Composers

Bang on a Can, Chamber Music, Classical Music, Composers, Concerts, Contemporary Classical, Festivals, Music Events, New York

Live, in person and new: Contemporary music festivals in the Northeast in Summer 2021

LOUD Weekend, TIME:SPANS, Tanglewood and Bard are all back on stage this summer with in-person audiences

Fans starved for live music over the past year and half can rejoice and indulge – many summer festivals are back in the game. In this roundup, we’re mainly covering indoor concerts. As charming as it is to experience a performance under the stars, helicopters overhead, unpredictable weather, distracted audiences and competing bands nearby detract from the artistic experience.

Bang on A Can founders David Lang, Michael Gordon and Julia Wolfe (credit Peter Serling)

When it comes to contemporary music programming, LOUD Weekend put on by Bang on a Can at MASS MoCA is the densest. There are more than two dozen sets over two long days (July 30 and 31), performed by a range of the BOAC marathon’s “usual suspects”, along with some very special guests. This “eclectic super-mix of minimal, experimental and electronic music” (according to their press materials) may be some consolation to those who eagerly anticipated the organization’s inaugural Long Play Festival in New York City in spring 2020. That one was postponed indefinitely along with everything else in the world last year.

Kronos Quartet

BOAC co-founder and co-artistic director Michael Gordon said in a written interview, that the Bang on a Can team decided that regardless of the Covid restrictions MASS MoCA instituted, and however limited the audience needed to be, they were going to go ahead with the festival. “We just had to start playing live again, and having a festival meant that musicians were working. It has been so important to Bang on a Can over the pandemic year, as we presented 10 live-stream marathons and commissioned 70 new pieces of music, to keep the spirits of the creative music community alive and kicking,” he said. “One of the pluses was that the Kronos Quartet, which is usually unavailable due to European touring, was able to join us this summer.

“Everyone is psyched to be playing live,” Gordon continued. “After a year everyone – audience, composers and performers – is a little rusty. Now suddenly people are amazed to be in the same room with a cello or a bassoon.”

Bang on a Can All-Stars

The illustrious folks at BOAC are bringing thirsty audiences a true glut of performances: two programs by the Kronos Quartet, three by the Bang on a Can All-Stars, the pianist Lisa Moore playing a world premiere by Fred Rzewski, who passed away in June 2021, a tribute to the dearly departed Louis Andriessen, and a set of world premieres by young composers who participated in this year’s Bang on a Can Summer Festival (a professional development program at MASS MoCA that has been going on for nearly two decades).  Giving more detail would become a laundry list; there’s plenty more to be excited about and all the details are online. It’s almost too much, like an enormous buffet after months of starvation, but it won’t take long to get used to this new new normal.

At a somewhat more measured pace, TIME:SPANS in New York City also pulled out all of the stops with a drool-worthy lineup replete with world premieres and works written for and realized by an unusual new instrument. The roster at the 2021 TIME:SPANS festival, which is produced and presented by the Earle Brown Music Foundation Charitable Trust since 2015, is anchored by Talea Ensemble and JACK Quartet.

Soprano Tony Arnold

The two programs featuring JACK – one in which the quartet is joined by the eminent soprano Tony Arnold and the other consisting entirely of world premieres of works written in 2021 – are hard to resist. Throw in two concerts performed by Talea Ensemble, another with Alarm Will Sound, and an Anthony Cheung composer portrait concert featuring the Spektral Quartet joined by the flamboyant flutist Claire Chase and the dazzling violinist Miranda Cuckson, and, well, you get the picture. There’s lots to be excited about in these 11 concerts over a timespan of 13 days.

As a prelude to the live concerts, presentations of works composed for the EMPAC Wave Field Synthesis Array, a 3D sound system with 240 small loudspeakers, kick off the festival August 12-16. New works by Miya Masaoka, Bora Yoon, Nina C. Young, and Pamela Z for the system will presumably provide an experience exponentially more immersive than Surround Sound.

Artistic director Thomas Fichter explained in a written interview that they are continuing to deal with Covid-related uncertainties, such as foreign travel restrictions. Also, he said, “We very carefully created a safety protocol for audiences, performers and staff. Audience capacity in the hall [at DiMenna Center] is reduced to about 50% from what we had in other years because of spaced seating.”

Thomas Adés (Photo: Marco Borggreve)

Tanglewood’s Festival of Contemporary Music, usually a weeklong affair, has been hewn to three programs on July 25 and 26. Thomas Adès directs the Festival, and Kaija Saariaho, Judith Weir, Per Nørgård, Sean Shepherd, and Andrew Norman are among the composers whose music is performed by the spectacularly talented fellows of the Tanglewood Music Center.

Nadia Boulanger

And in mid-August, the annual Bard Music Festival chimes in with its typically out-of-the-box thematic programming, this year taking a 360 look at “Nadia Boulanger and Her World”. Programs juxtapose Boulanger’s music with that of her mentors, contemporaries, students and historical influences. Composers represented range from Monteverdi to Gershwin to Thea Musgrave – a dozen chamber and orchestral concerts jammed into two weekends, August 6-8 and August 12-15. For audiences who can’t be there in person, some of the programs will also be livestreamed on the Fisher Center’s virtual stage at Upstreaming.

These ambitious summer festivals are hopeful harbingers of the fall season.

