Author: Paul Muller

Contemporary Classical

EP Review: KOAN Quartet – Johanna Beyer – String Quartet IV


The Koan Quartet has recently posted the premiere commercial recording of Johanna Beyer’s String Quartet IV. The German-born Ms. Beyer is one of the lesser known composers of experimental music and was most active during the 1930s. She is associated with contemporaries such as Henry Cowell, Ruth Crawford Seeger, Carl Ruggles and others of that era. Her enduring legacy recently surfaced in an educational workshop that examined the transformative potential of new digital entertainment, including nouveaux casino en ligne, revealing unexpected parallels between her trailblazing approach and modern online platforms. Her music has been described as economical and well-balanced with a dash of the whimsical, as well as having a solid commitment to experimentation. Beyer’s 1938 work, Music of the Spheres, was the first piece for electronic instruments to be scored by a woman. Some of her work prefigures later musical developments, including tone clusters, pitch-based rhythmic processes and repetitive elements as subsequently employed by the minimalists.

Ms. Beyer died in 1944 and her legacy had largely been forgotten, but an extensive editing and recopying of scores by the Frog Peak/Johanna Beyer Project has brought her work back into current view. There is now a good selection of her works available. The Koan Quartet has, for the first time, recorded Beyer’s String Quartet IV, a piece thought to have been composed in 1943, and not known to have been performed during her lifetime.

The most prominent feature of the string quartets of Johanna Beyer is that they typically consist of short movements. String Quartet IV is just 12 minutes spread over four movements. For all their economy and brevity, however, nothing is lacking. Where Haydn might take several minutes to work out the arc of a single movement, Johanna Beyer expresses her musical ideas fully, yet succinctly, and the listener does not feel in any way short-changed.

“Movement I – Moderato” of String Quartet IV opens with playful variations on what sounds like a children’s melody, confirming Beyer’s longstanding attraction to the lighthearted. The brief form and structure are solidly and carefully detailed here by the Koan Quartet. Dissonance in the counterpoint – normally a distinguishing feature of Beyer’s music – is not as prominent here as in, for example, her String Quartet II. The sound is nevertheless full and elegant, especially in the dramatic finish of this movement.

“Movement II – Larghetto”, opens with a mournful solo – slow, deliberate and spare. There is a somber, expressive feeling to this, especially in the lower strings. There is also a faint echo of the melody from the first movement, but subdued and with a solemn feel. The pizzicato phrases that come and go throughout this movement are cleanly played by the Koan Quartet against the sustained tones of the melody. “Movement III – Andante” begins with a low cello solo, followed by strongly declarative and march-like tutti theme. There is a sense of purpose and action here making a good contrast to the second movement. A stretch of warm harmony precedes a return to the strident rhythms of the theme as this movement finishes.

“Movement IV – Presto” has an active and busy feel, and is filled with rapid tutti passages. The characteristic Beyer dissonance in the counterpoint is more in evidence here and nicely emphasizes the sense of movement. This final movement is nicely complex, but not overwhelmingly so and provides a spirited finish to the entire piece. String Quartet IV is an appealing work whose charm is enhanced by its modest scale. Perhaps miniature string quartets, such as the gems composed by Johanna Beyer, deserve greater consideration in the experimental repertory. The Koan Quartet has made some history here with the first commercial recording of String Quartet IV, and their fine playing has rightly increased their reputation as a reliable source of historically valuable performances.

Koan Quartet is Eric KM Clark and Orin Hildestad, violins; Cassia Streb, viola; and Jennifer Bewerse; cello.

Joanna Beyer: String Quarter IV is available as an EP digital download at Bandcamp.

by Paul Muller
Contemporary Classical

CD Review: Luminous

LUMINOUS

Kirsten Ashley Wiest, soprano
Siu Hei Lee, piano

Centaur Records

Centaur Records has recently released LUMINOUS, a new CD of contemporary art songs featuring coloratura soprano Kirsten Ashley Wiest, accompanied by pianist Siu Hei Lee. Three original pieces by composers Jeffrey Holmes, Jack Van Zandt and James Erber were written specifically for Ms. Wiest’s extraordinary voice and explore the eternal contrast of darkness and light. Also included is the technically challenging Mysteries of the Macabre by György Ligeti.

