Cold Blue Music presented music by John Luther Adams, Stephen Whittington, Jim Fox and Peter Garland in the latest Tuesdays @ Monk Space concert series. The Eclipse Quartet was on hand, as well as bass clarinetist Phil O’Connor and percussionist Jonathan Hepfer. A full evening of quietly restrained contemporary music was on the program, including three Los Angeles premieres.
The first piece was the Los Angeles premiere of Falling, by John Luther Adams. This is the third movement of his untouched (2015) string quartet, a work distinguished by the exclusive use of natural harmonics and open string tones throughout. Adams has taken up string quartet music late in his career, and this piece is part of a series that includes The Wind in High Places and other works. Falling opens with high, thin tones in the violins that recall wisps of wind whistling through trees and rocks on some high mountaintop. The repeating phrases suggest a certain solitary remoteness, but the feeling is never lonely or anxious. As the piece proceeds, lower pitches in the viola and cello add a warm coloring to the sound, enhancing the pastoral sensibility. The precision of the Eclipse Quartet and the acoustic friendliness of Monk Space added to the serene sensibility. The harmonic intervals cascaded downward, ending on a full, reassuring chord at the finish. “Falling” continues the empathetic exploration of nature and the environment that is the hallmark of Adam’s music, now pleasingly expressed through the medium of the string quartet.
Windmill (1992), by Australian composer Stephen Whittington followed, another Los Angeles premiere. Windmill is a tone painting for string quartet of the small windmills that dot the Australian outback – and, for that matter, the American southwest. Beginning with high, thin tones in the violins, the rhythmic squeaking vividly evoked the turning of an old windmill in a gentle breeze. The steady, repetitive sounds of rusty machinery were never tedious or irritating, but rather had a free-wheeling and airy feel. The Eclipse Quartet did a fine job realizing all the nuances, and the close acoustics of Monk Space captured every detail. The starting and stopping of the windmill as the breeze ‘slowed’ was nicely portrayed by the excellent coordination between players. Windmill is a lifelike – yet musical – conjuration of one of the more iconic sights of rural desert life.
Between the Wheels (1990), by Jim Fox, was up next and for this bass clarinetist Phil O’Connor joined the Eclipse Quartet. Deep, sustained tones from the bass clarinet form the foundation of this piece, with tremolos in the violins and viola and more long notes from the lower strings that add a just a hint of uncertainty. Quietly mysterious but not anxious, this is music that deftly conveys a tangible sense of wonder. Between the Wheels could have easily tipped into Halloween mode – but the gentle chords and understated embellishments in the strings kept everything restful and calming. A high, thin violin pitch that was barely audible added the perfect finishing touch to this warmly atmospheric piece.
After an intermission, the stage was reset with three gongs and a tam-tam for Moon Viewing Music (Inscrutable Stillness Studies #1) (2016), by Peter Garland. Based on Japanese haiku poetry about the moon, this Los Angeles premiere was performed by percussionist Jonathan Hepfer and proceeded in six movements. Like the previous pieces in this concert, Moon Viewing Music is quiet, introspective and nuanced, just as if we are watching the moon from a remote forest or hilltop. With only a handful of available tones, it was up to Hepfer to extract all the subtleties in this piece using refined technique. The Monk Space acoustics aided in this, with the gong tones being particularly vivid. The various techniques for striking each of the gongs and tam-tam were all artfully exploited, realizing the fine gradations present in the score and the reserved intentions of the composer. The combination of gong tones when sounded together was particularly warm and reassuring. When the tam-tam was struck as the gongs sounded, the interaction released an unexpected profusion of lovely new colors and textures. Moon Viewing Music is a striking reminder that softness combined with an economy of tones can still produce memorable images and masterful sonic expression.
Music from this concert is available on CD from Cold Blue Music.
The next Cold Blue Music program will be at the Santa Monica Public Library as part of the Soundwaves new music concert series on May 16, 2018 at 7:30 PM. The music of Daniel Lentz and Michael Byron will be featured with Vicki Ray and Tasha Smith Godínez in performance.