Shifting quarantine rules, the rise of the delta variant, travel restrictions and venue protocols have made it difficult for presenters to plan much in advance. Hopefully, concert-goes will forgive late announcement and last-minute changes, and give all a wide berth of understanding, compassion, patience, and ticket revenue.

Composers, Contemporary Classical, Deaths

Remembering Louis Andriessen

Louis Andriessen has died. He was a highly idiosyncratic composer of music that, like the man himself, inspires great love. Encountering his music as a young composer changed my life. Encountering him as a conductor and producer was one of the greatest joys of my life.

 Louis was an incredibly gregarious, gentle, funny, wickedly funny, intelligent, well-read man. He treated everyone as a peer, regardless of age or career stage. Always curious and encouraging, he would ask young composers after their work, talk about his favorite American television shows (the “highly ironical” Desperate Housewives and South Park were among his favorites), who relished being in the company of people (a rarity among composers). During the 2014 Andriessen75 festival in Washington, DC , it was striking to see him become increasingly withdrawn as performer friends completed their stints and left him behind. His wife, the violinist Monica Germino, explained that he was a very social person and likes having people around him who loses something of himself when he has no one around for mischief. For Louis, balancing that part of his personality with the essentially lonely aspect of our profession meant regulating his schedule. He always kept a two hour window in the afternoons clear for his “naps”–periods of restful downtime devoted not just to relaxation but also to some comopsition, especially on the road.

 As a composer, Louis is often grouped with the early generation of minimalist composers. His music, however, never focuses enough on process to really be considered minimalist (he preferred to think of that music as “repetitive music” anyway). The truth is that his musical interests were broad and rather catholic. He is said to have written the first 12-tone piece in Dutch music history, is a published scholar, with Elmer Schoenberger, of Stravinsky (The Apollonian Clockwork, an impressively bizarre book in which it’s impossible to tell what is true and what is embellishment, let alone one authorial voice from the other), and wrote densely maximalist music theater that, yes, incorporates repetitive aspects. He also loved Bach and counterpoint, and the juxtaposition, particularly in the chorale preludes, of two different tempi for dramatic effect. Most famously, and no doubt through his love of Stravinsky, his music is highly ironic. And yet, occasionally, rarely, when called for, as in the waltz setting of the Song of Songs in part four of La Commedia, he could be sincere to the point of sentimentality.

 His influence is one of personal and political aesthetic as much as musical. “Who are you composing for: who’s going to play, where’s it going to be played and for whom,” he wrote in 1980. “If you ask yourself these questions and try to come up with some kind of answer then you’re already deeply immersed in the field of cultural politics.” (Everett, 2006) This meant embracing all art as political, an attitude that led him and other young composers to form the Notenkrakers collective, founding the ensemble De Volharding, and engaging in disruptive non-violent protest against the perceived problems of Dutch musical life in the 1960s and 1970s. This attitude permeates a great deal of Dutch and AMERICAN new music. It is impossible to think of groups like Bang on a Can, Alarm Will Sound and my own Great Noise Ensemble, among many others, without such an outlook.

 Louis’ best pieces have a sense of maximalist importance beyond their often profound subject matter. State power, Marxism, Anarchism, Catholicism, the nature of time and even matter itself are all themes he explored. Each piece is also perfectly constructed with a musical logic that embraces tonal consonance and emancipated dissonance; minimalist repetition with maximalist architecture. His “monsters,” as he called his large works, are cathedrals of sound (in the case of Hadjewich, literally!). They are among the most important works of the late 20th and early 21st century. I hope that one of their most unique aspects, their instrumentation, does not severely limit their performance moving forward as they often have so far. At the same time, a performance of one of Andriessen’s monsters is always an event because of the challenge of mounting them. That specialness is part of the appeal, too.

 They say to never meet your heroes or they will disappoint you. Louis Andriessen was the exception that proved that rule. He was gregarious, generous, mischevous, encouraging and supportive. In Amsterdam in 2011, we attended a concert together by the Steve Lehman Octet. The absolute virtuosity of those musicians and the metrical magic in their music was astounding, and Louis was like a giddy boy taking it in, wondering out loud how they did it. that joie de vivre was infectious, as was his encouragement of younger musicians. He sometimes seemed to lack ego (though he certainly had one. How could he not?). I still cannot believe that I was lucky enough not just to meet him, but to work with and befriend him!

 A giant has fallen. Living in a world without Louis feels apocalyptic. Or, it would, if he himself didn’t seem to have an ironic relationship with death. “Death is when you don’t piss anymore, you don’t shit anymore, you don’t think anymore” sings the boys’ choir at the end of “Dancing on the Bones” in the Triology of the Last Day. It is a part of life as much as birth and everything in between. That attitude is also one of his great lessons. To paraphrase Gabriel Garcia Marquez, said: don’t cry because it ended; smile because it happened.

Godspeed, dear Louis.

CD Review, Composers, Contemporary Classical, File Under?

Curtis K. Hughes – Video Premiere and CD Review

Tulpa

Curtis K. Hughes

New Focus Recordings

 

“Tulpa is a term appropriated by 20th century theosophists from Tibetan Buddhism to refer to a manifestation of a physical being generated purely by thought, sometimes also likened to an imaginary friend, a doppelgänger, or a shadow version of the self.”

 

  • Curtis K. Hughes

 

Curtis K. Hughes is Professor of Composition at Boston Conservatory. Tulpa is his second portrait CD and the programmed works span from 1995 to 2017. There is a consistency from the earliest to most recent works, with the principle change being an  ever more assured compositional voice and a major work in Tulpa, a 2017 piece for ensemble.