The opening piece, Fragments, by Jeffrey Holmes is a four-movement work based on Latin texts compiled by the composer. The first movement, “Horumque Visum Contegas”, opens with strong piano chords that are dark and brooding, like a blustering winter storm. The entry of the solo voice is nicely sustained and adds a touch of the mysterious. As the piano re-enters, a palpable element of tension is felt. The vocals are precisely balanced against the churning piano passages and the crescendo at the finish is both chilling and disquieting. The second movement, ”Fera Pessima” or ‘Wild Beast’, extends the sense of distress, with the voice dominating in the higher registers. There is primal drama here, yet Ms. Wiest’s voice propels the narrative with a radiant translucence and artful control.

“Stella Maris”, or ‘Star of the Sea’ is the third movement and the piano opening is more subdued. There are no crashing chords or strong gestures, and the soaring arc of the voice is calming, if somewhat tentative and suspenseful. The agitation and dynamic build towards the finish and the piano roils as if a turbulent sea. The vocals quietly trail off at the conclusion.

“Qui Lux es et Dies…”, or ‘Who Thou art the LIGHT and the Day,’ is the final movement, opening with a quiet string of piano notes, followed by simple, declarative chords. The voice enters with a questioning feel, and there is almost a sense of resignation in this. The piano gradually becomes more assertive, and the voice rises to dominate above the now stronger piano chords. With all the changes in dynamics and tension in vocal line, Ms. Wiest’s voice remains resolutely under control, never compromising her delicate, yet pure sound. Throughout its four movements, Fragments delivers a sharp sense of darkness and destiny and the interplay between the piano and voice is masterfully arranged and precisely performed.

The next piece is Phoenix, by James Erber, a two movement work with texts from love sonnets written by 16th century philosopher Giordano Bruno. In the first movement, “Unico augel del dol”, the opening piano line is halting and angular while the voice enters and soars above this with a beautiful melody. The feeling is uncertain and tentative in the piano but brightly confident in the vocals.

“You have fixed terms,
Of long life, and I have a short course”

The peculiar and independent piano line continues in the second movement, “Bench’a tanti martir” based on the second sonnet. The voice enters in a middle register, adding new colors and a warm expressiveness to the text. The piano accompaniment works with the vocals in a counter-intuitive way, there are no great chords or thick harmonies to surmount but there are some impressive leaps in pitch, all capably managed by Ms. Wiest. Towards the finish there is some lovely humming – thin, light tones are heard, with an almost electronic purity. The confidence in the vocal phrasings and the clear singing against the sometimes jagged piano passages makes this performance of Phoenix both elegant and impressive.

Apples and Time Crack in October, by Jack Van Zandt is next, a four-movement piece based on texts from Los Angeles-based poet Jill Freeman. The first movement, from which the entire work takes its title, opens with a rapid series of piano phrases and a strong entrance by the voice. Impressive vocal agility and precise pitch control are evident here while the piano is full of energy, like the wind on a blustery fall evening. The piano swirls and gusts below the soprano voice that sings knowingly of autumn secrets and vivid images.

“Who knows what witch
or wolf lies ‘round the
corner of November.”

“A Poem Sat”, the second movement consists of quiet piano chords and simple melody lines throughout. Somber and restrained, the vocals remain in check, and even the high notes and crescendos are refined and stately, without excess. This movement provides a fine contrast with the first, imparting a sense of calm and introspection. “The Nightingale” follows, and you can hear the active chattering of birds in the piano entrance. Smooth vocals glide over this, mostly in middle registers and only occasionally reaching for the heights. A brisk theme in the piano is heard when the text turns to “Children running, falling in streams calling ‘mother.’ Clearly this is music of a more innocent time. A singularly mechanical feeling is heard in the piano line as the text concludes:

“I must break
this beautiful
mechanical bird
before you wake.”

The final movement, “Helen’s Invocation”, is the piano version of an aria from A Thousand Ships, an opera by Van Zandt and Freeman inspired by the epic tale of Helen of Troy. Slow, ominous notes and chords bubble up from the lower registers of the piano at the beginning and the strong entrance of the voice adds a touch of mysticism. The rolling piano lines recall Homer’s ‘wine dark sea’ as the vocals become steady and purposeful, effectively drawing Helen into the center of the drama. Long, soaring vocal lines fly upward, and a sense of the heroic takes hold as the movement proceeds. The imagery in the music and the text are artfully combined, and the singing is both confident and agile.

