductor of wild Up. As a former Seattlite who has only lived in California for a year, I am still pleasantly surprised that the whole creative process seems present in the end product; the composers and artistic directors are always at the shows and still involved. This seems, forgive my poeticism, to give the art the loving support it needs to be a real triumph, not just one more modern, off-the-wall sound coming out of crazy ol’ LA.
But, it just wouldn’t be LA without being a little off the wall. After the chat with the composers and intermission, the second half of the concert was the same set, just in a different order. The best part of this experiment was that I could move seats, and thus experience the pieces from a different perspective. Also, about half the audience departed, leaving only those who seriously love their modern music. To be fair, usually after finishing a meal you don’t jump right into eating the same meal again. But this wasn’t a meal; it was more like finishing a good book and wanting to read the whole thing again. The energy was different and the room felt smaller, but there was more rapport between all the audience members. So we heard William’s piece again, and from my new vantage point I could feel the vibrations move me in different places than before, and I could imagine seeing the floor in rings of emanating pulses, which had not occurred to me before. I heard more themes and patterns in Nina’s work, and I wished I could have followed along in the score but I was mollified by this second listen through. Alex’s piece was also enhanced by the fact I could finally see the pianist’s and reed player’s faces and better hear their words. The cellist and flutist hammed it up at the very end, and the audience, as small as we were, ate it up. The second round was a stroke of genius. The stress and reverence of the big, bad world premiere was over and we were graced with the best encore we could hope for: something exactly the same but different. And it felt great.
Review: wild Up, Jazz Composers Orchestra Institute Concert, UCLA
On Wednesday, August 12, (a while ago now; please excuse this reviewer, gentle readers) wild Up presented a unique collaboration between the American Composers Orchestra, the UCLA Herb Alpert School of Music, and the Center for Jazz Studies at Columbia University: specifically, the final concert of the Jazz Composers Orchestra Institute, a workshop geared toward giving jazz composers the opportunity to learn about writing for orchestra. If this description alone is hard to follow, it’s because there were so many forces at play here – wild Up’s intuitive and intense grasp of chamber music, Rountree’s dynamic conducting, and a wide range of experience in jazz and classical composition. The marketing of this concert seemed a bit misleading – as the culminating concert of the workshop, one might expect to find some student pieces on the program. This was, however, a showcase of faculty pieces, with a single piece by a member of wild Up – all pieces that, in their varied and skillful ways, played with the intersections between jazz and orchestral music. According to the program, up to 16 of the composers participating in this workshop will present symphonic works in the second phase of the program in 2016.
The concert was held in the Ensemble Room at the UCLA Ostin Music Center, which had lovely, rich acoustics, especially appropriate for the stripped-down chamber orchestra resources of wild Up. The environs strongly conveyed “workshop”, with all the camaraderie and vibrancy thus implied. This camaraderie was echoed in some opening remarks by director James Newton, when he asked audience members to join hands and experience the collaborative moment as one, chuckles and smiles all around. The obvious care and passion poured into this program was moving to behold.
The concert opened with a piece by this same director. Elisha’s Gift, described by the composer as dealing with direct spiritual experience of the Northern Lights, surprisingly began with a wholly intellectual dryness. wild Up’s well-poised players presented a bevy of dramatic gestures in rhythmically interlocking clothing. There was a jazz tautness here; although in classical garb, the precision of rhythmic trajectory was influenced by Charlie Parker and Dizzy Gilespie, as described in the program notes. Executions were sharp, and hocketed phrases intersected with great intimacy; one’s ears were being sharpened for contrasts to come. This dryness gave way to an unexpected depth, as phrases opened up with more space, long tones and harmonics began to make an appearance. The dry, tense landscape flowered into a richer spectrum of time, and suddenly, harmonics pulled, what was intellectual became imperative, reactions slowed, and the conversation expanded. This awareness of how to resolve tension seemed quietly but powerfully from the jazz tradition. Rountree’s conducting was effective and natural, with a director’s ease. Finally, the last elements of tension gave way and the piece shone with the spiritual purity described by Newton. Motives traversed the full range of string registers, refined with ever-more delicacy, and when phrases finally elongated into lyricism, our ears had been refined by all the previous filigree to truly appreciate the melodic grace. The final, large group statement breathed strength and spiritual engagement, unified and tangible in the present.