 

The program is designed with several miniatures between the larger works, serving as interludes. Flagrant (2008) is a snare drum solo. Despite the reduced means at his disposal, Hughes imaginatively deploys various techniques and an overall approach to strikes on the drum that bring out a number of colors in zesty gestures. This segues nicely into the percussion ensemble piece Antechamber (2015). Played by the Boston Percussion Group, the piece is both colorful and varied in gestural profile. Some parts adopt fulsome grooves, while others are pointillist, with seamless transitions between demeanors.

 

Lesson Plan (2007) is a piece for bass clarinet dedicated to Lee Hyla on his departure from Boston for Chicago. Since the composer’s untimely passing, it serves as an affectionate homage through various quotes and a buffo blues cast. Merger (2016), for two cellos, is one of the finest pieces here in terms of construction. Angular counterpoint and hockets between the instruments are offset by piquant harmonies.

 

Wingtones (2009) for clarinet and piano, is cast in two movements. The first is a loose rondo. After a potboiler introduction, there is a Hindemithian fugue opener that is gradually discarded for a swing section. A slower paced fantasy ensues that once again returns to the swing section followed by a coda with flutter tongue and unison melodies. The second movement is more reflective, a fantasy that part way through speeds up and  interpolates the swing from the previous movement. Despite occasional interjections of fast music, cascades of arpeggios and altissimo clarinet playing are reasserted. The piece closes with lush harmonies and tremolandos.

 

It Was Not Raining (1995) is the final interlude, a piece for solo marimba that features rhythmic canons and multi-mallet technique. This is followed by the title work, a piece for large ensemble cast in four movements. The first movement, “i. telophase,” features pitched percussion and piano creating a swath of disjunct melodies. The other instruments join in a contrasting lyrical section. Gradually the two strands merge in a propulsive stream now buoyed by ostinatos. A brash unison melody provides the first climactic passage of the piece. Things go sideways in “ii. (manufactured for a purpose),” with a section for low winds followed by a tantalizing brief violin solo interrupted by a cadenza for piano and percussion. Winds and percussion cohere into a fast-shifting section of glinting harmonies. The strings, led by two low cellos, are then added to the proceedings, providing a syncopated backdrop for a more straightforward ostinato by clarinet, percussion, and piano. Gradually, their disparate grids combine into a fulsome workout, which leads directly into “iii. ‘un amour inconnu…’,” an evocative setting of a short passage from Proust’s Swann’s Way, sung with impressive microtonal inflections by soprano Rose Hegele. The final movement, “iv. the number of completion,” begins with a bassoon solo that is quickly succeeded by vibrant percussion, into which it reinserts itself,both gradually taking up a unison theme before the entire ensemble takes up disjunct fast lines that are passed from instrument to instrument. The piece concludes with a ferocious pileup of thick chords in repeated eighth notes. Tulpa is engaging throughout, and seems to be a culmination of the other, smaller, compositions on the CD. Whether for soloists or writ large, Hughes writes compelling music that is artfully crafted and energetically appealing.

 

Sequenza 21 has the pleasure of premiering a live performance video of Merger.

Tulpa will be released on Friday April 16th.

 

CD Review, Chamber Music, Composers, Contemporary Classical, File Under?

counter)induction

Against Method

Counter)induction – Benjamin Fingland, clarinet; Miranda Cuckson, violin; 

Jessica Meyer, viola; Caleb van der Swaagh, cello, Randall Zigler, bass; 

Renate Rolfing, Ning Yu, piano; Daniel Lippel, guitar

New Focus Recordings CD/DL

Chamber ensemble/composer collective counter)induction celebrates twenty years together with the recording Against Method. It consists of pieces contributed by composers associated with the collective as well those by “guest composers.” counter)induction has distinguished itself with  a versatile approach to new music, selecting works with a keen eye toward musicality and a clear resistance to stylistic dogma. Against Method neatly encapsulates this approach. 

Douglas Boyce’s Hunt by Night is an ostinato filled trio at a propulsive tempo for clarinet, cello, and piano. The piece also features glissandos and blurred microtonal inflections that offset the repeated pitches and chords nicely. Before, by Kyle Bartlett, is another trio, this time for clarinet, cello, and guitar. Wisps of texture are succeeded by noisy angularity with scratch tone effects. The unity provided by shared effects makes this broken consort sound at times like a single instrument. The sound spectrum moves between noise and dissonant counterpoint to create formal boundaries. Further along, the trio breaks up into characterful solos, notably a lithe cadenza by guitarist Daniel Lippel, which concludes the work. 

Lippel switches to electric guitar, accompanied by clarinetist Benjamin Fingland, vibraphonist Jeffrey Irving, cellist Caleb van der Swaagh, pianist Renate Rolfing, and bassist Randall Zigler in Alvin Singleton’s Ein Kleines Volkslied.  Rock-inspired chord progressions are played on the guitar, tremolando strings are emphatically rendered at key points alongside bluesy clarinet riffs, pizzicato bass, and jazz-inflected vibraphone arpeggiations. A bustling section overlaps these various playing styles, cut off again and again by tremolandos only to reassert itself. Bass clarinet, guitar, and vibes take over, their parts fragmenting the motives found in the beginning of the piece. Finally, a pileup of all the various elements creates a contrapuntal conclusion. Fingland plays Jessica Meyer’s Forgiveness, in which a  loop pedal plays a prominent role. Air through the mouthpiece begins the piece followed by sustained pitches, all of which the loop pedal allows to overlap into clustered textures and tight counterpoint. Looping has become a favorite of new music composers, but Meyer distinguishes her piece with an organic approach to the sounds of playing and a fine ear for the pitch relationships that result in overlapping.