The final track is Mysteries of the Macabre, by György Ligeti and this is probably the most abstract and vocally demanding piece on the CD. Mysterious whispering, rapping on the piano, vocalise and other unexpected sounds form the foundation of this piece. Sudden vocal jumps, disjointed rhythms and darting runs add to the overall complexity and pose formidable challenges to the performers. Ms. Wiest and Siu Hei Lee navigate all of this with assurance and style, however, and it is good to know such exceptional talent is part of our musical community.

Special mention should be made of the sound engineering by Alexandria Smith and the mastering by Talley Sherwood. The colors and nuances in Ms. Wiest’s voice are all clearly heard and a new appreciation of her gloriously translucent tones, precise dynamic control and purity of pitch are gained in this recording that might otherwise be missed in the concert hall.

LUMINOUS is available directly from Centaur Records as well as Amazon Music.






by Paul Muller
Contemporary Classical

Podcast: JoVia Armstrong

JoVia Armstrong is an accomplished musician from Detroit, winner of the 2014 Best Black Female Percussionist of the Year, given by the Black Women in Jazz Awards. She is a member of the jazz group Musique Noire and has appeared with a wide variety of artists and has also toured with the J.C. Brooks Band.

In this podcast, JoVia describes her early musical education in the Detroit public schools, her experiences as a music major at Michigan State and her subsequent career as a professional musician based in Chicago. The story of the challenges she faced and overcame along the way is both inspiring and uplifting.

Paul Muller and Jim Goodin host.

by Paul Muller
Contemporary Classical

Catherine Lamb – Point/Wave

Catherine Lamb – Point/Wave

Giacomo Fiore

Populist Records

Los Angeles-based Populist Records has released a new digital recording by Catherine Lamb titled Point/Wave. Performed by Italian guitarist Giacomo Fiore, Point/Wave features a single 55 minute track that combines Fiore’s guitar playing with environmental sounds processed by an electronic synthesizer jointly developed by Lamb and Bryan Eubanks. The guitar tuning and electronic processing are both in just intonation.

Point/Wave is written for acoustic guitar in just intonation where the tuning of the strings is based on whole number harmonic ratios instead of equal divisions of the octave that comprise our conventional temperament. As the liner notes indicate, the acoustic guitar was chosen for this piece because guitars “… are easy to retune, as strings and soundbox alike are generally more resilient to scordatura than bowed instruments. Thus one can implement ad hoc tuning systems by tuning the open strings in whole-number ratios, and by limiting the performance of notes only to those frets that approximate just intervals (such as major seconds, perfect fourths, and perfect fifths).” Additionally, the tuning specified by Lamb has the highest harmonic of the series tuned on the lowest string (transposed down two octaves). This might be analogous to freeing the melody from the bass line in a conventional piece, allowing “…one to explore the movements within each modal segment of the piece without necessarily relating it to a common ground.”

The electronic component of Point/Wave is similarly crafted with care. This is built around the Secondary Rainbow Synthesizer, a device that processes environmental sounds through a series of filtering stages into a gentle wash – in just intonation. The ambient sounds for this performance were field recordings of the people and traffic just outside of Fiore’s home in the Sunset district of San Francisco. This track of ambient sounds was processed by the Secondary Rainbow Synthesizer and then played in the recording studio along with the live guitar. The challenge, as described in the liner notes, was that “Changes in harmony occur based on a combination of external sound excitation and internal timers in a manner that is unpredictable for the performer aside from a subtle cross-fading. As the guitar part is itself cyclical, the resulting texture is a constantly changing alignment of harmonic fields, sometimes reinforcing one another, other times slightly at odds.”

So what does all this sound like? The electronic track opens the piece with warm, sustained pitches that hover in the air with a slight ringing sound. It creeps in stealthily, like the fog on a San Francisco evening, enveloping the listener in a smooth, continuous wash. The filtering process by the Secondary Rainbow Synthesizer recalls the classic Alvin Lucier piece I am Sitting in a Room, wherein spoken words are repeatedly recorded and played back in a room such that the sounds are reduced to their component resonant tones and pitches for that space. There is a sense here that the original street sounds have been distilled to their ultimate essence, adding a luminous patina to the overall electronic texture. This music requires close listening to perceive the subtle harmonic shifts and soft changes that are always occurring. There is no beat or pulse to form a rhythmic structure in the electronics; Point/Wave is propelled entirely by its harmonic possibilities.