In anticipation of the upcoming Tuesdays at Monk Space concert tomorrow night, I sat down with composer Jim Fox, founder of the Cold Blue Music record label. The concert will feature music by Fox, as well as John Luther Adams, Stephen Whittington, and Peter Garland, with performances by Eclipse Quartet, clarinetist Phil O’Connor, and percussionist Jonathan Hepfer.
You’re the founder and director of the Cold Blue Music record label — can you tell us about how it all got started?
I started Cold Blue in the early 1980s. Why I started it is not clear anymore. Perhaps it wasn’t even clear at the time. (I’m not sure I’ve ever needed much in the way of particularly well-defined goals. In other words, I enjoy a certain amount of wandering.)
In the late 1960s I developed an awareness of record labels—particularly jazz- and classical-based new-music labels—as often possessing fascinating individual personalities. So, perhaps in view of that, starting a little new-music record company just seemed like the right thing for me to do. However, I had little money to throw at such a venture then—working in a bookstore for a little better than minimum wage, living in a $120-per-month Hollywood apartment, and enjoying a diet that relied heavily on 15-cent packets of ramen noodles.
Cold Blue in the 1980s was a frugal label. I started by releasing a series of 10-inch EPs (about 20 to 25 minutes per release)—a format that I felt allowed an inexpensive taste of a composer’s work—followed by a few LPs.
At its inception (and still today), my general vague intention was simple: put out some music that I particularly liked that wasn’t otherwise reaching a broad listenership. This was music by composers who were perhaps loosely united by a common interest in music’s basic sensuality and, as it just turned out, very often had strong links to the West Coast. Soon Cold Blue became known as an outlet for a certain stripe of West Coast music. Joan La Barbara, writing in High Fidelity/Musical America, deemed the label “an invaluable resource for what might be called the new ‘California School’ . . . a label with a particular viewpoint and consummate good taste.” And others also noticed the highly curated sound of the label—an LA Weeklycritic wrote at the time that “The label defines a certain ‘Southern California sound,’ uncluttered, evocative and unusual, with a wistful emotional edge.”
After just a few years of Cold Blue’s existence, its two primary distributors went out of business; and with the then-new and then-expensive CD technology (in which I didn’t have much interest at the time) starting to bloom, it seemed like a good moment for Cold Blue to close up shop as well. And that’s what I did.
Following 15 years of inactivity, I brought the label back to life in December 2000. (Don’t ask me why. Again, I don’t have a clear answer for that question.) As this reincarnated Cold Blue began to get CDs out into the world I was delighted to find out how many listeners and musicians and critics remembered the label fondly and cheered its rebirth. Since then, I’ve put out 54 discs, including a three-CD boxed set and, in homage to the old vinyl EPs, a number of CD EPs. And at the moment I have a half-dozen forthcoming releases in the works.
This music, while still heavily West Coast in its leanings, includes music from east of the Rockies as well as Australia and Europe. At the same time, some of the composers championed in the 1980s—such as Daniel Lentz, Peter Garland, Michael Jon Fink, and a few others—have continued to find a home at Cold Blue. And some who first appeared on the label in the early 2000s—such as John Luther Adams—have continued to consider it a home for current and future releases.
I tend to have a rather hands-on presence on most of the recordings, working closely with the composers to pick and sequence the works for each album and then actually producing or co-producing most of the music in the studio. I’ve even designed almost all of the CD packages. Without that sort of top-to-bottom hands-on intimacy, a little company like this would run the risk of turning into a dreary business. (So I wander on in that vein.)
How has Cold Blue Music evolved over time, and what do you envision for the future?
It has evolved. (Everything evolves, I suppose.) But I’d have a very hard time defining Cold Blue’s evolution in concrete musical or aesthetic terms. At the same time, people who’ve followed the label since day one often say that they sense something akin to a through-line that embraces all of the label’s offerings. And I, too, can sense a sort of through-line that seems to unconsciously unite the releases. That I suppose is the definition of a noticeably curated label that at the same time does not have an explicit agenda.
On Tuesday, your piece Between the Wheels will be featured as part of the program, performed by clarinetist Phil O’Conner and Eclipse Quartet. Can you tell us a little about this piece?
