Contemporary Classical

CD Review, Contemporary Classical, File Under?, Percussion, Performers

Steven Schick – A Hard Rain (CD Review)

Steven Schick

A Hard Rain

Islandia Music Records

 

Steven Schick is an extraordinary musician, best known as a percussionist but also a formidable conductor. After decades of performing all of the important solo works of the percussion repertoire, Schick is creating a series of recordings, titled Weather Systems, documenting interpretations built on lifelong study. The first, A Hard Rain, includes works by the experimental and serial wings of American music, European modernists, and a tour-de-force rendition of Kurt Schwitters’ Ursonata (1932). 

 

The double disc recording begins with 27’10.554” for a percussionist (1956), a nearly half hour long piece by John Cage. As with so much of Cage’s music, the use of silences between aphoristic gestures is often present. The instrumental complement includes a number of regular percussion implements plus several unconventional noise-makers: radios, whistles, pre-recorded sound, wooden and metallic materials. The pre-recorded sound plays a pivotal role. Schick’s realization of the piece is an eighty-four multitrack mix. Schick calls it “a rainforest of sounds.”  The impression it makes is of a diverse, diffuse sound environment that moves between noise, nature, and more codifiable rhythmic structures.

 

Zyklus (1959), by Karlheinz Stockhausen, is an exciting, highly choreographed, graphic score, with the trick that, like the deployment of its instruments, it is circular in construction. The performer is allowed to enter the circle at any point and work through the piece from there. King of Denmark (1964) is far more intuitive, keeping the slow, soft, spare aesthetic of Feldman but transferring it to percussion.

 

Two American serialists are represented. Charles Wuorinen’s Janissary Music (1966) is an early example of the composer using serialized rhythmic structures. The pitch language also uses 12-tone techniques, the result a fastidiously designed piece that is  muscular in its angularity. Schick went to University of Iowa, where William Hibbard taught, and thus his recording of Parsons’ Place (1968) is a return to one of the first solo percussion pieces he learned. Like Feldman and Cage, Hibbard allows space between entries with a generally soft dynamic. However, they are knotty and self-similar, the pitched percussion chromatic in pitch spectrum. The accretion of gongs, cymbals, and a drummed pulse provides a slow build to an interior cadence. Once again, the texture thins, with long rests interspersing brief eruptions, shimmering gongs joining pitched percussion. Gently articulated melodies interspersed with drumming creates a hybridized last section that becomes progressively more assertive, then drifts off in a shimmer of cymbals.  Schick’s use of dynamic contrasts and nimble gestures make a strong impression. A compelling work that should be better known. 

 

Intérieur I (1966) by Helmut Lachenmann takes the post-War modernism found in Zyklus and expands its instrumental and expressive reach. Glissandos on timpani and xylophone, brightly articulated melody on vibraphone, and disjunct arpeggiations on marimba are offset by long-sounding gongs and punchy non-pitched drum interjections. The whole creates a labyrinthine complex of alternating gestures and textures. 

 

Kurt Schwitters’ Ursonata (1922-32) is one of the most important sound poems of the twentieth century. As the title suggests, the shape of the piece is sonata form, but the vocal sounds required are as far from traditional as can be imagined. Electronics composer Shahrokh Yadegari joins Schick for a virtuosic performance of the piece that includes echoes, layerings, and treatments of the voice. Schick provides a dramatic rendition of the Ursonata, rendering its tongue-twisters, repetitions, and non-sequiturs with flair and fluidity. I heard Schick perform the piece at the Park Avenue Armory, and while a stereo recording can’t capture the encompassing power of Ursonata live, it captures detail and an impressive amount of heft. A Hard Rain is one of 2022’s “must-hear” recordings. One waits with keen anticipation for its follow-ups.   

