Author: Paul Muller

CD Review, Contemporary Classical, Los Angeles

Christopher Cerrone – Beaufort Scales

Beaufort Scales is a new CD by Christopher Cerrone recently released by Cold Blue Music. Commissioned by the Lorelei Ensemble, this album explores the musical expression of the wind at sea in eleven beguiling vocal tracks. The composer writes that each of the pieces “…comment on the state of the weather at one point in time, serving as both a reprieve and a reflection upon the surrounding movements.” Developed in 1805 by British Admiral Sir Francis Beaufort and still in use today, the Beaufort Scale describes the velocity of wind using a value from 0 to 12 to indicate sea conditions from flat calm to hurricane force. The album also contains pieces based on texts from Herman Melville, F. Scott Fitzgerald, Anne Carson and the King James Bible. The eight treble voices of the Lorelei Ensemble bring a high level of virtuosity and a rare purity of tone color to all of the tracks in this album. Beaufort Scales is dedicated to the memory of Ingram Marshall.

The actual Beaufort Scale isn’t just numbers that represent wind speeds. For each number on the scale there is a corresponding description of typical wind and sea conditions. Beaufort Force 0, for example, includes the accompanying description: “Calm; Sea like a mirror. Smoke rises vertically.” A Force 7 wind is described as: “Near Gale; Sea heaps up and white foam from breaking waves begins to be blown in streaks along the direction of the wind.” The album tracks are numbered according to increasing Beaufort Force numbers and the track titles are taken from the relevant Beaufort descriptions of sea conditions. Most of the tracks combine a few of the Beaufort numbers together. Track 6, for example, is titled Steps 4, 5 & 6 Small, Moderate and Large Waves. Of the eleven tracks on the CD, seven are based on Beaufort numbers with the other four being interludes inspired by nautical texts. Track 5, for example, is titled Interlude 2: Herman Melville.

The tracks are generally short, from a little over 2:00 minutes to just under 5:30. All of the music is performed by the eight female voices of the Lorelei Ensemble accompanied only by subdued electronics realized by Chris Cerrone.. The early pieces begin gently according to their lower Beaufort numbers and the intensity gradually increases as the higher numbered tracks are heard. Prelude: Sea Like a Mirror, the first track, reflects Beaufort Scale 0. This begins in a quiet whispering sound, giving perhaps just the slightest suggestion of a breeze. This is soon accompanied by pure vocal tones in sustained harmonies that vary in volume. The singing is lovely with the words “Sea Like a Mirror” repeated in layered phrases. “Calm” is heard towards the finish as the sound of the lapping of small waves returns. Prelude: Sea Like a Mirror is a convincing realization of a calm, mirror-like sea surface.

Other tracks follow a similar pattern. Moving up the Beaufort Scale, track 8 is titled Steps 7, 8 & 9: Sea Heaps Up / Waves of Greater Length / High Waves. This opens with three voices sharply singing “Sea Heaps Up’ in a sort of round. There is a sense of urgency and alarm in the often dissonant harmony and strong articulation. “Waves of Greater Length” is heard in multiple voices with a lovely counterpoint. The singing here is precise and beautifully delivered.

The Interludes are heard as separate tracks between the Beaufort Scale numbers. Interlude 2: Herman Melville, although short at 2 minutes, is perhaps the most overtly nautical. A soft rushing sound is heard on the opening followed by a clearly spoken text: “The not yet subsided sea rolled in long, slow billows.” The spoken words continue – there is no music – and a second voice joins in repeating the words as if an echo. The language of Melville nicely evokes life aboard a 19th century sailing ship. The rushing sounds increase, just before the sudden ending. Interlude 4: Herman Melville, track 9, is just a little longer at 2:11. The text is again spoken but is now more intense, describing a violent typhoon. “The winds started blowing hard and the seas were rough…” Singing begins in gorgeous harmony with a feeling that is both eerie and beautiful. The treble voices here are impressive, as is the careful sound engineering by Mike Tierney and Scott Fraser that perfectly captures the pure tones.

Electromagnetic waves are, arguably, the building blocks of the universe. Beaufort Scales brings a vivid description of waves as we experience them in a natural, physical context resulting from ocean and weather. Another Cold Blue CD, released at the same time is Waves and Particles, by John Luther Adams and this explores the character of waves from an elemental perspective. That waves can be treated from an earthly macro perspective and also at the atomic level is a testament to the great expressive power of the music from these two composers.

Beaufort Scales is available directly from Cold Blue Music, Amazon Music and other retail outlets.



by Paul Muller
Contemporary Classical, Los Angeles, Opera

Synchromy – My Wings Burned Off

Mimi Hilaire

On June 8, 2024 Synchromy presented a workshop reading of My Wings Burned Off, an opera by Jason V. Barabba opera with libretto by June Carryl. This was in conjunction with the 2024 Opera America conference held at various venues all around Los Angeles. The conference is a place for opera musicians, composers, conductors and administrators to meet each year to exchange ideas, techniques and to pitch new productions. This reading of My Wings Burned Off was held in the Grand Rehearsal Hall at the USC Colburn School of Music downtown. A twelve-piece string orchestra was on hand as well as Mimi Hilaire, the soprano soloist, all conducted by Dr. Renee Baker.

The opera follows the heartbreaking story of Oluwatoyin Salau, a young black woman from Tallahassee. She became a leader in the Black Lives Matter movement and who was ultimately murdered at the hands of a black man. Librettist Carryl writes “I want other Black girls and women to know they matter. It meant everything to me that Jason wanted to tell her story again in this beautiful, brutal opera. Oluwatoyin Salau deserved better; she, they, we deserve better.”

My Wings Burned Off is a monodrama in one scene with ten parts. This performance included all of the singing and the orchestral score but there was no staging, scenery or acting. In any case, the music and libretto alone have sufficient power to sustain the relentless story line. Mimi Hilaire displayed an impressive combination of stamina and control, singing for the better part of an hour. The string orchestra included a number of leading Los Angeles musicians and Ms. Hilaire, at times, had to work to keep the vocals in the foreground. The soprano sings the dramatic libretto and the orchestra comments and adds appropriate atmospherics as the text unfolds. There is generally an abstract distance between the voice and the strings, and this highlights the severity of the story line.