Next up was One Modular Future by Chris Kallmyer of wild Up, a distinct about-face. After Rountree’s short introduction to the piece, a member of wild Up held up a small collection of cards, chirping, “And here’s the score!” The piece did betray this casual form of improvisation-influenced composition, but in the best possible ways. The piece started out of the hall, with wild Up members striking single tones on shimmering gamelan-like homemade percussion instruments – and listeners were quickly welcomed into that idiomatic frame of mind, a particular kind of openness. In a traditional manner, the single melodic line telescoped into double-time, and back again. The line lacked traditional gamelan contours however, as the order of tones was randomly based on the musicians’ placement on stage. In this way, the melody had the pleasing linearity of something like a modular electronic sequencer loop. Percussionists changed order, milling around the front of the stage with a fun, casual theatricality, and then played a sequence of new tones. During this, the clarinet and piano inhabited a different space, presumably the space of a different card from the score. The clarinet played improvisatory textures and multiphonics, while the inside of the piano was scraped and struck. Percussion lines broke down, a few unison clangs resonated, 3 and 4-note fragments remained, and the percussionists receded. There was a hard transition here, which was nicely handled. The next section opened with a small wind ensemble droning reedy unisons and fifths, pungent and resonant, contrasted with a light clattering of orchestral percussion. Winds in groups always seem to evoke the outdoors, and with the improvisatory percussion background, we were quickly propelled into the forest, or a field. Once we settled into this landscape, electric guitar entered with a heavy dose of Americana, and we were sure that we were somewhere with sky. The guitar improvisation continued on repeated motives, substantial and moving, and the piece ended with a (perhaps surprise?) abruptness. There were so many tropes here that could have been poorly handled: Partch-esque homemade percussion that could have been goofy, extended techniques that could have teetered into cliché, and an unabashedly beautiful guitar solo that could have been indulgent. The wealth of compositional ideas was compellingly presented however. The lack of cohesion worked as a series of tableaus, and every idea was well-explored.
Tempest, by Steve Coleman, was a completely different dish as well, direct and potent. wild Up was joined by saxes, and jazz trumpet, and came together as a strikingly alive big band. The program notes describe the piece as evocative of the ebbs and flow of a squall, and it did not disappoint. At least this reviewer had a sudden wish for the revival of the warmth and presence of live pop music that big band jazz epitomized, and that we seem to have permanently lost. The wild Up strings performed the typical big band sax role of fleshing out rich jazz harmonies, while the composer on solo sax navigated deftly and movingly in tandem with muted trumpet. The warmth here was palpable, the hall resonant. The structure was natural and well-formed; there was the feeling of a jazz “head” at important returns. The alto sax constantly commented on the textures but also lead to new territories. One was reminded, in case one had forgotten by listening to so much new music, that harmony can have grammar. Harmonies didn’t just move and shift, tonalities anchored us with physical security. Pivot points between these tonalities were navigated by a composer well-versed in extended tonal gravity, as only a jazz player really is, now. After a while, the rises and falls of the storm began to lack dramatic effect through extended repetition, but the overall texture remained compelling and fresh, through the “rainbow chord” which ended the piece.
