CDs

CDs, Chamber Music, Classical Music, Composers, Contemporary Classical

Woke Up. It Was a Chelsea Morning.

The Metropolis Ensemble is getting set to record the complete collection of chamber orchestra concerti of Avner Dorman with producer David Frost but you don’t have to wait to hear it; the best little orchestra in New York will be performing the same repertoire live and in color next Thursday night, October 11, at  the Angel Orensanz Foundation Center for the Arts (172 Norfolk St, between Houston and Delancey), commencing at 8 pm.  On tap are the American premieres of Dorman’s Concerto in A and Concerto Grosso, the New York premiere of Piccolo Concerto, and an encore performance of Mandolin Concerto. Soloists Mindy Kaufman of the New York Philharmonic, Avi Avital, and Eliran Avni will join the Metropolis Ensemble led by conductor Andrew Cyr.  If you haven’t heard the Metropolis in action you’ve missed something pretty special.  These cats seriously cook.  (Just showing my age for a moment.)

Meanwhile, Miller Theater opens its new Composer Portraits series tonight with a program devoted to the music of Esa-Pekka Salonen.  Performers include Darrett Adkins, cello; Tony Arnold, soprano; the wonderful Imani Winds; Blair McMillen, piano and artistic director and Jeffrey Milarsky, conductor.  Unlike dilettantes like, say Michael Tilson-Thomas, Salonen is a serious composer and I want very much to love Salonen’s music someday.  I’m not there yet which is probably my failing rather than his.

Speaking of liking something, Tina Turner’s cover of Edith and the Kingpin on Herbie Hancock’s River: The Joni Letters is nothing short of revelatory.

UPDATE:  This just in.  Frank J. Oteri writes:

Thanks to fellow Sequenza21 blogger Elodie Lauten, the 2005 Lithuanian premiere of my Fluxus-inspired performance oratorio MACHUNAS, created in collaboration with Lucio Pozzi, will be projected on a wide screen at the Hamilton Fish Branch of the New York Public Library, tomorrow – Saturday, October 6, 2007 – at 2 PM. Admission is FREE.
CDs, Classical Music, Contemporary Classical, Orchestral, Violin

Marvin Does Hovhaness

Marvin Rosen’s Classical Discoveries program is a  special one this week involving, as it does, several members of the S21 community.  Marvin’s doing the first radio broadcast of OgreOgress’s world premiere recording of Alan Hovhaness’s Janabar, a 37-minute Sinfonia Concertante for Piano, Trumpet, Violin & Strings.  The recording features Christina Fong on violin, Paul Hersey on piano, and Michael Bowman on trumpet, with the Slovak Philharmonic, conducted by Rastislav Stur.

The piece is scheduled for Wednesday, July 18th during the 10am EST hour. The program, from Princeton, NJ, can be heard locally on 103.3 FM  or online.  Lots of details about the new recording here.

Also scheduled is the one hour Symphony No. 6, for chorus and orchestra by the Latvian composer, Imants Kalniņš in a recording produced by the Latvian National Symphony Orchestra. That piece will air beginning at around 8:00 am EST.
 
Marvin is also doing a series of special summer programs of avant-garde music titled Classical Discoveries goes Avant-Garde, which is devoted to more modern works than one normally hears on his Wednesday morning Classical Discoveries program.  Classical Discoveries Goes Avant-Garde can be heard every Friday from 11:00 am until 3:00 pm on WPRB.

CDs, Classical Music, Composers, Contemporary Classical

The Incredible Hipness of Carl Nielsen

For reasons I no longer remember, I had always thought of Carl Nielsen as a stodgy composer whose works were a little severe and chilly–the musical equivalent of one of Bergman’s more depressing films.  Winter Light in grainy, black and white sound.  I started to rethink (or I should say, to relisten to) Nielsen a couple of years ago when Alex Ross mentioned in one of our discussions here that he considered Uncle Carl to be one of the most “underrated” modern composers. 