The point of view is first person, with furious lines from Ms. Salau such as “What do I got to do to be human? What I gotta do? I can’t go nowhere, I can’t do nothing, can’t say nothing without being BLACK.” Frustration and anger cry out everywhere in the strings, effectively multiplying the dramatic impact of the text. The voice sings “The scream in my throat becomes a roar.” and the accompaniment echoes with a series of high, searing pitches. Whenever Salau mentions her mother, however, the strings turn soft and supportive. The story unfolds in seemingly disjointed sections, and this adds to the tension. This piece hammers the heart like a Baroque Passion, the words and the music delivering unsparing anguish.

For this reading, the full libretto was printed in the concert program and this was a great help. The vocals often occupied the same register as the many accompanying strings and Ms. Hilaire’s rich voice often blended into the mixture. The orchestra was just a few feet from the soloist and a dozen or so feet from the audience, so in an actual opera hall there will likely be enough sonic separation for better clarity. But unless the story is well known in advance by the listener, it would be a challenge to apprehend the dramatic arc without closely following the text. A printed libretto or captions on a projection screen would allow reading the words while hearing the music. This was the most effective way for me to follow the story and appreciate its power.

My Wings Burned Off is as an unflinching look at the hard reality that prevails for young Black activist women in our society today. Oluwatoyin Salau deserved better, as this opera powerfully testifies.

Jason Barabba and June Carryl

Photos courtesy of Synchromy

by Paul Muller
Chamber Music, Concert review, Contemporary Classical, Ojai

Ojai Music Festival – Saturday, June 8, 2024

Saturday June 8, 2024 in Ojai began with an overcast sky and cool breezes, but this did not prevent a good size crowd from filling the Libbey bowl for the 10:00 AM concert. Works by three contemporary composers were featured: John Zorn, Missy Mazzoli and John Adams.

Accordionist Ljubinka Kulisic opened the concert with Road Runner, by John Zorn. Ms. Kulisic is from Bosnia-Hertzegivina and received her DMA from the University of Toronto in Canada. I admit to harboring a certain skepticism about this piece; music for solo accordion would seem to belong in a different cultural orbit. Using a sort of musical jiujitsu, however, John Zorn, together with the talented Ms. Kulisic, have leveraged accordion cliches, snatches of familiar tunes and an impressive array of extended techniques to conjure an entertaining and dazzling tour de force from this unlikely instrument.

Road Runner opens with a rapid series short quotes from popular music, cartoons and other sources quidkly followed by the crashing of great cluster chords, insanely rapid scales and all sorts of physical effects that leave the listener breathless. The recognizably musical phrases lull the brain into complacency and then a booming outburst thoroughly scrambles the context. The cycle then repeats and this process results – counter intuitively – in listening more closely. The listener is trying to make sense of all the sounds together and not just the familiar ones. This required virtuosic playing by Ms. Kulisic who delivered an amazing performance and received enthusiastic applause for her efforts.

Dark with Excessive Bright, by Missy Mazzoli followed, performed by musicians of the Mahler Chamber Orchestra. Rick Stotijn was the double bass soloist with Vincente Alberola conducting. Inspired by Milton’s Paradise Lost, the program notes state that: “While loosely based in Baroque idioms, this piece slips between string techniques from several centuries all while twisting a pattern of repeated chords beyond recognition.”

Dark with Excessive Bright opens with a strong tutti statement accompanied by a solemn bass solo. There is a slightly sad feeling to this as the strings crescendo then give way to another stretch of bass solo. The deep, rich sounds add a powerfully expressive dimension to what is essentially a double bass concerto. The string orchestra weaves in and out of the foreground as the solo bass makes its mournful journey, and this alternating pattern continues throughout the piece. There are occasional stretches of rapid rhythms in the solos that never drag; a credit to Stotijn and his agile handling of the double bass. Long, slow sustained tones, bring this piece to a satisfying conclusion. Dark with Excessive Bright meets Paradise Lost on its own weighty terms with artful musical success.

The final work on the program was the minimalist classic Shaker Loops, by John Adams. This was scored for three violins, a viola, two cellos and a double bass, played by the musicians of the Mahler Chamber Orchestra. This began with a soft but clean opening in the violins with the other strings entering in turn. The tempo was precise and each of the shimmering layers of the first movement were clearly articulated. The texture gradually built into a lovely trembling swirl that perfectly evokes the spiritual ecstasy of the Shaker sect. The second movement, “Hymning Slews” was a complete contrast, with long sustained tones and just a slight undercurrent of excitement. This was nicely balanced and very expressive with skillful control of the quiet dynamics. The high, accented tones in this movement by the violin were especially effective. After a short transition, movement 3 “Loops and Verses” edged back into the lively groove of the opening. Low growling tones from the bass added an impressive element of power. The upper strings floated long sustained tones above the active counterpoint in the lower parts and this gathered into a driving pulse with an increased tempo and beautiful harmonies. The final movement , “A Final Shaking”, was faster still with blizzards of notes coming from all the parts, save the elegant pedal tone heard in the bass. The piece simply stopped at its ending, leaving the audience in a state of silent reflection before bursting into a long standing ovation.

It was good to hear Shaker Loops again to appreciate the delicate clarity and subtle dynamics present in this music, as well as the masterful playing of the Mahler Chamber orchestra musicians.

Musicians of the Mahler Chamber orchestra were:

Alexandra Preucil, May Kunstovny, Naomi Peters, violins
Yannick Dondelinger, viola
Stefan Faludi, Christoph Richter, cellos
Naomi Shaham, double bass

Photo Credit: Timothy Teague

by Paul Muller
Concert review, Contemporary Classical, Ojai

Ojai Music Festival – Friday June 7, 2024

The 78th annual Ojai Music Festival opened on Thursday June 6, 2024 and continued through Sunday June 9. The Music Director for this year was Mitsuko Uchida. Featured artists included the Mahler Chamber Orchestra, soprano Lucy Fitz Gibbon, violinist Alexi Kenney , cellist Jay Campbell, bassist Rick Stotijn and the Brentano String Quartet. The Ojai Festival always brings a mixture of fresh contemporary music along with the works of cherished composers such as J.S.Bach, W.A. Mozart and Béla Bartók. The cool morning weather did not deter a good turnout for the 10:00 AM Friday concert in the Libbey Bowl.