Sinovial Joints, by the same composer explored different facets of the jazz idiom, through a distinctly physical lens. In stark contrast to the intellectualism of Elisha’s Gift, African polyrhythm and arrhythmicism here were strongly tied to the body, encouraging one to just be. As the composer describes, “sinovial joints … function as a means of connecting bones, binding tissues and providing various degrees of movement for our bodies.” How quickly wild Up transformed into a fully functioning, churning jazz organism! The political fervency of jazz was in full evidence – there was not only toe-tapping, but sweat. Melodic lines were stated and recapitulated deftly and vibrantly, the strings functioned beautifully in their harmonic choral role, and the blend of arrhythmic and polyrhythmic elements felt totally natural, toothsome. We were not in speculation mode, we were in reality. There were unexpectedly interesting piccolo and clarinet melodies in layers, the trumpet shouted with inevitability, and an eventual transition out of polyrhythm and into orchestra textures brought us back into the intellect, with final, reflective gestures.
After a well-deserved intermission, wild Up returned with String Quintet No. 1: Funky Diversions, by Vince Mendoza. The rhythmic strength here mimicked that of Joints, but in a tighter, leaner ensemble. In a delicate opening, the strings responded to one another, pulling, yawning. Pretty diatonic lyrical motifs contrasted with tight, cerebral runs and leaping, disjunct gestures. The bass was used well, separated enough to ground the ensemble, but still “of” the quintet texture, and at 30 seconds in, ushering in a distinct funkiness. Here we were rooted not by tonal gravity, but by a solid four on the floor rhythmic inevitability. Rountree was fun to watch in this piece, obviously enjoying grooving with the ensemble. The piece as a whole still had a strong classical influence, however, with violins and viola handled idiomatically. Pretty themes were traded and hocketed, and the texture at times seemed to breathe a post-minimal air of shifting diatonic harmonies before settling into bold funk grounding. There were a few transitions to long droning tones, with traded and built in intensity back to the impact of strong, funk rhythm. This “verse-chorus” approach to form seemed to emanate from jazz traditions as well, and overall the piece was solid, self-assured.
Journey of the Shadow, by Gabriela Lena Frank, was unique on the program, as a narrated story, with a fully orchestrated backdrop. The story is a magical realist tale of a boy sending a letter to his father at war in Afghanistan, and of the boy’s shadow that slips into the envelope, and has various poignant adventures and eventually arrives back home. The work is geared toward children and adults alike, and Lena Frank’s narration is good-natured and clear. The opening oboe melody heralds the character for the entire piece: so charismatically mid-century classical, beaming with poise and charm. South American influences soon creep in, Ginastera-influenced rhythmic interactions contrasting with well-shaped clarinet lyricism. One hates to call an entire work charming, but that’s what it was: not a superficial piece, but one that exuded real charm, that awareness of how to create audience delight. Word painting was indulged with abandon throughout – for example in the description of the many kinds of letters in the mail. There were interludes of pure cuteness, including woodblock, pizzicato strings trading with staccato on piano, and wind flourishes. Erin McKibben’s flute tone was particularly rich and haunting. The form generally follows the text, as the shadow encounters various adventures, and the whole work seems built for listening as a recording, at home. The piece is familial. The jazz influence is evident, with rich extended harmonies and perfectly crafted melodies. The cartoony quality of this word painting actually conceals impressive technical strength – orchestration of this kind is actually quite difficult and requires intimate knowledge of the resources at hand. The test of this kind of piece is whether the orchestration is effective in making the story vibrant and it definitely works: one wants to know what happens next, and by the end of the story, the darker nuances of the touching tale have quietly been understood.