It was written in 1992 for clarinetist Marty Walker and the Amelite Consortium, a chamber ensemble run by violinist/violist/composer Maria Newman. It’s a quiet—perhaps even fragile—piece in which simple bits of music tend to reappear and recombine in various ways.
I usually don’t program my own music on Cold Blue events, because it seems self-indulgent. But after I had hired the always wonderful Eclipse Quartet to play the Adams and Whittington works, I realized that I needed a bit more music to fill out one half of the concert. So I tossed in Between the Wheels—a piece that was already in the Eclipse’s repertoire (they had performed it with Marty Walker some years back).
Is there anything you’d like to share about the other works on the program?
I’ve enjoyed long friendships with composers Peter Garland (since the late ’70s) and John Luther Adams (since the mid ’80s), and I love the music that they each write. They’ve each had music on seven Cold Blue releases. I’ve known Stephen Whittington, an Australian composer whose music I also regard very highly, for perhaps a half-dozen years. His work appears on two Cold Blue CDs.
Adams’s eerily beautiful string quartet untouched (from which the final movement, “Falling,” will be performed at Monk Space) was written two years ago, and this concert will mark its LA premiere. It is one of the pieces that John has written for the JACK Quartet in which the players’ fingers never touch their fingerboards—all the notes are natural harmonics or open strings. A technically challenging piece, it will be recorded this summer for a Cold Blue release next winter.
Whittington’s entrancing string quartet Windmill is an unusual tone-painting—the music inspired by the sounds of old metal windmills (the sort commonly found on farms) listlessly turning and halting and turning again in the wind. As these sounds occur and pause and reoccur, one finds oneself drawn deeply into the piece’s hypnotic soundworld. Cold Blue released a recording of Windmill last year.
Written in the winter of 2016, Garland’s hushed, pensive six-movement Moon Viewing Music (Inscrutable Stillness Studies #1) is scored for a small grouping of low Thai-style gongs and a large tam-tam. Each of its movements is based on a short poem or haiku about the moon. As the composer notes about moon viewing, “If autumn is the moonlight of nostalgia, winter is the moonlight of . . . an inscrutable stillness.” Cold Blue released a recording of this piece, performed by new-music percussionist William Winant, in February of this year.
Check out Tuesdays at Monk Space for more information on the concert tomorrow night and to get tickets.
Cold Blue Music has announced a new album, River of 1,000 Streams, by composer Daniel Lentz. Written in 2016, this is a single track of solo piano music inspired by a visit to the Yellowstone River and performed by Los Angeles-based pianist Vicki Ray. From the liner notes, “…River of 1,000 Streams is a virtuosic piano piece in which a live/solo part is expanded by the addition of hundreds of ‘cascading echoes’ (reappearing fragments of music) that appear kaleidoscopically in up to 11 simultaneous layers, creating a thick texture of primarily tremolos that gradually gains in density and volume as rich harmonies climb, in a great arc, from the very bottom to the very top of the keyboard.”
Although simple in concept and consistent in texture, River of 1,000 Streams is always changing and begins with a deep rumbling in the lower registers – almost like the roar of a distant flight of old bombers. There is a strong flowing sensation to this, as if unseen waters are roiling just out of sight. At 2:00 the rolling phrases rise just slightly in pitch, adding a new sense of expectancy. While still very dark and ominous, the expressive playing by Ms. Ray creates a powerful surging sensation; the texture and dynamics here are expertly shaped, and the result is like listening to a restless tide. The repeating patterns move slowly up the piano keyboard and each new set of pitches adds to a sense of evolving motion.