 

-Christian Carey



by Christian Carey
CD Review, Contemporary Classical

Wilfrido Terrazas – The Torres Cycle

New Focus Recordings has released The Torres Cycle, a new CD by Wilfrido Terrazas containing seven tracks of original music composed between 2014 and 2021. Subtitled ‘A Musical Ritual for the Seven Cardinal Directions’, this album explores the significance of direction, place and culture as expressed by the proximity of Southern California to Mexico. As stated in the liner notes: “A deepened relation to cardinal orientation loosens social order and transforms common wisdom oppositions into liminal spaces: the cycle’s sonic presences are improvisational, but its figurations monumental; its scope at once historical, mythological and speculative…” Wilfrido Terrazas is a prolific composer with over 380 world premiers in 20 countries throughout Europe and the Americas. He is a master flutist and educator who is constantly exploring the unique cultural relationship between his place of residence in San Diego and his native Ensenada, Mexico. The Torres Cycle continues this important work with an album performed by top-flight area musicians.

‘Torre’ is Spanish for tower and each of the tracks in the album represent a musical expression inspired by looking outward in a certain direction. Orientation and direction are of great historical and cultural significance in Mexico – think of the celestial alignment of Mayan ceremonial buildings or the dramatic ritual of the Voladores: daring young men representing the four cardinal directions, who fling themselves off a high platform and twirl downward over one hundred feet secured only by ropes around their ankles. Even in our contemporary society, direction has a fundamental influence on our awareness. Along the west coast of Mexico and California, facing east generally means seeing mountains while to the west is the sea and the sunset; both inspire very different emotions. In California, facing south connects our imagination with Mexican culture while the obverse is true facing north from Baja. Terrazas exploits the connection between direction and imagination to create a cross-cultural dialogue expressed in contemporary musical forms.

The opening track, Torre del Norte (2018) explores the four cardinal directions of North, East, South and West. The piece is written for any number of brass players and opens with trumpets sounding long sustained tones. These start on the same nominal note, but the players soon bend the pitches to create new and dramatic dissonance and harmonies. As new tones are added, the tension rises and the texture swells and falls with changes in pitch and volume. At 3:00 the pitches again change with more notes with faster rhythms resulting in a flurry of independent passages flying through the air. The complexity builds to an almost chaotic level with lots of trills, tremolos and rapid runs – perhaps a comment on life north of the border? The playing here is quite amazing, especially in the lower brass. More and more extended techniques and special sounds arrive in broken phrases and uncoordinated rhythms. At length, the ensemble settles down and there is a languid stretch with more conventional tones and harmonies – there is an expansive, Duke Ellington feel to this, perhaps reflecting the rich and savory culture south of the border. The dissonance slowly rises as does the volume, increasing the sense of drama even as the piece suddenly halts in mid-stride. Expertly realized by the brass, Torre del Norte is a powerful reminder of the range of emotions that are evoked when simply facing different directions.

Track 4, Tótem II, Miro hacia el cielo (2019), explores another significant direction – in this case up. Scored for any number of piccolo players, this opens with a long, sustained piccolo tone whose pitch is slightly bent even as others join in at almost the same frequency. All of this soon becomes shrill and very penetrating. The sounds bounce around in the listener’s ear becoming almost painful at times. Short, breathy sounds are heard in the background providing some relief while the pitches in the foreground climb ever higher. By 4:20 some piccolo notes are heard in a more conventional register and this soon evolves into rapid runs and phrases that increase in complexity. The lines are independent and flighty, resembling nothing so much as a flock of chirping birds. At 6:50 the piccolos return to multiple sustained sounds with pitches that are within a few cycles of each other. This slows down to a stretch of breathy sounds that bring out a remote and desolate feeling. A flurry of active phrases appear amid the windy sounds but these gradually decline in number until fading at the finish. Tótem II, Miro hacia el cielo artfully captures exactly what you would expect looking upward into nature’s sky.

Tótem I, Camino sobre la tierra (2019), track 2, roughly translates to ‘I walk on the earth’ and is more introspective. Soft gong chimes followed by silence open this, creating a mystical and exotic feeling. The oboe enters with long, mournful tones that bend upward in pitch. The percussion continues independently, allowing the oboe to continue the exploration of an unknown emotional terrain. At length, a drum beat is heard as the oboe line turns shrill, producing a sense of distant menace. A flurry of oboe runs and percussion sounds follow, bringing Coltrane briefly to mind. The oboe ceases and soft percussive notes fade quietly to the finish. In Camino sobre la tierra it is clear that the most exotic direction is inward.