First up was Julie Smith Phillips performing Fall, a piece for solo harp and electronics by the late Kaija Saariaho. Thomas May’s program notes state that Fall is “…an arresting example of Saariaho’s ability to convey an assemblage of freely associated images through the interchange of acoustic and electronic sounds and a poetics of timbre.” Repeating light phrases open Fall accompanied by a churning counterpoint in the lower registers. This produces a feeling of uncertainty that is accentuated by the absence of definite rhythms or a solid pulse. The lack of a leading melody confirms that Fall is all about texture and contrast, propelled by an active tempo. The electronics and amplification intensify the timbrel palette of the normally reserved harp, and all of this is well-managed by Ms. Phillips. There is a brief stretch of simple, solitary notes in the upper registers offset by aggressive passages below, adding a sense of mystery. A series of strong arpeggios in the higher notes follow, introducing a feeling of menace. Fall is both dramatic and atmospheric and brings the normally soft spoken harp into new and expressive territory.

Pression, by Helmut Lachenmann followed, a solo cello piece performed by Jay Campbell. The piece opens with a series of whispers and soft scratches as the bow is lightly drawn across the strings. This soon escalates to angry growling sounds and vivid thumps applied to the cello wood. Pression is a series of amazing extended techniques on the cello that varies from soft ghostly tones to a rough, mechanical sound. Campbell was in full control of his instrument despite the fact that it was operating completely beyond the conventional sonic envelope of the normally stately cello. Pression is an impressive demonstration of what is possible when the elegant is completely given over to the physical.

Five Etudes, by Sofia Gubaidulina, was next. This is a five movement piece scored for harp, percussion and double bass. “Largo”, the first movement opened solemnly with a double bass solo consisting of single notes. The harp enters, followed by pitched percussion with everyone in a slow tempo and soft dynamic. A satisfying yet gentle groove soon developed. The percussion was effective, keeping a steady pulse while the harp and bass lines weaved in and around each other. “Allegretto” followed with an increased tempo and prominent drumming by percussionist Sae Hashimoto projecting the beat. This movement was stylish and jazzy, yet tastefully restrained. The “Adagio”, movement 3, consisted of lines of quiet solitary notes from the harp that were answered by the double bass. A soft trill was heard from the pitched percussion, enhanced by a metal chain draped over one of the vibraphone plates. This contributed a slightly mysterious feeling. Strong arpeggios in the harp opened movement 4, “Allegro disparato”, accompanied by a sharp drum beat. This was uptempo, described in the program notes as a “desperate Allegro.” Rapidly repeating cells in the marimba were offset by a solemn melody in the bass.

The final etude, “Andante”, started with slow pizzicato notes in the bass and counterpoint in the harp. This evolved into a comfortable walking bass line below combined with hip riffs above; an engaging mixture. Five Etudes was perhaps the most conventional of the contemporary pieces in the Friday morning concert. The playing was skillfully done, especially by Naomi Shaham on the double bass who was a last minute substitution.

The final work on the concert program was String Quartet No. 5, by Béla Bartók performed by the Brentano String Quartet. This was written in the summer of 1934 and carries all of the weighty anxiety of pre-war Central Europe. All five movements were performed and the energy and gritty complexity of this music is striking, even at this distance in time since its premiere. The Brentano Quartet played this with precision and brilliance over its entire 31 minute length. String Quartet No. 5 remains gripping in its intensity and a showcase for the high level of creativity and extraordinary technique that was present in early 20th century music.

The Brentano Quartet is:

Mark Steinberg, violinist
Serena Canin, violinist
Misha Amory, viola
Nina Lee, cello

Photo Credit: Timothy Teague

by Paul Muller
CD Review, Contemporary Classical, Los Angeles, Strings

John Luther Adams – Waves and Particles

Cold Blue Music has released Waves and Particles, a new CD by John Luther Adams featuring the JACK Quartet. This new album by the Pulitzer Prize-winning Adams explores the deeper levels of elemental nature through extraordinary musical expression. The composer writes: “Waves and Particles was inspired by quantum physics, fractal geometry, and noise – which function as elemental metaphors in my music.” This is realized by the renowned JACK Quartet who artfully extract new and exceptional sounds from the standard string quartet. This new album follows three previous CDs by Adams, released by the Cold Blue label and recorded by the JACK Quartet.

Particle dust, track 1, opens with a rapidly repeating tutti phrase that carries a strong sense of power and motion. The dense texture and churning sound is reminiscent of Steve Reich’s classic Different Trains. The music is dominated by this texture and surges forward without melody or counterpoint like a swirling cloud of particles. Pauses occur, filled with softly ethereal sustaining tones that break up the hard driving tutti sections. The texture alternately thins and swells depending on various combinations of string parts. At 4:20 a few seconds of silence is heard followed by a series of delicate sustained tones, as if the piece is gathering its breath. The fast growling in the cello returns as the other parts enter, building the intensity. The playing by JACK is rapid but always under control. Particle dust is engaging without convention and compelling in its purpose.

Spectral waves follows and, by contrast to the first track, begins with a lush sustained chord that slowly increases in volume. The smooth tones gradually change in color and evoke a warm, welcoming feeling. Introspective and nostalgic, never fast or flashy, spectral waves shares the same gentle sensibility as heard in The Wind in High Places and other John Luther Adams string pieces. The parts blend well together and the result is a soothing bath of beautiful sounds. Velocity waves, track 3, returns to the rapid and rugged textures of particle dust. The fast chugging sounds in the cello are offset by slowing notes in the higher registers. The tempo gradually slows as the dynamics decrease. The phrasing surges and swells, only to fall back again in a repeating pattern. These cycles seem to vary in pitch, velocity, acceleration and deceleration. At 4:20 the sounds turn languid and soft for a short stretch, but soon recover their previous energy. At times, the tempo in the lower strings is slowing while that in the violins is increasing – and then they reverse. The final dash to the finish in the lower strings perfectly captures the concept of a velocity wave. The unexpected charm of velocity waves is the direct result of the precise and disciplined playing by the JACK Quartet.

