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.
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.