The final piece on the program, Time’s Vestiges by Anthony Cheung explored, according to the program notes, “metaphors drawn from geological ‘deep time’. The rumbling, buried texture wasn’t just an evocation of the earth, however; the audience was presented with a fabric of activity so dense and dynamic that it seemed to reflect the complexity of nature itself. Rhythmic counterpoint towered on top of textural effects. There were so many threads here, it was impossible for a listener to follow every contrapuntal statement, so multiplicitous were the lines. Jazz influences here were subtler than in the other pieces, if they existed at all – the most salient jazz element could have simply been the emphasis, as in all these pieces, in the immediacy of the present and the pleasure to be found in textural interplay. The melodic gestures in themselves carried a 19th century kind of angst, or surface expressivity, but the subterranean forces at work were not sentimental; they pushed and ruptured with cold precision. This unique approach to orchestration brought to mind some of the duality of Classical forms, where surface-level expression can bely a more ironic or detached foundation. The composer in fact may take this texture for granted, having lived in it for so long, as the piece starts immediately with this kind of dense patchwork, but for a new listener, the varied surface texture is fresh and enjoyable. Texturally, the piece doesn’t explore extended techniques as much as traditional effects, with tremolos and glissandi expertly layered. The piece eventually transitions from this flurry of activity to quieter moments: pizzicatos are traded with more space for reflection, and tones lengthen. We have been desensitized by the previous complexity, however, and these quiet moments seem to pass us by as we are glazed with glacial indifference. This oddly neutral respite is short-lived. The piece moves quickly to swooping, diving gestures, moving throughout the ensemble, and eventually ends with a rising line that resolves into a surprising vulnerability, given the powerful direction in the rest of the piece.
With its raucous brew of influences, the concert was a fulfilling procession of courses. wild Up’s contributions were as always, singular: no other local ensemble could have handled the diverse demands here, both technical and aesthetic. And naturally, the execution seemed effortless. One can only look forward to the next installment, in 2016, when students will be able to display the fruits of this vibrantly fertile collaboration.
Review: WasteLAnd Summer Concert Series Finale
On Saturday evening, August 1, 2015, the final concert of the WasteLAnd summer series was given in Clausen Hall at Los Angeles City College in Hollywood. The music consisted of works for piano and voice, with Stephanie Aston, soprano and Leslie Ann Leytham, mezzo-soprano the featured singers. Richard Valitutto and Brendan Nguyen accompanied.
The first piece on the program was Got Lost (2007/2008) by Helmut Lachenmann and this began with whooshing and breathy sounds from Stephanie Aston while a series of low solitary notes issued from the piano, played by Richard Valitutto. This continued for a some minutes but gradually some humming was heard along with a few musical fragments of tunes. This escalated, and rapid runs on the piano keyboard collided with powerfully sustained pitches by Ms. Aston as the dynamic balance shifted back and forth between them. As the piece continued the voice parts became more musical and the piano took on a split personality with Richard Valitutto skilfully executing a number of extended techniques. The piano strings were variously strummed, plucked and stopped by hand as a note was played and this gave rise to a number of interesting effects in quick succession; it actually seemed as if there were two different instruments accompanying the vocals. Perhaps the most intriguing effect was when the piano was silent but with the sustain pedal held down. Ms. Anston gave out a short fortissimo passage that was caught by the piano strings and heard as a ghostly echo. Lachenmann’s unconventional techniques were on full display in this piece – all the more impressive as none involved electronics or amplification of any kind.
Got Lost is without any sort of beat and the performers were seen to be cuing each other as they worked their way through. Their timing and coordination were admirable given the unorthodox demands of the score. The various clicks and pops of the vocal sounds were like a frustrated foreign language, just on edge of intelligibility. The piano added to the alien, anxious feeling with sharp, stabbing notes and loud crashes at unexpected intervals. Got Lost astonishes the listener with its ever-changing series of complex sounds, textures and dynamics and the performance on this occasion was smoothly and skillfully realized.
5 McCallum Songs (2011) by Nicholas Deyoe followed, again featuring Stephanie Aston and Richard Valitutto. This piece consists of five sections, each a setting of the text from the series Love Poems, by poet Clint McCallum. The opening section begins with deep, solemn chords from the piano and the airy soprano voice above singing “I want you to look at me with throbbing eyes…” This sets the tone – plaintive, yet with a smoldering passion. High soprano notes arced gracefully above the piano accompaniment and with the words “I want to show you the cover, and snatch the book away” Richard Valitutto slammed shut the keyboard cover on the piano to end this section.