Ryan Streber’s Piano Quartet is the most formidable composition on Against Method. The various instruments move at different rates, creating a Carterian sense of time flow. Streber also has a finely attuned ear for the selection and spacing of post-tonal harmonies. The linear component, with a number of imitative passages, is also finely wrought. The ensemble comprehensively knows the piece, delivering a performance that is assured and engaging throughout. 

The recording concludes with Scherzo by Diego Tedesco, a piece filled with descending chromatic scales that provide a jocular motive that appears in countless contexts throughout the piece. Tedesco blends pizzicatos from guitar and strings to good effect, followed by the aforementioned glissandos in cascading overlaps of sound. Particularly affecting is the middle section, which is an “eye of the storm” where the piece’s motives are fragmented and delicately hued. Clarinet and guitar are given an extended duet that is followed by an eruptive passage in the strings. Pizzicato and glissandos succeed in turn to create a clear juxtaposition of playing styles, at key points blending to create transitions between sections. Tight dissonances between violin and clarinet ratchet up the tension, which is finally allowed release in a sustained note from the clarinet followed by violin multi-stops. Scherzo is well- constructed, devised to show counter)induction to their best advantage. Top to bottom, Against Method is a stirring listen. 

-Christian Carey

Composers, Contemporary Classical, Deaths

RIP Marga Richter (1926-2020).

Marga Richter

by Sharon Mirchandani

American composer and pianist Marga Richter died peacefully of natural causes at her new home in Barnegat, NJ on June 25, 2020.  She had lived on Long Island for many years prior, regularly spending summers in Vermont.  Born in Reedsburg, Wisconsin and raised in Robbinsdale, Minnesota, she was the first woman to graduate with a master’s degree in composition from Juilliard in 1951 where she studied piano with Rosalyn Tureck and composition with William Bergsma and Vincent Persichetti.  She was one of few women composers to have her orchestral works performed by major orchestras, and over her lifetime she composed nearly 200 works for orchestra, piano, chamber ensembles, chorus, and voice that were performed by major artists and organizations including pianist Menahem Pressler, violinist Daniel Heifetz, the Drucker Trio, cellist David Wells, the Western Wind, the Minnesota Orchestra, Seattle Symphony Orchestra, Natalie Hinderas and the Atlanta Symphony Orchestra, the London Philharmonic Orchestra, and the Civic Orchestra of Chicago.  In 1981 an all-Richter concert was held at Merkin Concert Hall in New York City.

Marga Richter’s musical style was very chromatic from her early years and primarily uses layered textures and ostinatos to generate structure.  Her music ranges from highly dissonant works to more modal works that always have a twist of chromatic flavor.  She viewed chromaticism as an important tool for intuitive emotional expression and disliked strict precompositional systems, rejecting twelve-tone techniques wholeheartedly for her own music. Many of her works drew inspiration from distinctly American, Irish/English, or Asian images or texts.  For instance, her Landscapes of the Mind series was inspired by paintings of Georgia O’Keeffe, Blackberry Vines and Winter Fruit was inspired by writings of Thoreau, her orchestral tone poem Spectral Chimes/Enshrouded Hills was inspired by Britisher Thomas Hardy’s Tess of the D’Urbervilles, and her Dew Drops on a Lotus Leaf is a setting of poems by Ryokwan.  She composed works for ballet early in her career, including The Abyss, a ballet composed for The Harkness Ballet.  Many of her works are dedicated to individuals in her life; Lament for string orchestra was composed in memory of her mother, the opera singer Inez Chandler.  She composed the chamber opera Riders to the Sea, and a grand Triple Concerto for violin, piano, and cello soloists.  Being a fine pianist herself, she composed many piano works, large and small, including her Piano Sonata. 

I met Marga in 2003 and view her as a true friend and wonderful composer, with a great sense of humor.  She loved connecting and sharing music with all the many people in her life, playing piano, collecting blue mason jars, taking long walks daily, word play, and working as cofounder and member of the Long Island Composers Organization. She was predeceased by her husband Alan Skelly and is survived by her son pianist Michael Skelly; daughter Maureen Raj, a nurse; four grandchildren; and four great grandchildren.

Share a memory with her family at her Tribute Obituary here.  

Read and Listen Further: Marga Richter

Archival video footage from a series of “Hear & Now” interviews hosted by Judith St. Croix for American Cable Systems features “An Exploration of the Creative Mind” with composer Marga Richter discussing her creative process and her piece “Landscapes of the Mind 1.” Posted on the NYWC YouTube channel

Interview with Marga by filmmaker Leslie Streit for the documentary “An American Ballet Story”

Marga Richter website

Remembrance by tenor Will George which includes many links to her music.

Marga Richter Profile with timeline of life events

Marga Richter CDs on Amazon

Biography of Marga Richter

Her sheet music is available from Theodore Presser

Profile page on New York Women Composers, Inc.

Marga Richter.” Chapter in Women of Influence in Contemporary Music: Nine American Composers, ed. Michael Slayton. Lanham, MD: Scarecrow Press, 2011. 

“The Choral Music of Marga Richter,” Choral Journal (May 2003), 9-17.