Tridac waves, track 4, is next and opens with low sounds, increasing in volume and pitch, then reversing. The effect is like that of a sluggish siren but with an urgent and immediate unease. These siren-like sounds proceed in layers and in different registers. This pattern continuously repeats, but splits between the parts; some times the higher registers dominate while at other times the lower strings lead. Tridac waves is full of unusual and alarming sounds, skillfully conjured from conventional string instruments.

Murmurs in a chromatic field, track 5, features a series of scary sustained tremolos that immediately produce a dark, spooky feeling. The tones and timbre are unusual for strings and might well have been electronically synthesized. As the piece proceeds, the sounds and pitches become more alien and spacey. Some conventional chords are heard from time to time, giving the rest of the piece some harmonic context. Brief silences appear between the longer stretches of sound, and this adds to the sense of mystery. More pauses follow, in a similar pattern and the silences get longer towards the fading finish. Murmurs in a chromatic field is an apt title for this piece – it is quietly intimate and beautifully performed.

Particles rising is the final track on the album and opens with short bursts of four delicate violin notes. This is followed by a pause, then repeated several times. The second violin joins in with same rhythm, and in harmony. The viola and cello enter, in turn, until all four parts are engaged in sustained tones and a lovely warm harmonic wash. Fast skittering notes in the upper voices are heard, culminating in a strong and continuous fiddling in all four parts. The lower strings soon dominate with a strong dynamic and a full, growling texture. Short stretches of quiet sustained tones in harmony punctuate the harsher sounds, offering the listener a fine contrast. All of this is played with skillful ensemble despite the absence of a leading melody or strong pulse. Particles rising is a muscular piece appropriate to a strong physical phenomenon, but never overwhelming or alien in character.

This album is full of remarkable sounds that the composer extracts from the conventional string quartet. Quantum physics, fractal geometry, and noise are part of the natural world, yet we know of them only abstractly by scientific observation and measurement using complicated machines. Can these phenomena be treated in the same way as mountains, forests, rivers and oceans? The music in this album, although often powerful, is never distant or intimidating. Rather it shares the same welcoming warmth of other string quartets by Adams, inspired by the conventional natural world. Waves and Particles makes a strong case that we need to embrace the totality of nature, even down to its elemental particles.

The JACK Quartet is:

Christopher Otto, violin
Austin Wulliman, violin
John Richards, viola
Jay Campbell, cello

Waves and particles is available directly from Cold Blue Music and from US retailers by Naxos and other music outlets.

by Paul Muller
Ambient, Contemporary Classical, Experimental Music

Steve Blum – Stained Glass

On February 1, 2024, sadfam records released Stained Glass, a new album of experimental electronic ambient music by Los Angeles-based keyboardist Steve Blum. Inspired by the glasswork at the Zionskirche in Berlin, this album is “…where the past and future intersect: destruction and creation, ostentation and modesty, reactionaryism and progressivism.“ Minimalist in structure with a variety of electronic and ambient sounds, Stained Glass skillfully blends technology with the art of music.

Forest is the first track of the album and has a bright, bouncy piano line to open. The notes sparkle like rain drops as a countermelody is heard in the middle register. A low, twangy guitar line weaves its way in and around the others. This results in a nice groove with all the elements balanced and working together. About halfway through, a slower section of bass tones dominates as the piano lines recede into the smooth overall texture. Forest has an energy and variety that uplifts and refreshes. Towards the finish the tempo slows as the sounds diminish and thin out to a quiet ending.

Kinetic, track 2, opens with solitary beeps in a simple melody, soon joined by other lines that form a bubbly, playful groove. This has a strongly percussive texture – a bit like being inside a pin ball machine. About halfway through, the rhythms start to unravel and no longer seem to be following the same beat. There is a rising sense of disorder but this soon recovers back into a steady beat before fading to the finish. Kinetic is both an elemental and lovely piece.

Track 3 is Dialogue and this opens with a strong beat in a repeated, syncopated knocking sound. Aggressive and only minimally melodic, electronic beeps soon join in to form a swirl of new, higher lines. Different rhythms appear with strange sounds, some of which are reminiscent of music by Weather Report. The knocking continues independently, as if in a dialog with a call but no response. There is an intriguing, mysterious feeling to Dialogue.

At just a little over two minutes in length, the shortest piece of the album is Interlude, track 4,. This has a nice rolling beat in the middling registers with some lovely rhythms above. There is a sunny and optimistic feeling to this as well as a sense of roiling purpose. The texture becomes broken and sketchy as the short existence of Interlude dissembles at the finish. Acting as a kind of bookend is Postlude, another short piece that concludes the album on track 10. This is solo piano music with a gentle and melodic opening, conventional harmony as well as a warm romantic feeling. Not fast or flashy but quiet and thoughtful – a perfect way to end Stained Glass.

Reflection, track 5, is the longest piece on the album and features vocalist Kathryn Shuman. In fact, according to the composer “…every sound on track 5 is from a sample of Kathryn’s voice, re-pitched and edited.” This opens with a long series of electronic beeps and boops that are sometimes in harmony and sometimes dissonant. The sounds pulse rapidly through different registers and seem very much like signaling. There is a lot of energy here, partly electronic and partly vocal. Yet overall these elements blend together into a coherent texture. Bubbly and welcoming at times while strident and alien at other times. Ms. Shuman’s vocals are both agile and highly creative, mixing well amid the swirl of sounds.

At about 5:45 lower and warmer sounds are heard underneath in two different lines. This has an organic and exotic feel that could be a conversation in a foreign language; perhaps a discussion between life forms? A low vocal gesture finishes the piece. Reflection is engaging and animated throughout.

Puristic follows on track 6 with sharp, single electronic notes accompanied by a bass beat. This has a distinctly percussive and explosive feel, like listening to popcorn. Several interleaving lines enter and fade with repeating figures. An altogether happy sound, upbeat and sunny. As the piece proceeds, the lines wander in their rhythms evoking the other-worldly before returning to a more coherent texture. Puristic is joyful yet precise music.

Uncle, track 7, opens with an intense all percussion sound. The rhythms syncopate briefly then return, developing into a nice groove. This has a primal feel with a strong beat and inviting texture. Some rapid drumming adds to the energy of Uncle, an inventive piece that gets a lot out of its mix of percussion. The next track, Idyllic, also has a strong percussive presence, combined with a smooth electronic melody line that is nicely offset by counterpoint below. Idyllic rolls along with different lines moving around but always giving off a sweetly contented vibe.