By 6:30 the notes are high enough in pitch to become a bit more distinct in the hearing – less like a roar and more like a patter. The flowing feel remains as the piece proceeds, but the small variations in pitch and the artful shaping of the dynamics keep the listener engaged. By 11:00 the register has moved high enough that there is a greater sense of drama in the notes, even as the passages and textural density remain consistent. At 14:24 a short melodic fragment is heard – like the cresting of a wave – marking the transition to the middle registers. The same pattern of tremolos and trills persist, but the new pitches feel more introspective and less menacing here. By 17:30 the pitch register is high enough to spark a sense of tenuous optimism – as if a ray of the sun is emerging from behind a dark cloud. At 19:00 another short melody fragment is heard, followed by dramatic surges of the low and ominous notes from the opening. The many subtleties in this piece rely on the perceptive playing of Ms. Ray, who manages to perfectly articulate the slight variations in density and texture from moment to moment.
By 20:00 the piece has arrived at the higher reaches of the keyboard with the notes sounding crisper and more distinctly percussive, as if a climax is approaching. At 21:54, another short melody fragment appears while the trills in the upper registers sound like an alarm going off. Middle and lower register trills roll by in accompaniment, adding a sense of layered depth to this section. At 23:30 the high register texture is now very animated and a wash of middle register trills fill in nicely below, adding balance. At 25:00 another short melodic fragment appears and the mix of pitches becomes somewhat more calming. By the finish, the very highest notes on the keyboard trill anxiously but are accompanied by a series of lower surges that offer a comforting sense of closure. At the end, the sound simply ceases, the last notes ringing out and slowly dying away.
River of 1,000 Streams is a prodigious work, in its vision as well as the realization. The subtle variations are always engaging, even as they unfold slowly, and the intricate layering of the various passages is precisely formulated. The performance by Ms. Ray deserves special credit – River of 1,000 Streams will only add to her deserved reputation as one of our premiere interpreters of contemporary music.
Cold Blue Music is releasing a new album by Nicholas Chase titled Bhajan (CB0046). An engaging mix of electronics and brilliant violin playing by Robin Lorentz, Bhajan is inspired by Hindu devotional music and the Indian raga. The four tracks of this CD are loosely connected by Western classical tonality, yet reflect a diversity achieved through “temporal freedom, melodic non-structure and fusions of musical genre…” The computer-driven electronic sounds realized by Mr. Chase and the sensitive violin playing of Ms. Lorentz make for an intriguing combination.
The first track, Bindu, begins with a series of thin electronic tones that gradually change in volume and pitch. More electronic elements are added, giving a sense of being in the presence of a metaphysical entity. A high repeating Eb violin figure becomes the focal point, fixing the listener’s attention while oscillations, whirring and clicking sounds add to the otherworldly feel. Towards the finish, as the violin figure becomes more strident, an electronic chorus appears and the piece morphs from the strange and anxious to the settled and serene. Bindu fashions an interesting emotional bridge between the familiar and the unknown.
Drshti, track 2, comes from a completely different place. A sharp, but deep bell-like tone opens the piece and a sustained violin-buzz is accompanied by a related drone in the electronics. There is a spiritual feeling to this – like standing in some remote Asian temple. The raspy, monotone pitches in the violin line have the rhythm and cadence of a spoken chant. About midway through, the drone and violin arrive at almost the same pitch, zero-beating, and this is soon accompanied by a stately melody in the electronics. The violin continues ‘speaking’ and the electronic chorus weaves in and around the violin and drone, adding to the strong devotional feeling. Towards the finish, a deep, satisfying bass appears in bursts of short phrases. The music quickly vanishes, as if swept away on the breeze. Drshti is very effective and beautifully extracts the liturgical essence of the ceremonial, even in the absence any specific context or intelligible text.
Japa is next and this track begins with rapid, quiet clicking sounds – followed by a short, vivid electronic phrase – and then silence. More electronic phrases follow, louder and more striking, while the soft clicking seems to move left-to-right at a rapid rate. Now the acoustic violin joins in with recognizably musical phrases, followed by silence. The electronic sounds are pure tones and act as background while the violin phrases are at the forefront by virtue of the familiar tone and timbre so that listener instinctively identifies with them. The periods of silence and the sense of movement in the electronic sounds add to the image of watching something approach and then fade away. The electronic sounds are swirling and amicable – not menacing or formidable – and they seem to be attracted to the violin, as if participating in a conversation. Japa finishes suddenly just as violin and electronics are in mid-phrase. The interaction of the electronics and playing of Ms. Lorenz is especially precise and well-coordinated.