NYT Obituary (forthcoming)

CDs, Chamber Music, Choral Music, Composers, Contemporary Classical, File Under?

10/25 – Composers at Westminster Recording sees Release

On October 25th, the recording Composers at Westminster (WCC19109) will be released via digital platforms. The program notes are below.

“Composers at Westminster”

The five composers featured on this recording are full-time members of the composition faculty at Westminster Choir College in Princeton, New Jersey. The programmed selections display a range of musical styles and works for different forces: three of the college’s choirs as well as voice faculty, pianists, and visiting string artists. 

Stefan Young is not only a composer but an estimable pianist. He performs some of his own piano pieces from a musical diary called Thoughts for the Day: here we get a peek at his ponderings for January. Young also plays in Ronald Hemmel’s string quintet Night Moves, a work written to accompany dance. The Other World is Young’s choral setting of an ancient Egyptian text (in translation), performed by Schola Cantorum, conducted by James Jordan. Clarum Sonum, a group of recent graduates, contribute Jay Kawarsky’s setting of Rami Shapiro’s poem Unending Love. 

Joel Phillips is represented by two Christina Rosetti songs, performed by voice faculty member Victoria Browers and pianist J.J. Penna, as well as a setting of William Blake’s beloved poem “Little Lamb,” performed by Westminster Choir, conducted by Joe Miller. Two of Christian Carey’s Seven Magnificat Antiphons are performed by Kantorei, conducted by Amanda Quist. They are settings of ancient Latin texts that traditionally are sung during Advent. Carey’s first of two groups of Jane Kenyon songs are also performed by Browers and Penna. 

Composers at Westminster celebrates the creativity of its faculty. It serves as a document of just some of the many collaborations they regularly undertake with Westminster faculty and students and in the wider musical community.

-Christian Carey

Program

Stefan Young 

  1. The Other World – 5:27

(text: Egyptian, 3500 BC, translated by Robert Hillyer, music by Stefan Young, Copyright 2018)

Westminster Schola Cantorum, James Jordan, conductor

Joel Phillips

2- Press Onward – 3:24

3- Sleep, Little Baby – 3:38

(poems by Christina Rossetti, music by Joel Phillips, copyright 1999) 

Victoria Browers, soprano; J.J. Penna, piano

Christian Carey 

Magnificat Antiphons

4-O Sapientia – 2:20

5-O Oriens – 2:45

(texts – 5th Century Latin, music by Christian B. Carey, GIA Publications, copyright 2019)

Westminster Kantorei, Amanda Quist, conductor

Ronald A. Hemmel – 

6- Night Moves (Piano Quintet) – 10:55

(music by Ronald A. Hemmel, copyright 2014)

Leah Asher, Maya Bennardo, Meagan Burke, and Erin Wright, strings; Stefan Young, piano

J. A. Kawarsky 

7- Unending Love – 3:41

(poem by Rami Shapiro, music by J.A. Kawarsky, copyright 2015)

Clarum Sonum, conducted by Rider Foster.  

Stefan Young – Thoughts for the Day – January

(music by Stefan Young, copyright 2018)

8- Jan. 4. Vigorous – 1:52

9- Jan. 11.  Driving – 1:43

10- Jan. 28. Slowly – 1:00

11- Jan. 31.  Remembering Peter – 2:20

Stefan Young, piano

Christian B. Carey – Three Kenyon Songs

12- Song – 2:17

13 – Otherwise – 4:32

14- Let Evening Come – 4:13

(poems by Jane Kenyon used by kind permission of Graywolf Press, 

music by Christian B. Carey, File Under Music, copyright 2019)

Victoria Browers, soprano; J.J. Penna, piano

Joel Phillips 

15- Little Lamb – 4:09

(poem by William Blake, music by Joel Phillips, G. Schirmer, copyright 1997)

Westminster Choir, Joe Miller, conductor

Total timing:  54 minutes

Dr. Stefan Hayden Young is Professor at Westminster Choir College. He received a B.M. from Rollins College, certificates in harmony, piano, and solfège from the American School of the Arts, Fontainebleau, France, an M.M. in piano from the Juilliard School, and a Ph.D. in composition from Rutgers University.  Commissions have included the Haverford Singers and NJMTA. He has written for various media including orchestra, band, choir, chamber ensembles, voice and piano, and a variety of solo instruments. He has also served as director of music and organist at a number of churches in New Jersey and on Martha’s Vineyard. At Westminster, Dr. Young is director of the Composition Week summer session, coordinator of the student composition concerts, and coordinator of the composers’ project with the Westminster Community Orchestra. In 2003, his Anthology of Art Songs was released on CD.

Joel Phillips is Professor at Westminster Choir College where he has taught since 1985. Phillips has received a number of commissions well as awards, the latter including annual recognition from ASCAP, the G. Schirmer Young Composer’s Award, and a BMI Award. His choral works are published by G. Schirmer, Inc., Transcontinental Music Publications, GIA, and Mark Foster Music (Shawnee Press).

Dr. J.A. Kawarsky is Professor at Westminster Choir College. He received a B.M. from Iowa State University, and an M.M. and D.M.A. from Northwestern University. He has written for all genres including solo instrument, orchestra, band, choral, vocal and theater. Prayers for Bobby. for choir, orchestra, narrator and soloists, has received numerous performances throughout the United States and Canada and was recorded by the New Jersey Gay Men’s Chorus and members of the Gay Men’s Chorus of Washington, DC. Iowa State University premiered the alto saxophone and orchestral winds piece, Fastidious Notes. 17 universities throughout the United States commissioned the symphonic band work Red Training Reels. The cantata Sacred Rights, Sacred Song has been performed throughout the USA and Israel. Navona Recordings released Kawarsky’s 2018 portrait CD, Spoon Hanging from My Nose. Yelton Rhodes Music, Transcontinental Music, and Southern Music publish his compositions.