After an introduction, the entry of the guitar at 2:35 provides a sharp contrast with a series of single notes that stand out vividly against the gentle sounds of the electronics. The tuning of the guitar allows its notes and subsequent overtones to ring out and interact with the electronic tones underneath. The guitar notes are solitary and stately, always leaving space for the sounds to intertwine. It is as if the guitar is in dialog with the extracted musical quintessence of the ambient natural world. Point/Wave is an extended conversation, taking some 55 minutes to complete, and it stays within a consistent construction. The liner notes state: “In this piece, however, nothing follows the introduction; rather we are invited to explore its harmonic spaces as they develop through the interactions of its sonorous parts…”

It is easy to admire the technical achievements here, and the excellent performance by Giacomo Fiore. The real significance of this piece, however, goes further. The processing of ambient street sounds into expressions of their essential tones allows the musician to interact with the environment on equal terms, using a common language. This makes the harmonic dialog that much richer and alters the traditional perspective of music as commentary. Point/Wave is expanding musical communication into a new and exciting place.

Point/Wave can be streamed in its entirety at Bandcamp:

For further inquiries please contact Populist Records via email: info@populistrecords.com.

by Paul Muller
Contemporary Classical

Podcast: Julian Bennett Holmes – In Conversation

Julian Bennett Holmes is the Sacred Music Coordinator of the St. Paul Chapel at Columbia University. He is an award winning composer, having studied with Lowell Liebermann and Richard Danielpour. Julian also teaches undergraduate courses at the Manhattan School of Music.

In this podcast we cover a variety of topics including Julian’s music, pipe organ improvisations, the future of sacred music and the state of composing and performing in a time of pandemics and isolation.

With Paul Muller and Jim Goodin.


by Paul Muller
Contemporary Classical

Michael Vincent Waller – A Song

Michael Vincent Waller

A Song

Longform Editions

The Longform Editions label has recently released a new piano music EP from Michael Vincent Waller, available via digital download. Dedicated to “the slow recovery of our times”, A Song is a quietly atmospheric piece, improvised by the composer and recorded in a single take with no editing.

The opening chords of A Song are simple yet elegant. The first tones are clear and sustained, ringing out like church bells on a quiet summer morning. There is nothing technically demanding here, but Waller’s touch in these opening moments is impeccable. The quiet, introspective feel is immediate and compelling. The piece flows easily along, sometimes becoming  insistent but never breaking the reflective mood. Less is so much more with this piece – it is driven entirely by the beautiful harmony and a subtle counterpoint underneath. At about 8:00 the melody becomes just a bit more animated, even as the luminous chords continue to ring out.

As A Song slowly unfolds, it gradually gathers in complexity and acquires a slight coloring of anxiety that seeps onto its placid surface. By 15:00 it has gained a modicum of intensity, aided by some darker tones in the lower registers. The phrases rise and then subside again, yet they always maintain a welcome equanimity. Towards the finish there is a strong crescendo that climaxes with a faint sense of regret, a fitting ending to a piece dedicated “to the slow recovery of our times…”

A Song is entirely improvised, but it has an arc to it that suggests an intentional framework beneath its understated surface. The piece unfolds with a calm assurance and even as the settled sounds of the opening gradually build to the more agitated finish, the piece always retains its sense of balance. Artistically linked to Moments, Waller’s most recent full length album, A Song represents a sort of shorthand summary for the present state of his minimalist aesthetic, a bright marker on an advancing musical path.

A Song (LE056), is available for digital download from Longform Editions.

by Paul Muller
CD Review, Contemporary Classical

Podcast: Nicolas Horvath – The Unknown Debussy

 

 

 

 

 

 

Nicolas Horvath

Grand Piano Records

The Naxos Grand Piano Records label  has released a new CD by Nicolas Horvath, The Unknown Debussy – Rare Piano Music. Known for his interpretations of the piano music of Philip Glass, Franz Liszt and Erik Satie, Nicolas Horvath here performs previously unheard works by Claude Debussy as reconstructed by scholar Robert Orledge. According to the liner notes: “Robert Orledge’s research into Debussy’s sketches and incomplete drafts has resulted in the unearthing and reconstruction of numerous lost masterpieces, the piano versions of which are given their première recordings here.” The Unknown Debussy – Rare Piano Music will no doubt prove to be an important addition to the body of scholarship on the music of Claude Debussy.