Bhajan, the title track, is the most understated and stunningly effective piece of this album. A soft electronic drone is cleanly heard in the higher registers while a somber violin repeats mournful phrases below. The overall feeling is not one of sadness or melancholy, but rather of wistful reflection. It is very beautiful and does not wear, even as it continues in the same repeating patterns over its entire length. It has a hypnotic mysticism, as watching the sun slowly set over a calm ocean. Towards the finish there is more activity in the electronics, including a low hum that grows in volume. The violin skitters a bit, then recedes as a continuous sine tone, wavering slightly in pitch, fills the foreground. The violin persists, resuming its prominence as the electronics fade at the finish. Bhajan is a warm and comforting wash, introspective and reassuring as well as beautifully performed.
Ms. Lorentz has a formidable resume as an acoustic violinist that includes the music of John Luther Adams, Daniel Lentz, Michael Jon Fink, Jim Fox, the California EAR unit as well as Jerry Goldsmith and Michael Jackson. To this must be added Bhajan, a masterly collaboration with the electronic music of Nicholas Chase. The art of ensemble playing with other acoustic musicians is, of course, a highly regarded virtue. The ability to play closely and sensitively with music realized by electronics must now be included in the arts of the acoustic musician. Ms. Lorentz and Nicholas Chase have set a standard in Bhajan that others would do well to emulate.
Bhajan is available directly from Cold Blue Music starting January 20, 2017.
On January 20, 2016, the Santa Monica Public Library kicked off a new concert series, presenting innovative contemporary music in their Martin Luther King auditorium on the third Wednesday of each month. Featured in this first concert were artists of the Los Angeles-based Cold Blue Music record label in an evening of piano music. Composers Daniel Lentz, Jim Fox and Michael Jon Fink were on hand to introduce and play their works and pianist Aron Kallay was the featured performer.
Two Preludes for Piano, by Michael Jon Fink was first, played by the composer. The first prelude, Image, was built around quiet passages of single notes and simple chords. This is plainly stated music with a straightforward declarative style, but the fine, nuanced touch by Michael Jon Fink added a dimension of mystery and elegance to the otherwise simple materials. The second prelude, Wordless, similarly began with a series of soft single notes, but now in repeated phrases with slight variations. This prelude evoked a more introspective feel, enhanced by the occasional solemn chord. The playing towards the end was more forthright – but never loud – and this made for a nice contrast with the opening as the piece slowly faded away. Two Preludes for Piano is spare and restrained, but masterfully shaped to facilitate a strong emotional encounter.
Five Pieces for Piano followed, also by Michael Jon Fink and again performed by the composer. This began with another soft line of notes ending in a gentle chord, again eliciting a thoughtful and reflective feel. The second movement added a little anxiety by way of some slight dissonance while movement 3 incorporated simply stated chords that delivered an uncomplicated sense of grandeur. A repeating line with a counter melody was very effective towards the end of this section. The final two movements provided a bit of tension and mystery but were free of any heavy drama. A series of deep notes moving up the scale resulted in some lovely sustained tones that seemed to hover in the still air. The conclusion of the last movement invoked a more solitary feeling, as if looking at a far horizon from an empty beach.
Five Pieces for Piano is a jewel of a piece where each phrase is crafted with a quiet emotion that affirms the power of its understated simplicity.
Composer Daniel Lentz next offered a few remarks on the writing of his 51 Nocturnes, a piece that was created by improvisation, followed by writing up the notation. All 51 of the nocturnes fit into something like 18 minutes, as played by Aron Kallay. The program notes describe this piece as follows: “As with much of Lentz’s music, it is somewhat kaleidoscopic, restless, and given to changing directions without warning.”
The opening chords set the tone for the piece – warm and welcoming. Like the music of Michael Jon Fink this piece is the essence refined simplicity, but each of the nocturnes are, by turns, accessible and inviting, slightly agitated and anxious, mildly intense or even dramatic – but always returning to a settled and comfortable optimism. The many nuances and colors of the nocturnes were scrupulously observed by the sensitive playing of Aron Kallay. At the finish the light arpeggios and warm chords rekindled the warm mood of the opening and it was as if you were watching your life pass by for a minute, pleased and holding no regrets. 51 Nocturnes is settled, secure music, full of good hopes and wishes without turning saccharine.