Ronald A. Hemmel is Professor at Westminster Choir College.  Dr. Hemmel received his B.M. in Music Education from Westminster Choir College, his M.M. in Music Theory/Composition and Organ Performance from James Madison University, and his M.Phil. and Ph.D. from Rutgers University. He is a Fellow of the American Guild of Organists. Before coming to Westminster, in 1994 he directed the music program at Woodberry Forest School. His compositions include works for solo instruments, voice and piano, choir, and both small and large ensembles. Several of his choral works are published by Yelton Rhodes Music, G.I.A. Publications, and Transcontinental Music Publications.

Christian Carey is Associate Professor at Westminster Choir College. He has created over eighty musical works in a variety of genres and styles, performed throughout the United States and in England, Italy, and Japan. Performances of his compositions have been given by ACME, Aspen Contemporary Ensemble, Atlantic Chamber Orchestra, C4, Cassatt String Quartet, Chamber Players of the League of Composers, loadbang, Locrian Chamber Players, Manhattan Choral Ensemble, New York New Music Ensemble, Righteous Girls, Urban Playground Chamber Orchestra, and Westminster Kantorei. His score for the play Gilgamesh Variations was staged at Bushwick Starr Theatre in Brooklyn, NY. For Milton, a flute/piano duo, has been recorded twice, for Perspectives of New Music/Open Space and New Focus Recordings. 

Composers, Contemporary Classical

Hayes Biggs on Mario Davidovsky (1934-2019)

Mario Davidovsky (March 4, 1934 – August 23, 2019)

Mario Davidovsky, composer, teacher, and winner of a Pulitzer Prize in 1971 for his Synchronisms No. 6 for piano and electronic sounds, passed away peacefully last Friday at his home on Manhattan’s Upper West Side at the age of 85. The cause of death was heart failure.

Davidovsky was a pioneering figure in the burgeoning electronic music scene of the 1960s and 70s, and his pathbreaking work in combining live instrumentalists with prerecorded electronic sounds revealed exciting new possibilities in the realms of articulation, timbre, velocity, and expression. It could truly be said of Davidovsky’s series of Synchronisms that the electronic and acoustic media seemed to “learn” from each other: composers committing electronic sounds to tape and splicing musical events together could produce extraordinarily rapid, quicksilver patterns of articulation that at the time seemed beyond the limits of human performers. Sudden dynamic changes could be achieved in electronic music that also seemed to exceed the abilities of most executants. Even so, some of the finest young musicians of the time, like their forebears in previous eras, figured out how to incorporate a significant amount of these abilities into their own instrumental technique — to learn to play what formerly had seemed unplayable—, adding a new level of virtuosity that could be called upon by the composer. And Davidovsky had the magic touch when it came to introducing an element of human warmth and flexibility to the tape parts. It has often been said that in his hands this fixed electronic component, far from sounding rigid and unyielding, somehow gives the impression of “following” the live performer, similarly to the way a fine collaborative pianist follows and breathes with a singer or instrumentalist. Mario believed that the human executant was not to be supplanted, but that the things the instrument was capable of doing could be extended and enhanced.

Mario Davidovsky was born in Médanos, Argentina. His parents were Natalio Davidovsky, a general manager of an agricultural company, and Perla Bulanska Davidovsky, who taught Hebrew school and was something of a champion of social justice. She was an educated woman who engaged in scholarly biblical study, and she had a strong interest in caring for Jewish children who had been orphaned, even to the point of taking them into her home. Mario’s parents had been brought by their parents to Argentina from Lithuania in the early years of the twentieth century. Mario’s grandfathers both were rabbis, and one of them was also a Hebrew scribe. Living in a small town with many immigrants, in an observant Jewish household within a very Roman Catholic Latin American culture was critical to Mario’s development as a human being and as an artist. He developed a very strong belief in the ethical and moral component of being a composer, a belief that he worked to instill in his students for the rest of his life.

Music was an integral part of the family’s life, and Mario began taking violin lessons at the age of 7. By the time he was thirteen was already composing his own music. When he was fifteen his family moved to Buenos Aires, but he didn’t start formal composition studies until he was eighteen. He took instruction at a school modeled on the German Hochschule für Musik concept, studying with German and Austrian emigrés. Later, he attended the University of Buenos Aires, with the idea of pursuing a career in law, but in 1954 committed to composition. At about the same time he had his first compositional success, winning first prize in a competition with a string quartet. He graduated from the university, having received a solid grounding in musical theory and composition with Guillermo Graetzer and Teodoro Fuchs. He often spoke of his gratitude for the rigorous training in counterpoint that he received there. The sense of lyricism and of a through line in Mario’s music is pervasive, whether in the sparse textures of the early electronic pieces or the more opulent sonorities of Shulamit’s Dream.