Ocean, track 9, follows, opening smoothly with a gentle but deliberate tempo. A simple piano line arcs over over sustained chords in strings. The slow rising and falling of the dynamic evokes a calm ocean, and the warm harmonic undercurrents produce a quiet, reflective ambiance. Ocean is always at ease as it drifts along, free of tension or anxiety, a beautiful piece of music.

Stained Glass successfully combines alluring and colorful electronics with minimalist rhythmic energy. Steve Blum’s music is exotic, but not alien, and at the same time it is agreeably familiar in its emotional intention.

Stained Glass is available for digital download at Bandcamp.

by Paul Muller
Chamber Music, Concert review, Contemporary Classical, Los Angeles, Premieres

Ventura College Symphony and Chamber Orchestras – Ad Astra

On Saturday, May 4th, 2024 the Ventura College Department of Performing Arts presented Ad Astra, a concert by the Symphony Orchestra and Chamber Orchestra. The program had something for everyone: the US Premiere of a new chamber work by Mark Menzies, a Shostakovich string quartet, part of a Prokofiev violin concerto featuring soloist Alex Fager and a full-bodied Star Wars suite for orchestra. A sizable audience filled Yunker Auditorium in the VC Performing Arts Center and the musicians completely covered the roomy stage.

The concert opened with the US premiere of Wai-rā-rawa, by Mark Menzies. This piece was inspired by the creation story of the Māori, the indigenous peoples of New Zealand. Mark Menzies was violin faculty for some years at CalArts and also a member of the Los Angeles-based Formalist Quartet. He now resides in New Zealand and is Professor of Music at the University of Canterbury. Menzies worked with the VC Chamber Orchestra on his piece during a recent visit to California. For this performance, the Chamber Orchestra was led by guest conductor Donovan Rutledge, a Ventura College alumnus.

Wai-rā-rawa opens with sustained chords that slowly unfold and develop an interesting texture. As the opening continues, the chords become somewhat disorganized and dissonant, perhaps suggesting the dark and formless beginnings of the earth. The music has a slightly eerie feel, but is never disheartening; it is solemn yet at the same time filled with a gentle reverence. An expressive violin solo is heard featuring a high, sustained pitch that adds to the uncertain atmosphere. As the piece proceeds, deep tutti chords with multiple harmonies materialize like clouds. Towards the finish, soft pianissimo notes are followed by broken rhythms at the ending. This music is distinguished by subtle rhythms, intriguing harmonies and textures, all smoothly directed by Donovan Rutledge. Wai-rā-rawa is both mysterious and wistful with perfect balance for describing the primal creation.

The second work on the program was String Quartet No. 8 in C minor (1960), by Dmitri Shostakovich, also performed by the chamber orchestra. For this concert the parts were doubled, with two instruments on each. The opening Lento movement was appropriately grim, with all of the repression of the old Soviet system seeming to weigh it down. There was good coordination and intonation among the players, however, with no uncertainty among the sections. The transitions to the faster Allegro and Allegretto movements were successfully negotiated; the violas were especially well-coordinated. The delicate textures in the dance-like segments were nicely observed, with some tension slyly creeping in.

The final Lento movements brought a return to the more severe feeling of the opening as strong tutti chords turned darkly dramatic. The players kept good control of the dynamics in all of the movements and also in the final decrescendo at the finish. String Quartet No. 8 is essential late Shostakovich, with all of his characteristic gloominess during this period fully evoked by skillful playing in this performance.

After a short intermission, the full Ventura College Symphony Orchestra took their places, filling the entire stage. The Andantino movement of Sergei Prokofiev’s Violin Concerto No. 1 in D Major, Op. 110 (1923) was next, with soloist Alex Fager. He is the winner of this year’s Allegro Solo Competition, open to musicians of all ages residing in Ventura County. This piece began with soft tremolos in the orchestra violin section, followed by a strong entrance from the soloist with a slow, expressive melody. As the phrasing became more active, Fager’s sound came across with a clear tone that reached out above the orchestra to fill the hall. As the movement proceeded, the mood turned stylish and lyrical, so characteristic of Prokofiev’s music. Fager’s skillful technique kept his violin in the foreground, even as variations in tempo, dynamics and texture rapidly changed. Towards the finish, the solo violin and flute played in a tricky counterpoint, with great effect. The movement then ended as quietly as it had begun. Violin Concerto No. 1 has a challenging variety of musical gestures in the Andantino movement and soloist Fager capably led the way throughout.

Although it was May the fourth and very appropriate, I will admit that I was a bit apprehensive about the last work on the concert program, the Star Wars Suite for Orchestra (1977) by John Williams. Star Wars is so overexposed that it has become something of a cultural cliché. An orchestra performing such a familiar piece runs the risk of disappointing its audience. This is big, sprawling music with five movements that include the themes that composer Williams has so artfully woven into this signature masterwork. The piece is full of challenges; there are many transitions to be navigated as the various leitmotifs are passed around between the sections. As the orchestra got going, the sounds and entrances of the various sections sharpened up nicely. Dynamics ranged from the barely audible to full blastissimo, and the orchestra fought successfully to maintain good balance. The string sections benefited from being at the front of the stage and provided solid support. The horns managed to be clearly heard from the very back of the risers during their important solos.

Vigorous applause was heard between each of the movements, and the orchestra seemed to build on the growing enthusiasm. The “Imperial March” was perhaps the most popular, with its full sound and driving beat. At the conclusion of the last movement, a long and loud standing ovation was given by the now-cheering crowd. Star Wars Suite for Orchestra might be a bit of a war horse, but the music still has surprising power when played by a live orchestra in a concert hall.