Last year’s DaCapo release of the opera Maskarade convinced me that I had gotten Nielsen all wrong.  He’s really an enormously fun guy with a wicked sense of humor, a refined touch of romance, and a level of formal neoclassic chops that are matched only by Stravinsky.  Maybe. Nielsen just might be better. 

To bolster that argument, let me point to two new Nielsen releases from DaCapo that have appeared so far this year.  The first is a collection of his shorter opera and theater pieces called Orchestral Music played with unbridled enthusiasm and skill by the Danish National Symphony Orchestra, under conductor Thomas Dausgaard.  Playful, refined, beautifully performed and recorded, it’s no surprise that both Gramophone and Classics Today picked the disk as their “CD of the Month.” It will certainly be near the top of our list of best recordings of the year.

As will String Quartets Vol. 1, which features two of Nielsen’s string quartets (in G minor and G major) and the only string quintet (in G major) he ever composed.  Lovingly played by the Young Danish String Quartet, with Tim Fredericksen on viola, this is moving, passionate, deeply romantic music that can, if you’re paying close attention, move you to tears by its sheer perfection.

I’m prepared to say that these are the two best Nielsen recordings ever made, although I obviously haven’t heard them all.  I simply can’t imagine recordings that could be any better.

CDs, Classical Music, Composers, Contemporary Classical, Festivals

Have You Seen This Man?

brians.jpg

No?  Well you should, and can, this Friday night, May 4, 8PM at the Robert Miller Gallery, 524 W. 26th Street, New York, NY on the second night of a three-day music/art festival called Look&Listen.  

Finally had a chance to meet up with Brian Sacawa after all these years for lunch at Ralph’s, a New York institution since 1952.  Got to regale him with tales of having seen Dexter and Stan and Jimmy and Zoot and Gerry doing that thing they did so well while they were still doing it.  I’ve reached the age where “I was there” has become a conversation capper–one of the few perks of being old. 

Brian is good people and one of the most dedicated players and champions of new music around.  Catch the show Friday and check out his new album called american voices on innova which features works by Michael Gordon, Lee Hyla, Erik Spangler, Chris Theofanidis, Derek Hurst, Keeril Makan and Philip Glass.  Street date is July 24 but you can get it from the web site now.  You can also get a free copy from me if you volunteer to write a review.   

CDs, Classical Music, Composers, Contemporary Classical, Critics

Contemporary Grande Frappucinos

CDOut my (Seattle) way, local composer and Seattle Weekly columnist Gavin Borchert this week offered up something titled “Small Apologies“. A few excerpts:

Not that I have anything against Tony Bennett or Norah Jones or any of the other recording artists whose work is propped up next to the biscotti, but I was wondering when Starbucks would get around to classical music. At last they have, a CD starring the home team: The Seattle Symphony and Starbucks Entertainment have announced their co-release of Echoes, containing newly commissioned works (!) from six composers [Bright Sheng, John Harbison, David Schiff, David Stock, Samuel Jones, Gerard Schwarz, with an older piece by Aaron Kernis], each one asked to somehow rework an older piece he (and they’re all “he”s) loved. As an opportunity for time-travel collaboration, a meeting of musical minds from different cultures and eras, it’s a great idea; as a concession to conservative classical fans who can’t take their new music straight, it’s dismaying. [….]

The fact that Starbucks and the SSO are giving seven living composers exposure is exemplary. What bothers me is the philosophy that seems to underlie the project, one endemic to the classical music business as a whole these days. Composers and performers alike so often present new work, whether strong or weak, innovative or comfy, timid or bold, with a tentative sort of hat-in-hand stance—emphasizing, above any other virtue the music might have, that it won’t be scary. Constant reassurance, even apology, is the tone, in media coverage, program notes, PR material, casting musicians as supplicants and listeners as 3-year-olds who have to be coaxed to finish their beets. [….]