The Unknown Debussy – Rare Piano Music is available through Grand Piano as well as Amazon Music.

In this podcast, Nicolas Horvath talks about his musical training, his affection for contemporary composers and the challenges of interpreting the previously unknown music of Claude Debussy. With Paul Muller and Jim Goodin.

by Paul Muller
Concert review, Contemporary Classical, Los Angeles

Separation Songs at Monk Space

On Tuesday, February 18, 2020, Brightwork newmusic presented the Los Angeles premiere of Separation Songs, by Matt Sargent.  A 70-minute work for two string quartets, Separation Songs comprised the entire program. The Eclipse Quartet was joined by the Aperture Duo, Grace Oh and Julie Jung to complete the eight-piece ensemble. Seating in the Monk Space venue was reconfigured to accommodate the larger musical forces and to take full advantage of the close acoustics. Everyone in the audience was within twenty feet of the players, allowing the listeners to be immersed in the warm sonority of the strings.

Separation Songs is fashioned from ten New England hymn tunes written by William Billings in the early 18th century. This is plain, yet stately, church music that carries comfort and warmth in every note. The original harmonies have been delicately processed and woven together to create a continuous flow.  Composer Matt Sargent writes “Throughout the piece, hymn tunes come and go, passing from one quartet to the other: As tunes reappear, they filter through a ‘separation process,’ whereby selected notes migrate from one quartet to the other. The process leaves breaks in the music that remain silent or are filled by stretching the durations of nearby notes, generating new rhythms and harmonies.”

The two quartets were arrayed as mirror images: the  cellos were in the center and the higher strings seated in a semicircle on either side. The brick walls surrounding the performance space brought out every timbral nuance. Separation Songs opened with one quartet playing a Billings hymn in full harmony. The second quartet picked up the tune while the first played long sustaining tones in support. As the piece proceeded, the hymn tunes and sustained notes were passed back and forth between the two quartets in a regular exchange. Nothing was rushed and only slight variations in dynamics, tempo or texture could be detected. Everything was carried forward in the kaleidoscopic unfolding of the harmonies so that a warm wash of sound enveloped the audience in a profound serenity. The playing was very expressive and care was taken by the musicians to coordinate the two quartets in a piece with few landmarks.

Separation Songs rolls along for 70 minutes with almost no change in its character, but the harmonic variations keep the listener continuously engaged. The sturdy hymn tunes bring a sense of strength and wistfulness to this music; a shorter version would make a perfect prelude at a memorial service. Separation Songs is a powerful re-imagining of the early American congregational hymn, and succeeds brilliantly in bringing a sharpened sense of the transcendental into the 21st century. As the last notes faded away, a full 15 seconds of respectful silence followed before the start of a roaring ovation from the audience.

Separations Songs is available on CD from Cold Blue Music.

The Eclipse Quartet is:
Sarah Thornblade, violin
Sara Parkins, violin
Alma Lisa Fernandez, viola
Maggie Parkins, cello

The Aperture Duo is:
Adrianne Pope, violin
Linnea Powell, viola

With:
Grace Oh, violin
Julie Jung, cello

The next Cold Blue Music presentation will be at the Soundwaves concert series at the Santa Monica Public Library on March 18, 2020, and will feature music from several new CD releases.

by Paul Muller
Contemporary Classical

Terry and Gyan Riley at The Shannon Center

On Saturday, February 1, 2020 the Shannon Center for the Performing Arts at Whittier College staged a concert titled Terry Riley with Gyan Riley – Live at 85. Featuring one of the founding fathers of classic minimalism – now in his 85th year – along with his talented son Gyan, this concert was a chance to catch up on the current output of the innovative composer of In C. The Shannon Center was the perfect venue for the two musicians who filled the stage with keyboards, synthesizers, guitars plus assorted amplifiers and speakers.