A good part of the credit for this fine performance by the Ventura College Symphony Orchestra must go to Director Ashley Walters. Her conducting style is everything a player wants: an unmistakable beat, precise cues and decisive dynamics. Walters adds no superfluous movements or theatrical histrionics, and her clarity of purpose brings real leadership to the podium. Walters undoubtedly carried this same focus and energy into rehearsal, and the result was an outstanding concert of compelling music.

by Paul Muller
Concert review, Contemporary Classical, Los Angeles

Cold Blue Music – An Afternoon of Double Basses and Piano

On Saturday, April 6, 2024 the Santa Monica Public Library and the Cold Blue Music recording label presented a concert titled An Afternoon of Double Basses and Piano. This was the latest incarnation of the Soundwaves series of new music concerts, now back in business after the Covid pandemic. The library auditorium was undergoing some renovation, so this concert was held in the nearby Edye Theater at the Broad Stage, part of the Santa Monica College Performing Arts Center. There were three works presented: Darkness and Scattered Light, by John Luther Adams, featuring five double basses, Flying, by Christopher Roberts, for three double basses and Tiny Thunder by Nicholas Chase, a world premiere for four-handed piano.

The first piece on the program was Darkness and Scattered Light, by John Luther Adams. This work appeared on a Cold Blue CD in 2023 and is scored for five double basses. In the Cold Blue recording the late Robert Black, a highly regarded bass player and member of Bang On a Can, performed all five parts separately. These were then precisely mixed for the final realization, no doubt taxing the masterful skills of even a Robert Black, who subsequently received a Grammy nomination for his efforts. For this concert, the work was performed live with five individual double basses: James Bergman, Christopher Roberts, John Graves, Hakeem Holloway and Jeff Schwartz. All were conducted by Nicholas Deyoe..

Darkness and Scattered Light was inspired by the natural changes in the character and quality of light during 24 hours of a winter solstice. The piece begins with a deep, sustained foundational tone. More long notes enter with the layers of sound building as the dynamic rises and subsides. The overall effect is like the swelling and surging of ocean waves. The languid feeling persists as the piece continues with individual phrases multiplying in a series of entrances and exits of the five basses. This piece is all about sonority, power and the shaping of the texture. At times it seems as if the sound itself is in slow motion. Occasional phrases comprised of very high pitches are heard rising above the lower tones, and this makes for challenging playing. The coordination of the five double basses by Nicholas Deyoe was outstanding given the varied layers and many changing contours of the music. As the piece neared its conclusion the sounds became deeper and richer as each of the basses dropped out in their turn. Darkness and Scattered Light is an ambitious work given that its viewpoint is so firmly fixed in the lowest registers. The sculpting of such deeply rich bass sounds make for an unusual and compelling listening experience.

Flying, by Christopher Roberts, followed, and this is the fourth movement from a larger work, Trios for Deep Voices, drawn from experiences in the jungles of the Star Mountains region of Papua New Guinea. Flying is scored for three double basses and was performed on this occasion by James Bergman, Jeff Schwartz and the composer. The piece opens with a high pitched melody from a single double bass that establishes a lovely feel that is consistently upheld throughout. The other two basses join in with busy lines, filling the air with a roar of notes from the lower registers. There is an almost nostalgic feeling as the repeating cells develop into a satisfying groove. The deep harmonies that emerge are especially effective.

As the piece continues, one bass provides a solo line with somewhat higher pitches while the two others add to the actively repeating patterns below. Good coordination between the players keeps all of this on track and the result is a pleasing warmth with an optimistic sensibility. Flying radiates affection with a pleasant sincerity that only the double bass can conjure.

The final work on the program was Tiny Thunder by Nicholas Chase, a world premiere. This is an extended piece for piano, four-hands, performed by Bryan Pezzone and Jennifer Logan. Often a four-hands piece will feature a lot of technical flash, as if the composer is determined to keep 20 fingers in constant motion. Tiny Thunder is a refreshing departure in that it is a softer and more intimate experience. The opening is a series of quiet, single notes that seem to hang in the air. A call and response develops between the two players, but this is never hurried or insistent. As the piece proceeds, lovely spare harmonies develop from minimal musical materials held to a modest tempo. There is a quiet, settled feel to this with solemn chords rising up from the lower registers.

At times, the four hands become more active with a light melody that compliments the continuing lower chords. At other times, only single notes are heard in each part, simple and solitary. Towards the finish, trills and ornamentation swell into a more active texture, adding another level of elegant expression. At the finish, the tempo increases and strong chords rise up from below with some discord in the harmony. The dynamic builds up to loud for the first time with active, repeating lines from both players. A sudden stop to the music ends the piece. A long, reverent silence was observed by the audience before the enthusiastic applause. Tiny Thunder is an idealized piece for two friends who enjoy playing together without need of musical fireworks or fortissimo dramatics.

The return of the Soundwaves concert series after the covid pandemic is a welcome contribution to Santa Monica cultural life. The next concert will feature the Joe Baiza Quartet at the Santa Monica Public Library on May 4.

by Paul Muller
Concert review, Contemporary Classical, Los Angeles

Brightwork newmusic – I Will Learn to Love a Person

On Saturday, March 30, 2024 Brightwork newmusic presented I Will Learn to Love a Person, a concert of new music at Boston Court Pasadena. Brightwork musicians Aron Kallay, Stacey Fraser, Brian Walsh and Nick Terry contributed excellent performances of works by noted composers.. The six works on the concert program dated from 2012 to 2024 and featured unusual combinations of vocals, piano, woodwinds and percussion.

The first piece on the concert program was Wagon Wheeling (2012) by Tom Flaherty and written for Aron Kallay. This piece was inspired by those old western movies where the camera frame rates gave the illusion of wagon wheels running backwards. This was scored for piano and percussion and opened with a steady rhythm in the vibraphone reminiscent of a trotting horse. This increased in volume just before a sharp cymbal crash signaled the entrance of a independent piano line that add a fresh sense of movement. This developed into a nice groove that occasioned a relaxed, mellow feeling. As the piece proceeded, a strong beat in the piano engendered a more purposeful feeling. The precise playing of Aron Kallay on piano combined with Nick Terry’s animated percussion, produced an interesting texture. Differences in the rhythms between the two players evoked the perception of a new tempo, much as the variation in velocity of the wagon wheels in those old films.

A forceful series of solo passages on the tom-tom and cymbals added some power before falling back to a softer, mysterious feel from the piano and marimba. Wagon Wheeling is more about rhythm and pulse than harmony or melody, and there was an engaging variety to the many sounds produced by just the two players. With Wagon Wheeling Flaherty effectively deploys what is available from the sonic palette of piano and percussion.