There is an untapped audience for new classical music, but reaching them, I believe, will require a new approach. They’re the people who aren’t averse to classical music, who are interested in the arts in general, but who need a reason to give their time and money to us rather than everything else competing for their attention in our hypersaturated culture. Suppose the wheedling and cajoling with which we serve up music is turning them off. These people aren’t going to attend classical concerts or buy CDs unless they think they’re going to hear something they can get excited about. I don’t mean merely not offended, I mean actively thrilled. Which means, for heaven’s sake, we ought to start talking about something other than nonscariness, ought to start pushing aesthetic virtues other than accessibility.

The floor’s open…

CDs, Composers, Contemporary Classical, Experimental Music

Before, Between and After

DeLaurenti CD cover My pal Christopher DeLaurenti — composer, field-recordist, improviser, and writer on Seattle’s classical and new-music scene in the weekly Stranger newspaper — is happy to announce the release of his latest CD, Favorite Intermissions: Music Before and Between Beethoven, Stravinsky and Holst. Chris’ short description:

Secretly recorded at orchestral concerts across the country, this collection of intermissions teems with unusual soundscapes, startling (and unintended) collective improvisations, and surprising, sometimes gritty sonic detail from the sacred space of the concert hall. [….] Why record intermissions? One duty of the composer is to expose the unexpected, overlooked, and hidden skeins of music woven in the world around us. Culling sounds from the world as a composition subverts long-standing, essentialist notions of music as comprised of notes, melody, traditional instruments (violin, guitar, drums, piano, etc.) and so forth as well as flouts contemporary expectations of abstractly agglomerated, musique concrète-ized sound.”

I see Chris himself on the right of the cover, no doubt deep in the process of bringing us this latest opus. You can get your own copy directly through GD Records.

CDs, Classical Music

Jerry’s Top 10 for 2006

Finally, my top 10 for the year.  Okay, so I’m a conservative old fart…but these are the recordings I enjoyed most during the year. I gave most of the more adventuresome stuff to our crackerjack reviewers whom I hope will weigh in with their own choices.

Number One

Rilke Songs; The Six Realms; Horn Concerto
Peter Lieberson
Lorraine Hunt Lieberson mezzo soprano, Peter Serkin, piano
William Purvis, horn, Michaela Fukacova, violoncello
Odense Symphony
Bridge

Lorraine Hunt Lieberson’s untimely death this year adds a bittersweet note to this extraordinary  Grammy-nominated recording of husband Peter Lieberson’s settings of five Rilke poems, recorded live at the Ravinia Festival with Peter Serkin at the piano.  The two orchestral pieces reveal Peter to be plenty talented in his own right. The Horn Concerto for horn and a chamber orchestra, played by its dedicatee, William Purvis, is a lively 18-minute composition in two movements that showcases Purvis’ virtuosity, not to mention lung capacity. The Six Realms is a 27-minute concerto for amplified cello in six movements, originally composed for Yo Yo Ma. Lieberson is a practitioner of Tibetan Buddhism and The Six Realms travels much the same dark, foggy highway of human consciousness as John Adams’ Dharma in Big Sur although Lieberson’s writing is denser, more complex and less serial. Lieberson’s path is more direct and well-traveled, less risky, perhaps, but more likely to endure.

Number 2

String Quartets Nos. 2, 3, 4 & 9
Ben Johnston
New World Records

Any other year, this would have been my first pick.  Johnston is a pioneer in the use of microtones and just intonation, surpassing even Harry Partch as a musical maverick.  His ten string quartets are among the most fascinating collections of work by any American composer and this album is most have for anyone who cares about modern music.

Number 3

Gloryland
Anonymous 4 with Darol Anger and Mike Marshall
Harmonia Mundi

Appalachian songs of faith and hope sung with passion and amazing grace by the gifted ladies of Anonymous 4.  Unlike the New England Presbyterian and Methodist “high church” affirmations of American Angels, these are the songs of tent revivals and roadside tabernacles.  The virtuoso fiddle, mandolin and guitar accompaniment of Mike Marshall and Darol Anger add exactly the right note of “high lonesome” authenticity and give Gloryland the joyous sense of music lived, not just performed.