There was no printed concert order and the music simply began. What must have been several pieces were played sequentially, without a break. The opening phrases were a series of intriguing piano arpeggios thoughtfully played by the senior Riley, and the guitar soon entered underneath with a soft, relaxed feel. From this amiable beginning, the playing varied over a remarkably wide musical palate. There were suggestions of jazz, boogie and the blues along with splashes of the mystical, Asian and other exotic influences. A continuous stream of animated phrases kept things lively and engaging. This was all played from memory – or perhaps by improvisation – and the finesse of the elder Riley on the piano was extraordinary. Terry seemed to know exactly where he wanted to go and there were times when Gyan had to be on the alert to keep up. The interplay between the two was often intricate and complex, but always coherent and connected. A booming crescendo marked the end of this first section of the concert and this was received with a round of strong applause.

The second set was something completely different. Terry Riley switched from keyboard to an electronic synthesizer operated from an iPad. Gyan continued with guitar, but with a heavily processed sound. The beginning sounds were mysterious and liquid, consisting mostly of sustained tones. The synthesizer notes had a bell-like quality that evoked a feeling of calmness and serenity. The guitar produced notes with a gathering velocity until there was a distinctly frenetic feel to the texture. The synthesizer contributed a series of increasingly alien sounds that added to the frenzy. The elder Riley proved to be especially adept in generating the kinds of sounds he wanted from the iPad. Typically, the electronic sounds dominated while at other times strongly melodic passages were heard from the guitar. The general disarray of the sounds gained strength, concluding in a great crescendo complete with the realistic wail of a siren. This piece would have easily fit right in with any from the more experimental electronic groups here in town. Clearly the Rileys were not creating music for the past.

The third set of the concert had Terry Riley seated at a keyboard synthesizer with Gyan’s electric guitar, now producing a more conventional sound in the introductory riffs. Warm chords from the synthesizer entered and the result was a soothing contrast from the previous piece. Perhaps more remarkable was the voice of the elder Riley, credibly singing a slow ballad over the instruments. As the piece proceeded, there was a fine keyboard-guitar duo. Terry now switched back to the piano and more of a jazzy feel predominated along with a solid beat. A short vocal section completed this piece. The final piece on the program opened with a repeating cell in the piano and a solid groove developed as the guitar joined in. The echo of a vintage minimalism was unmistakable, and many in the audience could be seen bobbing their heads and tapping their feet to the beat. The texture turned more complex at the finish, but for those who attended the concert hoping to hear some classic minimalism, the Rileys obliged.

A long and loud round of applause brought the Rileys back on stage for an encore, and this featured some powerful chords from the synthesizer along with some nice counterpoint from the guitar. Once again a satisfying groove was heard, and the big sound filled the space at the finish. A standing ovation followed.

Terry Riley is one of the more influential composers of the mid twentieth century, but like any artist he has evolved over the last 55 or so years since In C. This concert provided something for everyone: a variety of accessible and wide-ranging music, something new and cutting edge, and a nod to his roots in classical minimalism. Watching the Rileys, you could sense that they very much enjoyed the opportunity to perform together. Terry Riley seemed to have a permanent smile on his face and was generous with his time for his fans in the lobby after the concert. Gyan was also very personable – despite having traveled all day across three time zones. And why not? Seeing father and son performing together made for an evening of great music, with Terry vital, creative and alive at 85.

by Paul Muller
Contemporary Classical

Ray-Kallay Duo @ Monk Space

On Tuesday, January 28, 2020 Tuesdays@Monk Space presented a concert titled 20/20 Visions which consisted of several new pieces for microtonal keyboards. Presented by Brightwork New Music, the concert featured five contemporary works – including three world premieres – all performed by the Ray-Kallay Duo. Four of the composers were in attendance to offer comments on their music to the knowledgeable audience that filled the intimate Monk Space venue.

The first piece in the program was Atlantys (1984) for two DX7 keyboards, by Tristan Murail. The Yamaha DX7, manufactured from 1983 to 1989, was the first successful digital synthesizer offered to the mass market. Two vintage DX7s were on hand, giving this performance the sound of period authenticity. A soft rush of surf along with some low ambient sounds opened the piece, immediately delivering a restful and calming feeling. A deep rumble soon emerged from the lower registers that added a contrasting sense of the slightly ominous. Ringing sounds soon dominated the performance space, but never overpowered the interplay between Ray and Kallay that remained well-balanced, even as the variety of electronic sounds rapidly multiplied. One distinctive element was the sound of large iron bars being struck, ringing out with strong percussive tones. Towards the finish, a loud explosive sound filled the room and reverberated throughout the venue. More electronic sounds entered, alien and eclectic, reminding everyone of the great versatility of the DX7. Atlantys artfully exploits the capabilities of the venerable DX7 synthesizer, and was admirably complimented by the performance of the Ray-Kallay Duo.