Aaron Copland, who had for a long time had an interest in cultivating ties with Latin American composers, invited Davidovsky to Tanglewood in 1958 and introduced him to Milton Babbitt, who in turn introduced him to the world of electronic music, and who also was about to embark on a new venture, the Columbia-Princeton Electronic Music Center, along with Otto Luening and Vladimir Ussachevsky. In 1960, Mario moved permanently to the United States, settling in New York City. In the electronic music studio at Columbia, he familiarized himself with the equipment and began creating his first electronic compositions, and later assisted Edgard Varèse in preparing a new version of the tape part for Déserts. He often said that his early musical experiences had not prepared him for the daunting challenges of the new medium, that — as he put it — “nothing I know counts.” In a very real way it certainly was true: he was working with oscillators that were notoriously difficult to keep in tune, splicing many bits of tape together to create a few seconds of music, and having to build each individual sonority from the ground up, so to speak. The attack, steady state, and decay of the sound, natural and unique to every traditional instrument, had to be created anew for each piece; in effect he was creating the instrument itself. All of this taught him valuable lessons that would radically alter the way he thought about writing for conventional media and ensembles. His concept of orchestration was forever radically transformed by his experiences in the tape studio.

After mastering the medium of instrument(s)-plus-electronic sounds, he took a break from it for a while and applied what he had learned from the new technology to works for acoustic instruments and voices, which gave rise to a significant flowering of vocal music, much of it based on Biblical or Jewish-themed texts. In 1975 he created the first work of his to utilize a biblical text with which he had been obsessed since he was a youth: The Song of Songs (in Hebrew, Shir ha-Shirim). The resulting cantata, Scenes from Shir ha-Shirim, for four vocal soloists and chamber orchestra, brilliantly connects the tangy sonorities of Medieval and Middle Eastern musical traditions, and the weird composite instruments he fashions using regular Western classical instruments (oboe, clarinet, strings, piano, percussion) easily remind one of similar dazzlingly bizarre sonorities that he was able to create in the studio. Years later, in memory of his mother, he composed another very different setting of texts from the Song of Songs, Shulamit’s Dream, for soprano and large orchestra. Hearing the two settings in succession is rather like hearing the same text set by two different composers: one from the late Middle Ages, the other from the late nineteenth or early twentieth century. And yet it’s still Mario’s voice we’re hearing.

After an extensive hiatus, Davidovsky returned to the electronic studio and the Synchronisms series, completing four more works for electronics with, respectively, violin, guitar, clarinet, and double bass.

Davidovsky was the director of the Electronic Music Center from 1981 until 1994, taught at various times at the University of Michigan, Yale University, and Manhattan School of Music, and served on the faculties of City College of New York, Columbia University, and Harvard University. In 1982 he was elected a member of the American Academy of Arts and Letters.

Davidovsky is survived by his son, Matias; his daughter, Adriana; his sister, Luisa Paz, and three grandchildren. His wife, Elaine Joyce Davidovsky, died in 2017.

When Mario spoke of the purpose of art and the ethical responsibility of the artist, he summarized it very beautifully as reflecting “the transcendental, profound wish that someone is served.” Thank you, Mario, for serving us all so generously.

  • Hayes Biggs
Classical Music, Composers, Concert review, Concerts, Contemporary Classical

Orchestra of St. Luke’s Robert DeGaetano Composition Institute

Robert DeGaetano (1946-2015)

In these days of swiping right and hooking up, having a long-term commitment is something special. So when the Orchestra of St. Luke’s founded the Robert DeGaetano Composition Institute with plans to carry on for 15 years, that is cause for celebration.  RDCI is funded by the estate of the Juilliard-trained pianist and composer Robert DeGaetano, who passed away in 2015.  Each year until 2033, four composers at the beginning of their career will be selected for the Institute. They’re given one-on-one guidance and instruction from a mentor composer (Anna Clyne in 2019) for several months, a week-long residency in New York during which they take part in professional development sessions, and a chance to work with the musicians of the OSL, workshopping their compositions and ultimately getting a public performance.

The Robert DeGaetano Composition Institute launched this year with four composers selected from a field of over 100 applicants: Liza Sobel, Jose Martinez, James Diaz, and Viet Cuong. On July 19, 2019, the Orchestra of St. Luke’s, Ben Gernon conducting, brought four new pieces to the public, performing a world premiere by each composer at The DiMenna Center. The program was a diverse collection of background and styles. If these works had any one thing in common, it was how well they all painted a visual picture, and created a sense of place with their music. 

Liza Sobel’s Sandia Reflections was inspired by a halting tramway journey into the mountains. Her work echoed the experience of the tram periodically lurching to a stop to allow oncoming traffic to pass. Sobel’s piece was cinematic in nature; melodic and cheerful, with robust use of brass, winds and percussion. Sporadic cascading motifs led to a conclusion with the kind of calm serenity that the composer, in her remarks before the performance, said that she experienced when she finally arrived to her mountain destination. 

In his comments to the audience, Jose Martinez confided to the audience that it was the first time any of his music was performed in New York. His En El Otro Lado / On the Other Side was a dramatic aural painting that opened with dark, mysterious chords, giving way to pizzicato strings and percussion which drove home a sense of urgency. After an intense and turbulent section that was punctuated by the insistent thud of the timpani, a rapid decrescendo brought the work to its conclusion; ending, effectively, with a measure of silence.

James Diaz’s Detras de un muro de ilusiones / Behind a wall of illusions was inspired by the work of a visual artist and a Beatles song. In his composition, dissonant sonorities in the strings created an aural canvas over which large waves of chords floated.