The second section seemed yet more sorrowful and the quiet vocals had a feeling of lonely sadness about them that hinted at distress. In section three the singing was stronger and more active with soft piano notes and chords underneath. The text “Your begging eyes free my soul, I’ll never let you go” was especially moving. Section four had a single line that was repeated: “to convince you” and this was beautifully sung by Ms. Aston in a small, soft voice. For the final section the piano was tacet and the emotion from the soprano voice singing “ and as I turned you grabbed me and kissed me” was very moving. 5 McCallum Songs filled the spacious hall with a quiet economy of sound yet completely imparted all of the sentiment embedded in the text.
The final piece in the concert was Canti della tenebra (2011) by Swiss-born composer Beat Furrer and this was the US premiere. The featured singer was Leslie Ann Leytham, mezzo-soprano and the pianist was Brendan Nguyen. Canti della tenebra, a setting of text by Dino Campania, was sung entirely in Italian and proceeded in a series of sections. The first began with a deep rumble in the lower registers of the piano that dominated the soft vocals and this established the feeling of faint tension that suffuses throughout the entire work. The voice line soared briefly above, but the piano became more agitated, with notes running rapidly up and down the keyboard. The voice retreated into low, quiet tones, as if subdued, and this added an understated color to the overall texture. Eventually, the piano dropped back a bit as if to give the vocalist some space for a final declarative statement to conclude the opening section.
There were moments that overcame the early bleakness. In a later section, the singing of Ms. Leytham took the lead with a lovely chromatic melody line with the piano in a supporting role. This produced a more introspective feeling, aided by some masterful singing in the lower registers. Still another section had a more uplifting feel as a line of single piano notes was followed by warm, sustained tones in the voice that made for some lovely harmony. The later sections restated the initial sense of anxiety with waves of active piano notes and a series of strong vocal passages filled with tension. Towards the close an extended piano solo moderated the disquiet and the singing became gentle and reassuring. Some very lovely singing and playing followed as the piano slowly faded away at the finish.
Canti della tenebra contains a wide range of emotions that must flow through the voice and piano. The singing of Leslie Ann Leytham – especially in the lower, darker registers – was admirably suited to this task and the playing of Brendan Nguyen provided the ideal accompaniment.
This final concert of the WasteLAnd summer series proved how powerful and evocative the simple combination of voice, piano and poetic text can be in the right artistic hands.
Review: Scott Worthington: Space Administration
WasteLAnd’s third concert in their first summer series continued the theme of meditations on altered time, with a concert devoted entirely to Scott Worthington’s Space Administration. The piece is Worthington’s doctoral dissertation piece, an extended setting of Ken Hunt’s poem, Apollo Spacecraft. The venue was the Velaslavasay Panorama, a community cinema built in 1911 that’s gone through a number of incarnations before its current cozily dilapidated state. The piece shares a number of features with The Cartography of Time, but is most definitely a different beast.
Firstly, the piece includes a video which projects the text of the poem, and provides structure for the hour-long concert experience. The poem itself is an important player in the success of the piece, and deserves careful consideration. The text is taken from NASA’s voice transcription of the first day of the Apollo 11 moon mission, complete with timestamps. Hunt has erased words throughout, however, leaving a skeleton of fragmented phrases, combined and reconsidered through the poet’s lens to form a contemporary ode to Apollo and a meditation on space travel. The poem is quite strong, and even in the fewest phrases, the poet manages to convey convincing vulnerability, will, and longing. It’s to Worthington’s credit that he chose a strong poem to set. Often, poems that are worthy on their own merits can actually be difficult to set, as a powerful text has its own priorities. In this case, however, the absences in the text, as well as Worthington’s thoughtful pace in displaying them, provide enough room for the music’s own dialogue to flower. Here’s an excerpt from the piece:
The piece itself begins with a launch countdown in the video, which is effective in preparing the listener for the relentless march of timestamps that mark the piece. In the previous week’s The Cartography of Time, time stood still. Here, time is inexorably but weightlessly moving forward. Taken individually, the component parts are actually rather simple – samples have been recorded and processed from a Moog in use around the time of the Apollo mission, the green text fades quietly in and out of view, and the contrabass comments on the proceedings with a bank of recurring subjects and themes that bring to mind the frankness and inevitability of a rondo or ritornello. These rudimentary elements combine, however, to create something that does not just hold a listener’s interest, it feels substantial.