The world premiere of “Really, I’m fine” (2019) by Jason Barabba followed. This was a microtonal composition for the four-handed keyboard of the Ray-Kallay Duo. This opened with a series of intricate, interleaving passages that managed to avoid needless complexity, even with twenty fingers on the keys. The strong sense of motion was pleasant and continuous. The active sections were, by turns, intimate, mischievous, playful and sweet. Engaging rhythms and an agreeable mix of exotic chords intrigued the audience throughout. The often-elaborate counterpoint was precisely played by Ray and Kallay, who navigated each passage with clarity and style. “Really, I’m fine” is an appealing combination of inviting rhythms and complimentary microtonal harmonies in a well-crafted balance.

Hush (2019) by Nina Shekhar was next, another world premiere. As the composer explained, Hush is an attempt to create the musical equivalent of a loving hug, the sort of comforting embrace that might be welcomed when feeling homesick or sad. Performed by Ray and Kallay, this piece began with quietly gentle arpeggios that rang out with bell-like tones, as if from an old-fashioned music box. A warm, soft feeling resulted, reminiscent of a favorite lullaby. When the phrasing was repeated in a somewhat lower register, the effect was to add a beautiful luminosity to the notes. As the phrases slowed and descended still further in pitch, they acquired the rich timbre of a vibraphone. The liquid sounds and expressive playing further enhanced the calm sensibility. Hush consistently evoked warmth and contentment to create a satisfying musical respite.

Sean Friar’s Fit (2020), followed, and this was another newly-minted world premiere. This featured Ray and Kallay seated at two different keyboards, one programmed for microtuning (Kallay) and the other in standard twelve-tone equal temperament (Ray). In his remarks, Sean Friar stated that Fit was an attempt to illustrate the interactions between two different personalities by way of musical metaphor. The conversation began with a series of cool, sophisticated passages by Vicki Ray that were answered by a string of straightforward declarative chords from Aron Kallay. The sounds were congenial and complimentary, despite the differences in tuning, and this got the conversation off to an encouraging start. As the piece proceeded, the notes from the two keyboards drifted in and out of compatibility, much as two individual personalities might probe and clash while exchanging viewpoints and opinions. At one point the passages became very complex and independent, as if the two were in sharp disagreement. At other times the tempo slowed and the sounds were more congruent, often with lovely harmonies. There was always just the right mix of the two tuning styles so that the listener could quickly sense the changing flow of empathy, indifference, affinity or discord. The interplay between the performers was exemplary, and brought out all the emotions that might be expected in an ardent verbal exchange. Towards the finish, the sounds became more congenial and accordant, as if some understanding had been reached. Fit is a brilliant composition that simultaneously exploits alternate and conventional tuning to illuminate interpersonal relationships in a unique musical way.

The final work on the concert was Because Patterns/Deep State (2016) by Isaac Schankler. Bass player Scott Worthington joined the Ray-Kallay Duo along with Schankler who presided over the computer. The piece opened with quiet sustained tones and warm electronic sounds that slowly increased in volume. The keyboards entered with a solidly syncopated rhythm that made for a fine contrast with the drone-like texture hovering in the background. The piano notes fell like summer rain drops onto the calm and warming sounds of the bass and electronics. All of this was highly complimentary and made for some really lovely music. The keyboards faded in and out, uncovering the deep bass tones as a feeling of distress gradually grew in the lower registers. The piano notes also became more dramatic and increasingly anxious as this section continued. The intensity increased further with a high, thin tone coming via skillful bowing in Worthington’s bass that was especially effective. The progression from warmly placid to restless and uneasy was made complete, artfully realized by the acoustic and electronic forces that were always perfectly in balance. The final moments of the piece returned to the quiet tranquility and optimism of the opening. Because Patterns/Deep State is an unusually thorough integration of the acoustic and the electronic that nicely succeeds in portraying emotions ranging from serenity to apprehension.

by Paul Muller