Number 4

Jacob Druckman, Stephen Hartke, Augusta Read Thomas
New York Philharmonic conducted by Lorin Maazel
New World Records

I heard this performance of Stephen Hartke’s Symphony No. 3 (for countertenor, two tenor, and baritone soli with orchestra) on the original radio broadcast in September 2003 and was so haunted by it that I regularly checked over the next couple of years to see if it had been released on CD.  The recording holds up so well on second and third hearing that I’m almost reluctant to mention that it is a September 11 remembrance piece commissioned by Maazel because its transcends any particular moment in time.  The symphony features the voices of the Hilliard Ensemble with a setting of a poem by an 8th century Anglo-Saxon writer musing on the past splendor of an ancient Roman city now in ruins and is cast in one movement consisting of four smaller sections.  It is a haunting and shattering work.

Number 5

Sibelius, Stravinsky, Ravel: String Quartets
Daedalus Quartet
Bridge

Masterworks by three of the early twentieth century’s greatest composers- Sibelius, Stravinsky and Ravel — played by a remarkable young chamber ensemble who make these durable chestnuts sound as vital and fresh as they were when they were first written. A debut to remember.

Number 6

Britten & Bliss
Vermeer Quartet
Alex Klein, oboe
Cedille

The Vermeer Quartet kicks off its farewell tour by joining forces with phenomenal oboist Alex Klein in three pillars of 20th-century British chamber music. 

Benjamin Britten’s spellbinding Phantasy Quartet (1932) for oboe, violin, viola, and cello was his first work to gain international recognition.   Arthur Bliss’s lovely Quintet for Oboe and String Quartet (1927) deftly blends diverse styles and influences, concluding with  an Irish jig.

The final piece is Britten’s last major work, the String Quartet No. 3 (1975), a somber and moving valediction.

Number 7

Flute Concerto; Violin Concerto; Pilgrims
Ned Rorem
José Serebrier, Royal Liverpool Philharmonic Orchestra
Performer: Jeffrey Khaner, Philippe Quint
Naxos

Since his 80th birthday, a steady string of new recordings, mostly from Naxos has caused me to reconsider my impression that Rorem was the Reynoldo Hahn of 1920s Paris. Jose Serebrier, who revealed Rorem’s strengths as a symphonist a couple of years ago with his splendid Naxos recording of the three symphonies, showcases Rorem at three different stages of his career. Pilgrims, a short, somber piece for string orchestra, was written in 1958, not long after Rorem returned from Paris. The Violin Concerto, played eloquently and persuasively here by Philippe Quint, dates from 1984

The real treasure of the disc–the Flute Concerto–was premiered by Jeffrey Khaner, principal flutist of the Philadelphia Orchestra in 2002, who plays it here. 

Number 8

Five Sonatas
Andrew Rangell, piano
Bridge
Andrew Rangell has built a reputaton as one of the great living pianists mainly through a series of extraordinary recordings like this one–his fifth for Bridge–and one of his absolute finest.  Here are five 20th century sonatas by four of the century’s leading composers–George Enescu, Igor Stravinsky, Leoš Janáček, and Ernesto Halffter, who accounts for two of the sonatas, dated nearly 60 years apart.  Rangell’s playing is so highly personal and unconventional, his interpretations so brilliant but quirky, that he is inevitably compared to Glenn Gould, although Rangell is stylistically more adventuresome.

Number 9

Quartetset; Quiet Time
Sebastian Currier
Cassatt Quartet
New World Records

Currier’s 1995 Quartetset, written for the Cassett Quartet, is a long (45 minute) seven movement piece that pits tonality versus atonality, dissonance versus consonance, with results that are not only wildy imaginative but surprising listenable. The composer describes it as “a post-modern interpretation of the string quartet.” The same might be said of Quiet Time, another seven movement suite, in which the dialectic is natural versus artifical sound.  Quotes from everybody but sounds like nobody else.