What really holds the piece together are the various conceptual tensions throughout. Many of the materials are traditional – recurring themes and motifs that arise with the introduction of key words or ideas, an ode to an ancient god, but these elements are unmoored, floating in a vast space. The poem purports to be about space travel, but there is so much in the imagery that is earthbound, quotidian. There are conflicts in the text between the known that is clung to, and the unknown, which is wholly undifferentiated. There is even a tension between Apollo’s realm – that of ordered music and light, and the occasionally malicious Moog context in which the piece takes place.
When Apollo actually does makes an appearance in the text, he is all of a sudden present. Worthington does an excellent job here at conjuring the sense of an ode in these moments, with variations and intensifications of musical material. We are all trying to communicate with the gods.
The form of the piece is actually somewhat difficult to follow. The form does change, and there are lighter and heavier moments, but transitions feel so inevitable that it’s hard to even keep track of the many locations we’re visiting. This can be a good thing, or a bad thing, depending on the intent of the composer. In this case, being without a goal is quite effective.
Most importantly, the overall effect is not really galactic so much as subjective. We are weightless, but are we really in outer space? The text is so powerful and the setting so passive that the listener’s reflections collapse in on themselves. This is hardly an outward looking conquest of the final frontier. We are definitely looking inward, and upward, with an ancient desire for the heavens.
EDITOR’S NOTE: an interview with Scott Worthington, whose album Prism will be out next week on Populist Records, is on the way too.
Review: WasteLAnd: The Cartography of Time
Gnwarwhallaby at Neighborhood Unitarian Universalist Church. Photo by Tina Tallon.
The inaugural summer series of WasteLAnd is an exciting addition to the innovative concert series – over the span of eight days, four concerts explore facets of WasteLAnd’s aesthetic. Summer casts a more languid hue on concert-going, and WasteLAnd’s thoughtful programming, and aptly named Waste(d)LAnd limited edition beer, seem to take advantage of this seasonal atmosphere.
On Saturday, July 25th, WasteLAnd teamed with the forces of Gnarwhallaby at the Neighborhood Church in Pasadena for the second of these summer performances. The Neighborhood Church has been home to a number of Gnarwhallaby concerts, and it was a refreshing surprise to find that the space had been transformed by the arrangement of the ensemble in the middle of the sanctuary, seats and speakers closely surrounding them, all lit by paper lamps and music stand lights. This subdued atmosphere had a noticeable effect on the experience of these pieces. Visual aspects are often distracting when trying to focus on sound worlds of great detail, and this staging facilitated an un-self-conscious concentration, which is lacking in many audience environments.
The first two pieces, DSCH by Edison Denisov and avance|impulsions mechaniques by Adriana Hölszky, are part of Gnarwhallaby’s standard repertoire, and were executed with characteristic familiarity and care. The pieces were both lovely in their jaggedly taut way, with surprisingly similar languages although separated by a number of decades (1969 to 1997). Both pieces use a vocabulary of ‘classic’ extended techniques, post-tonal, rhetorical gestures, and an abstracted sense of form, but explore different concerns. DSCH is form-driven, with clear demarcations of gesture and response, complex interaction and moments of reflection, while the Hölszky is more unified in its brutality and trajectory, building and exploring a singular kind of momentum with 90’s additive intensity. The experience of these pieces was also made different by the unique arrangement of the ensemble. Contrapuntal sections were clearer and more obviously social, rhythmic interactions more defined and intimate.