The final three works of the program were by Peter Garland, Michael Byron and Jim Fox, as performed by Jim Fox. Nostalgia of the Southern Cross by Garland was first and opened with a series of gentle, solemn notes followed by a wistful chord. This music is quietly thoughtful and perhaps somewhat reminiscent of the Lentz piece in its sensibility. Repetition followed and each repeating phrase seemed to draw out a bit more color. As She Sleeps by Michael Byron followed directly and although a subdued lullaby, had a brightly optimistic feel, as if you had just finished your morning coffee and had the whole day was in front of you. The last chord hung deliciously in the air and slowly evaporated into silence.
The final piece heard was smoke, hornblende, clay by Jim Fox and this took less than a minute to complete. A slow two-note trill, followed by a bright arpeggio and some quiet chords completed this sunny and marvelously concise work.
This initial Soundwaves concert by the Santa Monica Public Library was an important step for bringing live new music to the west side. The artists of Cold Blue Music lifted up our West Coast minimalism to its rightful stature while bringing it home to its native ground.
Recordings by the composers featured in this concert are available from Cold Blue Music.
Cold Blue Music will again host a concert on February 16, 2018 at Monk Space in Koreatown.
Further Soundwaves concerts can be heard on the third Wednesday of each month at the Santa Monica Public Library.
Monk Space, in the Koreatown district of Los Angeles was the venue for a concert titled Crazy Quilt, string music from the Cold Blue recording label as performed by the Formalist Quartet. A nice midweek crowd turned out on March 10, 2015 – Crazy Quilt being part of the monthly Tuesdays@Monkspace series of new music concerts.
Hymn of Change (2010) by David Rosenboom was first, in an arrangement by Andrew Tholl, one of the violinists in the Formalist Quartet. This piece derives from an earlier work by Rosenboom, as he writes in the program notes: “In my 1998 work for piano, Bell Solaris- the Sun Rings Like a Bell, initiating waves of influence that traverse, shape, and create space, time and life – twelve movements emerged from subtle and grand transformations of the Hymn of Change, which I had written earlier in 1992. Some years later, after hearing Bell, Andrew Tholl was inspired to arrange the Hymn, a kind of slow, gospel waltz, for string quartet.” The result of Andrew’s efforts is a warm, traditional sound with full four part harmony and good balance that perfectly recalls the sunny days of late-19th century Americana. Although not a long piece, the careful playing of the Formalist Quartet and accommodating acoustics of Monk Space combined to bring Hymn of Change into a vivid realization that brought complete tonal satisfaction.
Music for Airport Furniture (2011) by Stephen Whittington was next, and this was a US premiere. An Australian musician with a long history of involvement with contemporary composers, Whittington gave the first performances in Australia of music by Christian Wolff, Terry Riley, James Tenney, Peter Garland, Alan Hovhaness and Morton Feldman – among many others. Whittington’s extensive travels were the inspiration for Music for Airport Furniture – which owes far more to Erik Satie than to Brian Eno. This is not music to fill public spaces but rather tailored for the interior of the human heart. Whittington writes: “I was interested in the airport departure lounge as an arena for human emotions – boredom, apprehension, hope, despair, loneliness, the tenderness of farewells – all taking place within a bland, often desolate space.”
Music for Airport Furniture consists of a series of long sustained phrases, lush and warm, broken only by the occasional pizzicato arpeggio in the cello. The sweet sadness of farewell is slowly released with a distant, introspective feel. The string quartet is the perfect ensemble for this music. The delicate texture was nicely realized by the Formalist Quartet who kept the long, quiet passages interesting by infusing just the right amount of energy while at the same time carefully controlling the dynamics. The brick wall acoustics of Monk Space allowed the intimate and heartfelt sensibility of this piece to reach all parts of the audience. Music for Airport Furniture slowly unpacks all the emotions of the lonely traveler waiting for an airline boarding call.