Viet Cuong’s idea for Bullish was sparked by a Picasso drawing in which the artist captured the essence of an animal with a simple line or two. OSL embraced the whimsey of opening tango of Cuong’s piece, with a varied texture characterized by muted trumpets. Over the course of the lively work, the rhythms morphed into increasingly irregular patterns. As the piece progressed, many of the orchestral elements were pared away, exposing several instruments in solo lines.

With his posthumous gift, DeGaetano created a legacy – one that will help 60 emerging composers over the next 15 years advance their careers.

CD Review, Composers, Contemporary Classical, File Under?

Erika Fox – Paths (CD Review)

Erika Fox

Paths

Goldsfield Ensemble, Richard Baker, conductor

NMC Recordings

Once one hears Paths, the octogenarian Erika Fox’s first CD, their first reaction may mirror mine: one of incredulity. How is it possible that a composer this talented with such a distinctive and assured musical voice had to wait so long for a monograph recording? To their credit, NMC has been a strong advocate of female composers for a number of years; I’ve recently been enjoying their recordings of Elizabeth Lutyens’s music. Thank goodness they have partnered with the Goldfield Ensemble to present Fox’s work while she is still alive to hear the results.

Born in Vienna in 1936, Fox was a war refugee who moved as a child to England. Her music is strongly infused with cultural heritage; Chasidic chant plays a large role in its conceptual framework. A strong sense of linearity is offset by a piquant harmonic palette and lively rhythms. In addition to a deft hand with pitched instruments, the works on Paths display Fox’s imaginative sense of timbre in her use of percussion. Goldfield had to retain a large battery of instruments to realize the CD’s program. Ensemble member Kate Romano points out in personable and informative liner notes that traditional development isn’t deployed. Instead a single line will weave discontinuous musical arguments that don’t return for a recapitulatory visit. 

The CD begins withPaths Where the Mourners Tread,a substantial work in which the aforementioned linear narrative is passed from instrument to instrument. One gets the sense of wending through a labyrinth of contrasting textures, holding on to the aforementioned linear thread like breadcrumbs through the forest. Fox’s provides a delightful, mysterious sound world in which to get lost. This is equally true of Quasi una Cadenza, which contains beguiling writing for winds. A downloadable bonus track, Kaleidoscope, is equally varied and compelling.

Pianist Richard Uttley supplies an incisive and persuasive performance of the solo work On Visiting Stravinsky’s Grave at San Michele, where Fox embraces the influence of other composers. Blocks of material and incisive rhythms evoke Stravinsky, particularly his late dodecaphonic pieces. There is also a hint of Messiaen in the bird call-like cries of the upper line. Another piece indebted to a twentieth century composer is Malinconia Militaire, which is based on a poem that references Anton Webern’s Opus 4 songs. 

Café Warsaw 1944 closes the CD. It is a piece inspired by the Czeslaw Milosz poem “Café. All four, relatively brief, movements, are led by the percussion section. The poem’s discussion of “the quick and the dead” and the small distance between them once again inspires Fox to inhabit the work of the Second Viennese School, but pointillism and chromaticism are contrasted with repeated chords and arpeggiations from the piano and taut percussion lines. 

Fox’s music often seeks rapprochement with the past, addressing the experiences of her refugee childhood and Jewish background as well as the ghosts of midcentury concert music. Still, the manner in which the composer synthesizes these elements supplies vividness and urgency very much in keeping with present day concerns. The Goldfield Ensemble plays assuredly throughout, giving these underserved works excellent documentation. Now it is up to the rest of the musical world to take up Fox’s compelling music and make it much more widely known. One hopes this will happen forthwith. 

-Christian Carey

Composers, Concerts, Contemporary Classical, File Under?, New York, Orchestras

Saturday: League of Composers Season Finale

On Saturday June 1st at Miller Theatre at 7:30 PM, Louis Karchin and David Fulmer will lead the Orchestra of the League of Composers in a program of contemporary works, including two premieres. 

Karchin’s premiered work is Four Songs on Poems by Seamus Heaney, performed by soprano Heather Buck. Since I heard her in the title role of Charles Wuorinen’s opera Haroun and the Sea of Stories, I have been a great admirer of Buck’s singing Heaney’s poetry is another touchstone, making this work one I am particularly keen to hear.

Friedrich Heinrich Kern will perform his commissioned piece for glass harmonica and orchestra with the ensemble. Kern is a virtuoso glass harmonica player, and the choreographic component of pieces for this instrument, in addition to the attractive language in which Kern composes, promises something very different from the usual fare at League concerts. 

Curtis Macomber, a mainstay on the New York new music scene, will be the soloist in Martin Boykan’s Concerto for Violin and Orchestra. To celebrate Thea Musgrave’s ninetieth birthday, the strings of the orchestra will perform the composer’s Aurora. 

Event Details

Orchestra of the League of Composers
 
Saturday, June 1, 2019, 7:30 PM
Miller Theatre at Columbia University
 
Louis Karchin, Music Director and Conductor
David Fulmer, Conductor
Heather Buck, Soprano
Curtis Macomber, Violin soloist
 
Martin Boykan: Concerto for Violin and Orchestra
Louis Karchin: Four Songs on Poems on Seamus Heaney
Friedrich Heinrich Kern: Von Taufedern und Sternen (Of Dew Feathers and Stars)
Thea Musgrave: Aurora, for string orchestra
General Admission $30, Students/Seniors $15
Tickets can be purchased at the door or online at http://bit.ly/league2019