The other four tracks offer further perspectives on the inner influence of direction. Torre del Sur (2014) or ‘to the south’ is scored for five bowed string parts and opens with very soft sounds suggesting a quiet and rural landscape. More intense and complex stretches arise that sound happily chaotic in detail, yet are cohesive in the whole. There are also soft interludes so that one is reminded of the many complex cultures that are scattered throughout the mostly wide open spaces of the Mexican countryside.

Amy Cimini’s excellent liner notes state that “With Torre del Oeste, the cycle ends with laughter, facing west.” This piece is scored for any number of woodwinds and, as each player enters in turn, the intensity increases and exotic harmonies multiply. This piece can be quietly mysterious at times, becoming more actively shrill and almost painful to the ear. The woodwind players confidently navigate this complex musical terrain as alternating cycles of frenzy and repose continue throughout. Slowly the sounds de-escalate and become just a few solitary twitters, declining in volume as the piece fades to a close. Torre del Oeste certainly could be the musical equivalent of ‘gales of laughter’ and is a fitting conclusion to The Torres Cycle.

Using the concepts of direction and location, The Torres Cycle seeks to delineate the confluence of our cross-border cultures. Wilfrido Terrazas continues to build bridges of cultural understanding through the language of new music.

The Torres Cycle is available directly from New Focus Recordings and Amazon Music.


by Paul Muller
CDs, Contemporary Classical, File Under?

Dream Syndicate, “Every Time You Come Around” (Bandcamp)

The Dream Syndicate release the album “Ultraviolet Battle Hymns and True Confessions” on Fire (June 10th). The group has dropped a teaser track, “Every Time You Come Around:” see the embed below.

by Christian Carey
CD Review, Contemporary Classical, Dance, Experimental Music, Los Angeles

Alex Wand – Music for Dance 2017-2020

Music for Dance 2017-2020, by Alex Wand, is a new album of selected electronic instrumental music created as accompaniment for choreographed dance. Wand’s experience with the local dance community is extensive and includes residencies with the LA Dance Project, Los Angeles Performance Practice, REDCAT, and Metro Art LA. According to the liner notes, Wand has worked with choreographer Jay Carlon “ …as a collaborator on his site-specific dance theater productions and dance films…” This collection consists of eight tracks of electronic music, primarily realized using modular synths. Although Wand’s supple voice is absent from this album, the inventive sounds he creates provide an open and inviting framework for interpretive dance.

Composers working with dance companies have a distinguished history in new music. Lou Harrison often collaborated with dance choreographers during his career. John Cage famously devised the prepared piano to give his accompaniment more percussive punch, assisting the dancers to better follow the beat. The closest piece to the traditional forms of dance music in Alex Wand’s new album is Crest, track 5, which provides a repeating phrase at a brisk tempo that is mostly percussive in texture. This piece feels like dance in that it encourages movement. The rounded tones are subdued but active, and interesting harmonies develop as the repeating phrases evolve.

Out of Bounds, track 3, further explores the percussive texture but with a different expressive intent. This begins with a strong beat and rapid electronic pulse. The drum beats occasionally vary in pitch and volume so that the feeling is like being inside of a helicopter. A sine tone is heard and the rhythms change up, becoming more broadly mechanical. The pulses here are less a guide for body movement and more a framework that allows the dancer to react. Other tracks in the album encourage a similar response. Flocking, track 1, is typical with deep, sustained tones setting a warm foundation while a repeating, syncopated chirp in the higher registers convincingly evokes other worlds. There is a feeling of open grandeur to this that engages the listener while allowing the dancer full scope for interpretation.

Four Triangles features four synthetic tones with differing pitches and duration. The pitches are based on the resonant frequencies of pieces of sheet metal and the processed sounds are somewhere between a pure sine wave and a bell chime. These attractive tones blend well together and form engaging harmonies. Signal, track 7, consists of complex electronic sounds that seem to be emulating a message of some sort. Low, sustained tones compliment the beeps and boops in the upper registers. This ends dramatically as the signals fall away leaving just the lower tones. The other pieces in this album are similarly intended to give the dancers a wide canvas for expression.

Although often abstract and otherworldly, Music for Dance makes for an excellent contrast with the obvious human element that the dancer provides. Alex Wand writes: “The tracks feature fluctuating synth pulses, swirls of noise textures, and pitch-shifted recordings of planetary magnetospheres… I composed these pieces with the intent to leave room for the dance to speak and hope that this sense of spaciousness is translated to the listener as well.”