After an intermission the concert concluded with a world premiere – String Quartet No. 4 Crazy Quilt (2014), by Peter Garland. Crazy Quilt is based on an earlier work for solo cello – Out of the Blue – written the year before, which consisted of a rising, then descending arc of 44 pitches. The other instruments of a string quartet were then added to this foundation to increase the timbrel possibilities. As Garland writes, “I chose different basic time units: with the cello maintaining its 60-second unit, the viola uses a 75 second unit, violin 2 uses a 90 second unit; and violin 1 uses two different units – first a 45 second one, then shifting to a 30 second unit, and finally going back to 45 seconds. The common denominator for all these is that they add up evenly to 45 minutes (2700 seconds). I.e. what starts together, ends together…” For this performance page turners were employed as the players were continuously engaged in sounding the long, sustained tones called for in the score.
The beginning of Crazy Quilt is a quiet, sustained chord in the lower registers of each instrument. The bowing by the players was, of necessity, achingly slow – but the sound produced was warm and full. As the time units rolled by, the chord would change slightly, – generally rising in pitch – but very slowly and deliberately. Each change of tone by a player would reveal an entirely new feeling in the sound, sometimes adding tension or anxiety and sometimes resolving into mellowness and warmth. There was no beat per se; the players had to concentrate and be in good communication as each was working to a different time unit. Overall the effect was very engaging – like watching a slow-motion kaleidoscope. In the lower registers the feelings were mostly smooth and reassuring, but as the pitches increased the more stressful and anxious sensations predominated. At the very top of the arc the violins soared above the rest of the ensemble – sometimes heroically and sometimes with great angst – but always bringing another interesting variation to the sound. As the piece floated gently downward in pitch, the chords seemed to become gradually more consonant and consoling. The familiarity and harmonic cohesion in the middle registers added to the feeling of solace, and by the conclusion of this piece there was a comforting sense of return.
Crazy Quilt is an ambitious work, attempting as it does, to conjure so many different colors and feelings from the sound. It is also a difficult piece to play given the different time units and sustained pitches required – with no conventional tempo or harmonic progressions to follow. Despite these challenges, the Formalist Quartet brought this piece fully alive so that the vision of Peter Garland was fully articulated.
The Formalist Quartet is:
Andrew Tholl, violin
Mark Menzies, violin/viola
Andrew McIntosh, violin/viola
Ashley Walters, cello
The next concert at presented by Tuesdays at Monk Space will be on Saturday, March 21, 2015 at 8:00 PM at Villa Aurora, featuring The Varied Trio (Yuri Inoo, Aron Kallay, and Shalini Vijayan). Music of Lou Harrison, Bill Alves and others will be performed.
35 Whirlpools Below Sound is a new CD by Thomas Newman and Rick Cox recently released on the Cold Blue Music label. The 19 tracks on this release are mostly short – from just over 30 seconds to 7 minutes – but together comprise an hour of electro-acoustic works that are intriguingly experimental and richly varied. These pieces were composed jointly by Thomas Newman and Rick Cox over the many years of their musical partnership.
The first track, A Well Staring at the Sky is typical of this CD in the way it evokes a vivid image of surreal loneliness. There is the brief sound of an accordion playing a vaguely familiar street tune and this gives way to the swooshing sound of strong wind accompanied by a few piano notes and a low bass rumbling underneath. Now there is a rattling sound – perhaps some underground pipes – and brief snatches of a piano passage followed by the sound of a music box. All of this is packed into a little more than three minutes but there is the distinct feeling of having been alone for an afternoon in some wind-blown and abandoned desert town.
Other tracks contain similarly striking imagery, often built from unusual sounds. Slate Overture starts with bubbling and clacking, as if standing before some giant alien chemistry experiment. A repeating passage of light bells is heard overhead as a metallic, alien sound is infused into the mix. The mysterious bubbling returns, louder now, building drama but also inspiring am sense of awe before it fades at the finish. Negative Rhythm includes the same scratchy bubbling sound and has a similar feel and texture. Negative Rhythm develops into a slow rolling roar, like a distant volcano with ribbons of flowing lava. A recognizably organic sound, but one made from unnatural sonic materials; the result is convincing and intimidating.