The focus of the night, however, was the premiere by composer David Brynjar Franzson, The Cartography of Time, commissioned specifically for Gnarwhallaby.
The commission has been a long time coming. Gnarwhallaby has been in consultation with Franzson since 2012, when the group first heard a piece by the composer at The Industry’s First Take concert. The quartet agreed that Franzson’s piece was their favorite of the evening, and began corresponding with him about writing for the group. In 2013, Franzson came to see the ensemble in New York, as well as in Iceland in 2014. The length of this association is evident in the extraordinarily subtle treatment of the ensemble.
The Cartography of Time begins imperceptibly, with electronic clicks and percussive effects in surrounding speakers gently immersing the audience in the three-dimensional world that is to unfold. Gradually, the ensemble enters with extended, strained tones built from an expertly orchestrated vocabulary of harmonics, multiphonics, and subtly colored intonation. A look at the score shows that the entire piece is organized with exact metrical shifts, and a tempo click heard in a headphone by the cellist who cues the ensemble, but this structural underpinning is completely hidden. Ensemble tones and percussive gestures combine seamlessly with the audio track, building and waning in dynamics from indiscernible to a mezzo-forte at the loudest.
The composite effect is mesmerizing and convincingly organic. Something is definitely living and breathing – if not a human being, then the landscape itself swells. The bass clarinet seems to lead in many areas, even if this is unintended, as its versatility allows for a range of expression that naturally contrasts with the other parts. From impossibly strained high tones, blending with the electronics, to low growls and multiphonics at the bottom of the range, the bass clarinet provides a frame and impetus for the rest of the ensemble. Muted trombone swells are insistent, but self-possessed. The piano is used economically, in a percussive manner. Franzson carefully chooses to forgo the enormous gestural capabilities of the piano. No cliché registral leaps are in evidence here: sharp attacks on single tones with subsequent ringing or damped harmonics fit beautifully into the texture. Cello tones are somehow simultaneously woody and glassy and blend imperceptibly with the electronics. Gnarwhallaby is at its best here; the execution was precise, integrated, and beautiful.
Gnwarwhallaby at Neighborhood Unitarian Universalist Church. Photo by Tina Tallon.
Rather than building from this texture or jostling the listener in another direction, however, Franzson remains in this temporality for the entirety of the thirty-or-so minute piece. Where other composers may have easily been tempted to exploit the materials here, quickening the pace, or exploring all electronic possibilities, Franzson’s approach is more receptive, and decisively so. The remarkable restraint here is by far the strongest feature of the piece; by focusing on a single experience of temporality, Franzson truly creates an altered sense of time, rather than simply the idea of one.
Many works of this scale and intent miss this crucial distinction. When a sense of immersive, suspended time is attempted, audiences are too often left adrift. A composer can easily disregard the natural ebb and flow of attention, demands on the listener are too great for the aesthetic reward, or the suspension of expectations in a piece breaks down, forcing attention elsewhere.
Here, Franzson has displayed the true craft of the composer – informed attenuation of the audience’s attention. The organicism and looseness of the landscape allows for real fluctuations of audience attention and perception, without dogmatic demands or meretricious ploys for listener interest. A glance around the room showed evidence of this skill: the energy in the room had dropped, people’s breathing had slowed, many had eyes closed and almost all wore contemplative expressions.
Rather than a first effort, Cartography is obviously the work of a composer experienced in creating this particular experience of time. Ironically, the title The Cartography of Time seems a bit misleading – cartography is the detailed cataloguing of uncharted territory, but in this piece, we have already arrived. We know exactly where we are, planted firmly in a single temporality in which gray, smoky landscapes seem to come in and out of focus, approach and recede around us. The world we inhabit is not the two-dimensional world evoked by maps, however allegorically intended, but a very real and vibrant three-dimensional world, crafted by an extraordinarily capable composer.