In addition to the electronic realization of his accompaniments, Wand has also experimented with physical inputs such as wireless accelerometers and contact microphones to provide a path for interaction between the movement of the dancer and the music. Music for Dance 2017-2020 adds a 21st Century sensibility to the long-standing collaboration between new music and interpretive dance.

Music for Dance 2017-2020 can be heard at Bandcamp.


by Paul Muller
Contemporary Classical, File Under?, Opera

Rhiannon Giddens sings “Julie’s Aria “from her new opera (Video)

Rhiannon Giddens, along with guitarist Bill Frisell and percussionist Francesco Turrisi, perform “Julie’s Aria” from Giddens’ first opera, Omar. Premiering at Spoleto, the opera is receiving productions at a number of prominent houses. Here is an audio stream via YouTube. Giddens is busy with myriad projects, but her singing is so compelling here: dare Spoleto offices hope for a cameo?

 

by Christian Carey
Chamber Music, Classical Music, Composers, Concert review, Concerts, Contemporary Classical, New York, Orchestral, Review, Twentieth Century Composer

The Parker Quartet premieres Jeremy Gill’s “Motherwhere”

April the First proved a propitious date for the New York Classical Players’ much anticipated program featuring a new collaboration – and premiere – with the Parker Quartet. In the mere twelve years since their inception, NYCP has consistently brought spirit and devotion to so much of what they do, and this early Spring concert at W83 Auditorium was no exception. In many respects, the highlight of the evening was Jeremy Gill’s joyous new work, “Motherwhere,” a concerto grosso for the Parker Quartet and NYCP. But well-worn, oft’-loved music by Tchaikovsky was also on offer, delivered with great heart. And that is how the evening began:

Opening the program as soloist in the Andante Cantabile for cello and strings, Madeline Fayette, (NYCP’s own), commanded centerstage. Forthright, with an immediate brand of lyricism, Fayette radiated warmth from her cello, upheld by a muscularity of execution. Her global tone seemed born of a seductively dark palette. While lush and nourishing was Fayette’s romantic sense, the coloring became all too similar at times. One hankered for more variety in sonority, extracted from the piano end of the dynamic spectrum. Brighter hues too, would have enhanced an admittedly emotionally satisfying reading. Conductor Dongmin Kim guided the chamber orchestra deftly, ever sensitive to Fayette’s richly etched lines. Notably, Tchaikovsky’s moments of silence were realized expertly by Fayette, aided again by the orchestra’s soft touch. At times it seemed as though conductor Kim was a little too aloof and might well have taken opportunity to invigorate the proceedings with contrasting textures and inner accompaniment parts, especially from the upper strings.

 

Photo credit: New York Classical Players

From the start, it was apparent that NYCP has an affinity for Tchaikovsky and such canonic works remain a hallmark of their repertoire. The second Tchaikovsky item on the program was the irresistible Serenade for Strings of 1880. It can easily be observed that the New York Classical Players straddle two worlds: that of a high-level ensemble who don’t really need a conductor, and that of the effortless sinfonietta who follow their leader with attentive skill and palpable delight. NYCP’s performance of the Serenade threw both spheres into sharp relief.

From the outset of Movement 1, this “Pezzo in forma di sonatina” bristled forth with an excess of springtide energy and conviction. Every single player was committed to the sum of the parts and proved adept at sweeping, upsprung passages. The full-blooded fortes were ever impressive, generous in their tonal production. The orchestra seemed less able to dig into the finer work of textural detail and soft timbres; refined aspects of blending were, at times, problematic. Nevertheless, moments of delicacy and whispered tunefulness were gloriously realized in the third movement, the Élégie.

In what has come to be earmarked as a personal work from Tchaikovsky, the Serenade’s folksy tendencies were cleverly enlightened by NYCP. At times, the spirit of Dvorak came to mind, as dance elements and rhythmic physicality were exemplified by the orchestra, flattering much of the performance. Kim’s conducting was precise and encouraging yet missed the larger picture. A “bird’s eye view” of this music would have been more satisfying.