Number 10

Piano Music by Emmanuel Chabrier
Angela Hewitt
Hyperion

The formidable Angela Hewitt takes a vacation from Bach and the results are bright, sunny, atmospheric and downright fun. At the premiere of Dix pièces pittoresques, César Franck said, “We have just heard something extraordinary. This music links our time with that of Couperin and Rameau.” He might also have added, had he known, that the music anticipates Debussy and Ravel. I have probably played this album more than any other this year and I never seem to tire of it.

CDs, Chamber Music, Classical Music, Contemporary Classical, Experimental Music

Marvin’s Friday Feldmanathon

Our friend Marvin Rosen will be airing the entire 6 hour seven minute version of Morton Feldman’s String Quartet No. 2, by the Flux Quartet, beginning at 11 am, EST on Friday, December 29, as part of a special 9 hour Classical Discoveries program devoted to American contemporary music. 

Two members of Flux–Tom Chiu and Dave Eggar–will join Marvin to discuss the work after the performance.

I believe it is safe to say that Marvin is the only broadcaster in America who both can and would undertake such a mission.

Classical Discoveries is broadcast via WPRB 103.3 FM in Princeton, NJ. and over the internet here

Awards, CDs, Composers

Come on, you know you care, a little bit…

It’s that time of the year again, folks, when composers around the world turn their attention to Los Angeles, with bated breath, waiting to hear who is, in fact, the greatest composer in America and the world this year. Who has advanced the art, who has raised the human spirit, who has earned his (yes, pretty much always, it’s his) place in musical history.

That’s right, it’s Grammy time.

And the nominees for “Best Classical Contemporary Composition” [sic] are:

Boston Concerto
Elliott Carter
(Oliver Knussen)
Track from: The Music Of Elliott Carter, Vol. Seven
[Bridge Records, Inc.]

Golijov: Ainadamar: Fountain Of Tears
Osvaldo Golijov
(Robert Spano)
[Deutsche Grammophon]

The Here And Now
Christopher Theofanidis
(Robert Spano)
Track from: Del Tredici: Paul Revere’s Ride; Theofanidis: The Here And Now; Bernstein: Lamentation
[Telarc]

Paul Revere’s Ride
David Del Tredici
(Robert Spano)
Track from: Del Tredici: Paul Revere’s Ride; Theofanidis: The Here And Now; Bernstein: Lamentation
[Telarc]

A Scotch Bestiary
James MacMillan
(James MacMillan)
Track from: MacMillan: A Scotch Bestiary, Piano Concerto No. 2
[Chandos]

Place your bets.

CDs, Classical Music, Uncategorized

Contemporary art loves contemporary music

The demise of Tower Records mean tough times ahead for the independent record labels, so it’s great to welcome an unlikely new label which was launced this month with real fighting talk. The FRED label is the brainchild of Fred Mann. Following the success of his contemporary art gallery, Fred [London] Ltd Mann decided to look at his other great love, Music. The label will work as a sister company to the gallery and, like the gallery, will respond in a close knit and creative way to the recording artists it seeks to nurture and promote.

FRED has been set up to record, produce, distribute and promote new music by a wide range of artists. The label, unlike a large slice of the established indie or major labels has the luxury of being able to respond to projects by different recording artist as and when they come up. Rather than setting out to release rock, R&B, classical or pop, FRED will cross musical genres. Despite the variety inherent in how the label will work, FRED has a commitment to quality of the first order and to encourage innovation and experimentation throughout their releases. To celebrate this spirit of diversity, their first two releases are suitably wide reaching.

FRED’s first release is Convivencia (sleeve art above) which features soprano Catherine Bott and an an eclectic instrumental mix of vihuela, lute, guitar (all played by David Miller), oud (Abdul Salam Kheir) and tar, tablah, tbilat and douf (Stephen Henderson). For more on the contemporary art gallery that loves contemporary music, and for a review of Convivencia, follow An Overgrown Path