The second work on the program was Murmurations (2018) by A.J. McCaffrey, scored for piano and clarinets. A murmuration is a large flock of birds who swarm together in close-order aerobatics, almost like a fast-moving cloud that darts off in unexpected directions. Murmurations opened with a bright arpeggio from the clarinet, evoking bird calls and a magical atmosphere. The piano supported in the lower registers and the clarinet line morphed into soft and sustained tones above. The arpeggio was repeated by the clarinet, but its opening optimism was offset by a series of dark chords in the piano. The contrast between the bright passages and the darker accompaniment created a sense of fast-moving uncertainty.

As the piece continued, the passages in the clarinet became progressively more agile and complex . As the dynamic increased, the clarinet culminated in a series of sharp shrieking sounds, expertly played by Brian Walsh with power and excellent control. Meanwhile, the piano persisted with chords in the lower registers. The clarinet seemed to be trying to break out from the uncertainty with a more subdued and lighter sound, but never quite managed to escape before a quiet finish ended the piece. Murmurations delivers a surprising amount of movement and emotion from the piano and clarinet duo.

Lost Borders, (2024) by Pamela Madsen, followed, and this is from the last act of Why Women Went West, her multi-media chamber opera. Why Women Went West is based on the story of Mary Austin Hunter, a 19th century mid-westerner who journeyed alone across the continent to California in the early days of the settlement in the American far west. The opera is partly about the dangers and rigors and of traveling cross country in that era, but more generally about Austin’s extended odyssey of self-discovery. The program notes state that the opera chronicles “ …Mary Austin’s escape from persecution to transformation of white woman’s privilege and passion for preservation of nature, history, and indigenous culture.” Lost Borders is a sort of summing up of Ms. Austin’s metamorphosis over her lifetime in the west.

Stacey Fraser has sung the soprano lead in Why Women Went West and has the skill and stamina to carry the part. Lost Borders opens with quiet, pensive chords in the piano and marimba, accompanied by a dark bass clarinet line. A briefly spoken narration opens the story. The soprano vocals begin, mostly in the middle registers, but turn quietly powerful – “Save me, O Lord…” is heard. As the piece continues, the instruments combine to build a darkening mood. Strong, solitary beats from the percussion add a bit of tension. Ms. Fraser’s expressive singing has to work against the somber texture in the accompaniment. For all of that, the scoring for just four instruments masterfully supports the complex and changing flow of emotions in the text. Lost Borders is only a small part of an opera worth experiencing in its entirety.

After a short intermission, Xarja (2017) by Kareem Roustom was next, and this was scored, unusually, for voice and percussion. The text is taken from from the “Waterfire” muwashshah by Al’Ama al-Tuttli (d. 1126 Tudela, Spain) and other poets of that era. ‘Xarja’ is a Spanish translation of the Arabic word for ‘exit’ or ‘final’. In the program notes the composer writes that, in some ways, the piece is a metaphor for the present evolution of music: “Like the grief stricken lover, ‘death is my state’ can be applied to the musical language I’ve been using for sometime. However, out of ‘death’ comes ‘rebirth’ and the opportunity to begin anew.”

A slow beat on a hand drum opens Xarja and this develops into a pleasant groove. The soprano voice entered in a quiet, conventional line and there was an engaging interplay between the vocals and the percussion. The tempo increases and the tones of the vibraphone are heard as the voice rises in dynamic and climbs higher in pitch. Drama was added with a soaring soprano line from Ms. Fraser, the result of equal parts of vocal power and control. The complex texture was a good contrast to the opening and impressive given just the two performers. At one point Nick Terry was bowing the vibraphone plates and this proved to be both exotic and very expressive. Towards the end of the piece the performers were clapping and stamping their feet in a stirring finish. Xarja manages to extract the maximum passion from the unorthodox pairing of voice and percussion.

A Sonatina (2016) by Bill Alves followed, performed by Aron Kallay and Stacey Fraser. Inspired by “A Sonatina Followed by Another”, a 1921 poem by Gertrude Stein, the composer writes in the program notes, “I have extracted lullaby-like bits of the text that often seem to refer to her life partner, Alice Toklas.” A Sonatina opened with a nice running piano line and a solid vocal entrance that lifted up sustained tones. There was an intriguing feel to this and the format aided comfortably accessible listening. The piece darkened somewhat as the running piano line slipped into a lower register. The drama increased as the piece proceeded, and when combined with the vocals, a lovely overall sound was the result. A Sonatina is skillfully crafted music with this performance by Fraser and Kallay, equaling the intentions of the composer.

The final piece on the concert program was I Will Learn to Love a Person (2013), by Chris Cerronne. This is a song cycle about personal relationships as expressed in music with each section quickly following the last after a brief silence. This was performed by Aron Kallay on piano, Brian Walsh playing clarinets, Nick Terry on percussion and Stacey Fraser, soprano. Two quiet notes from the piano opened the piece with the vibraphone entering in the same register. The resulting mix was immediately effective and had a haunting feel. The soprano enters with words about a relationship, deepening the mystery. The clarinet joins in, supporting the vocals with a sequence of sustained pitches.

A series of continuing tremolos in the piano and clarinet followed, producing a pleasingly active texture. The voice enters, now stronger and with more confidence. As the piece proceeds, the dynamics become softer as the soprano sings quietly declarative vocals against sustained notes from the rest of the ensemble. The many emotions present in personal relationships are heard throughout this piece, always with a skillful and refined nuance. Later, the interweaving of the voice and instruments is beautifully expressive. After a short return to the tremolo texture, the emotional energy increases as the voice rises higher in pitch and stronger in tone. The close coordination of the performers and their attention to detail make I Will Learn to Love a Person an exquisitely intimate artistic journey.

This concert confirms Brightwork newmusic as one of the top ensembles performing in Los Angeles. The addition of vocalist Stacey Fraser this season has expanded their artistry to new levels.

by Paul Muller
Concerts, Contemporary Classical, Los Angeles, Review

Wicked GOAT – Stories

On Sunday, March 24, 2024 the Pasadena Conservatory of Music presented the second in this season’s Wicked GOAT concert series of Contemporary Music for Young People. The concert is free to the Conservatory community and every seat in Barrett Hall was filled with eager faces and proud parents. The theme for this occasion was Stories and a stellar group of Los Angeles-based performers were on hand to bring four new music compositions to life, including a world premiere. Sopranos Hila Plitmann and Elissa Johnston brought their extraordinary voices to the stage, and this was the first Wicked GOAT concert to include vocalists. Alyssa Park and Timothy Loo of the Lyris Quartet accompanied, along with Brian Walsh of Brightwork New Music and Conservatory piano faculty members Nic Gerpe and Katelyn Vahala. Jane Kaczmarek contributed her excellent narration for the final piece. Three of the composers were in attendance and gave introductory remarks in person and the fourth, Paul Moravec, addressed the audience via video.