Some of the pieces include familiar acoustic instruments that provide the listener a welcome handhold. Paper Thin, for example, is 40 seconds of repeated and layered music box sounds. Stair contains ominous, deep piano notes with warbling, meandering clarinet tones that add to a mysterious, sinister feel. Some wooden knocking is heard, as if something malevolent is stirring about. Other tracks are pure electronics such as Carapace, a piece that contains the boops and beeps of a retro arcade game. Carapace is active and busy, with some brief moments of unintelligible speech and disjointed guitar riffs. There is a nostalgic feel to this, like standing inside an arcade surrounded by people playing video games.
The variety of sounds and emotions in 35 Whirlpools Below Sound is impressive, and not all of them evoke a mystery or menace. Goldmine Nectarine is smooth and welcoming, like sitting in a warm bath. Smith’s Arcade features tones slipping and sliding around, a sense of uncontrolled imbalance as if we are looking at fun house mirrors. Or Pluton Creek, a piece that joyfully contains 50 seconds of melodious playfulness.
35 Whirlpools Below Sound is a skillfully realized work that takes us to places we have only dreamed of, using sounds that work on our imagination in new and exciting ways.
This CD is available now from Cold Blue Music, CB0040.
From Los Angeles-based Cold Blue Music comes a new CD by Michael Jon Fink titled From a Folio, featuring Derek Stein on cello and the composer at the piano. Michael Jon Fink has a distinguished 30+ year career as a composer and his music has been performed at the Green Umbrella series of new music concerts by the Los Angeles Philharmonic as well as a number of other venues and festivals throughout the United States and Europe. The long arc of his composing career has allowed Michael Jon Fink to refine his style of understated eloquence through simple musical materials, and From a Folio is a fine example of just how much this can achieve.
All of the tracks on this CD are short – running from two to a little over three minutes. All but one of the tracks use the same combination of spare piano rhythms accompanied by the cello. The first track, Invocation, is typical – the piano provides a steady, purposeful line of single notes in a rising, repeating sequence. The cello follows the piano, but in an unexpected register – high but not shrill – and the cello ends each passage on a sustained tone that compliments piano figure. This simple structure is unhurried and restful. Good control of intonation and pitch by Derek Stein is critical – the cello is almost never heard in its lower, warmer ranges.
Heiroglyph is next and this has a more mysterious feeling in the piano passages. The rhythms are a series of straightforward, deliberate notes. The cello follows with soft, sustained tones that add to the enigmatic atmosphere. Melos follows and here the piano weaves its line of single notes around very simple cello tones. More complexity is heard in the piano as this piece unfolds, but by the finish it has resumed its restrained character.
Aftersong, on track 4, is a completely different piece consisting of just the cello in a series of slow, dramatic tones that have been recorded separately but are heard together in this track. This has a sense of lonely isolation and is played with great feeling by Derek Stein who also performs with Gnarwhallaby and wildUp, two Los Angeles groups known for a much more animated and energetic sound – this CD is impressive evidence of a softer, more introspective side to his playing.
The remaining tracks – From a Folio, Over and Exit – return to the original combination of piano and cello. From a Folio, track 5, suggests a questioning feel in the quiet piano chords. The cello answers by way of single, sustained tones that are masterfully infused with emotion. Over is a more solemn piece, with a tinge of sadness. Exit, the last track, opens with a series of luminous piano notes that seem to hang suspended in the air. The cello shortly picks up the same notes, sustaining them while the piano replies in quiet counterpoint. The cello, again in a high register, repeats the opening theme as the piano adds a few short arpeggios. The solitary sound of the cello plays out as the track concludes.
From a Folio is the perfect title for this CD. Each piece is one of a series of brilliant jewels as if cut from the same stone. From a Folio by Michael Jon Fink is music that is simple, yet essential – an elegant vessel of deep expression.
From a Folio CB0039, is available from Cold Blue Music starting October 14, 2014