First on the program was a world premiere, The Poetry of Nature (2020), by Gernot Wolfgang. Wolfgang noted that he composed this during the long months of Covid isolation and that for him, nature is a religious experience that starts three miles from the trail head. The piece is a cycle of four songs about nature with texts taken from well-known poets and sung by noted soprano Hila Plitmann, accompanied by pianist Nic Gerpe. Daylight and Moonlight, by Henry Wadsworth Longfellow was first, and this began with strong piano chords and soft vocals. Hila Plitmann’s pure tone and clear diction perfectly fit the direct language and thoughtful images of the Longfellow poem. The text was displayed on a large screen while Ms. Plitmann’s supple voice allowed the words to comfortably fill the performance space at all dynamic levels. The haunting and elegant feeling of this music made for an effective portrayal of moonlight and daylight.

The next song was based on Blue Butterfly Day, by Robert Frost. This opened with a series of rapid, fluttering figures on the piano and solid vocals, all in a good balance. Ms. Plitmann’s voice was effective over an extended range and demonstrated a carefully controlled intensity at all pitches. More impressive, perhaps, was the fact that she sang the entire song cycle from memory. Rumors from an Aeolian Harp, by Henry David Thoreau, followed. This was quiet, cautious music at first, reserved and introspective. A strong soprano passage reached up to the back row of the hall, confirming Plitmann’s extraordinary vocal skill and control. As the piece proceeded, it alternated between soft and forceful, always with just the right amount of power from the vocalist.

The final song of the work was based on Afternoon Upon a Hill, by Edna St. Vincent Millay. This was upbeat and full of motion with many changes to dynamics and tempo in the piano line. The brightly expressive feel was nicely captured by the fine coordination between Gerpe and Plitmann. A quietly effective ending brought this piece to a close. The Poetry of Nature is a solidly contemporary piece, yet accessible to all audiences.

The second work on the concert program was Three Folk Songs (2016) by Gabrielle Rosse and this was performed by soprano Elissa Johnston accompanied by Katelyn Vahala of the Conservatory piano faculty. The texts were drawn from traditional folk songs, the first being Black is the Color followed by Pretty Little Horses. Black is the Color opened with slow, dark piano chords that created a dramatic setting. The soprano vocals were very expressive, aided by the rich fullness of Ms. Johnston’s voice. The words floated out to the audience with a lush warmness that provided a strong foundation for the easygoing melody. When called for, Ms. Johnston could summon a powerful sound with good dynamic range, but the warmth in her voice always came through in the music. As the piece proceeded, there were often changes from quiet to strong but these were skillfully navigated and always under control.

The second piece, Pretty Little Horses, was quiet and almost like a lullaby. The haunting feel of this piece was delivered with careful attention to nuance and detail. Rosa de Sal (2020), by Reena Esmail, followed, and this was also performed by Johnston and Vahala. The text was by the poet Pablo Neruda and sung in Spanish. The piece opened with a quiet piano figure as the soprano entered in a low voice. The piano moved to a smoothly active line, adding a sense of drama. The vocals followed the accompaniment with beautiful singing and a soaring passage that filled the space with a robust sound. As the piece proceeded, the dynamics often changed between loud and soft with Ms. Johnston in complete control. All of the vocal music in this concert struck a fine balance between contemporary abstraction and accessibility for the listening audience.

The final work in the program was the Pulitzer Prize-winning Tempest Fantasy (2003), by Paul Moravec. This was an instrumental piece scored for piano, violin, cello, and clarinets with Nic Gerpe returning to the piano. There were five movements in all, a meditation on the characters of The Tempest, by William Shakespeare. Before the various movements were presented, Jane Kaczmarek’s brief narrations were invaluable for establishing an Elizabethan ambiance. The words were delivered without a microphone, but her rendering of the Shakespearean texts was clearly understood, even in the far upper reaches of the audience.

Of all the pieces on the program, Tempest Fantasy was easily the most intense. “Ariel”, the first movement, set the pace with a fast tempo, broken rhythms and an energetic feel. Only masterful coordination among the players kept this piece on track, and a nice groove soon developed. “Prospero”, movement II, was in sharp contrast with long, sustained tones and languid harmonies. An expressive violin solo rising above the texture, inviting a questioning feel. A steady tutti section towards the finish proved darkly dramatic. The sense of mystery deepened in “Caliban”, movement III, with Brian Walsh’s bass clarinet adding a brilliantly sinister touch. Violin and cello combined in a halting melody that featured excellent coordination between the players. As the tempo and complexity increased, all the players joined in a purposeful tutti section at the finish.

Movement IV, “Sweet Airs”, was just that with quiet piano chords underneath a lovely violin solo by Alyssa Park. The other instruments joined in to create a fullness that was introspective and almost nostalgic. The dynamics rose and the rhythms became more active, only to fall back to a slow and graceful finish. “Fantasia”, movement V, was the rousing climax to the work and this opened with rapid piano passages. The cello and clarinet soon joined in, adding to the excitement, and a smooth, declarative violin line arced over the active texture below. As the piece progressed, the rhythms seemed to deconstruct into separate, broken lines that further increased the choppiness. At one point, Timothy Loo could be seen almost jumping out of his chair in an attempt to keep his cello in the mix. The intensity increased before falling back, and then increased again just before the finish. The “Fantasia” movement was quite a ride and put an exclamation mark on Tempest Fantasy.

Afterwards, a group of Conservatory students skillfully performed covers of popular music during the post-concert reception held in the assembly hall. The Wicked GOAT concert series is becoming a fine tradition for the Pasadena community and continues to facilitate the appreciation of new music to a growing audience. Altogether it was a good way to spend a rainy afternoon.

by Paul Muller