A particularly memorable solo from the concert master nearly stole the show but it seemed to encourage the entire ensemble to really shoot for the top in the final movement, rhapsodically reaching every phrase with a breadth of expression. (This approach does prove effective – and often necessary! – in Tchaikovsky’s music.)

The evening’s premiere, Jeremy Gill’s Motherwhere, leapt to an earnest start, giving ample platform to the Parker Quartet’s myriad attributes. Vitality and playfulness abounded as this concerto grosso was set A-reveling, an ideal showcase for what the Parkers have become celebrated for. Characteristics of each of the four solo instruments (the concertino) bubbled happily to the fore, where divergent gestures narrated a candid mode of expression, integral and benevolent, perfectly suited to the musicians Gill so reveres. During a recent interview, the composer declared his affection for the Parker Quartet: “Writing for them is a joy, and I hope that joy is manifest in the notes I write for them.” He also emphasized his desire for “creating ideal environments in which ensembles can play and sound their best.” Motherwhere boasts eclectic source material, various in its own inspirations. Night School: A Reader for Grownups (2007) is a book of stories by author, Zsófia Bán. This was the starting point for Gill in an endeavor to “evoke, musically, the experience of reading her book.” The structure of Gill’s musical “metamorphosis” indicated itself, as he converted Bán’s “bag-of-tales” into a tightly wrought, nearly continuous set of twenty-one bagatelles. Self-proclaimed, this represents his objective to “match up the emotional evocations of the music and the tale.”

 

Composer Jeremy Gill; photo by Arielle Doneson

The Parker Quartet divine much from Gill’s 슬롯사이트 economy of means, transforming terse, even simple motives into a lingua franca for the listener to relish. Elements of familiarity are welcomed, as Gill’s sunny, near-hummable lines ring of truth and of beauty, distilled with a congenial dose of Americana. His carefully considered formal structures urge a dramatic, even theatrical, listening experience. Also finding folk aspects implicit to the string orchestra profile itself (cf. Tchaikovsky), Gill’s penchant for highlighting the concertino serves his purposes well; lower strings were especially punctuated. Some extended techniques proved effective throughout Motherwhere, often serving as percussive devices (ie. pizzicato, strumming and glissandi). The unison passages, while arresting, posed intonation challenges and became cumbersome, if not gritty.

 

 

Jeremy Gill’s vision of form, interaction and brightness of spirit must be thoroughly commended here. Through strength of artistic vision, technical expertise and familiarity with the commissioning ensemble, the composer has achieved a kind of cinematic, fictive musical world, jolly and inviting.

Equal enthusiasm for Zsófia Bán’s literary talent cannot be overstated. Indeed, her “bag-of-tales” might be requisite reading after this musical premiere. Bán herself mused on the “accidental encounter” that composer Gill had with her work. She likened it to “the clicking of two billiard balls on a global pool table.” And the entire performance at West 83rd Street, on this first April night in 2022, had that very air about it: a spirited, celebratory meeting of like-minded colleagues and friends. The specter of Antonio Vivaldi, with his ubiquitous provenance of “Spring,” saluted us too from on high.

 

NOTE: This concert review dates from a performance on Friday, April 1, 2022 at W83 Auditorium, New York

 

 

 

by Adam Sherkin
CD Review, Contemporary Classical, Microtonalism

Peter Thoegersen – Alien Music

Magic&Unique Records has released Alien Music, a collection of the early works of Peter Thoegersen that combine alternate tuning with polytempic meters. With pieces dating from 2002, this album offers a baseline view of Thoegersen’s long-time exploration of the interrelationships between pitch and rhythm. As he writes in the liner notes: “Alien Music is essentially my first Polytempic Polymicrotonal piece composed from a four part drumset composition in four simultaneous meters/tempos: 3, 4, 5, 7, all played in one sitting. There are additional microtonal instruments added in different tunings: 12tet, 19tet, 7 tone slendro, and 5 tone pelog, tuned to parity with 7-limit just.”

The album consists of Alien Music and seven other tracks that incorporate a variety of experimental tunings, meters, different types of percussion, electronic sounds and even spoken phrases or chant. Thoegersen also includes original etudes and studies that reach back to the earliest realizations of his imaginative musical formulations. All the tracks on the album can be called alien in the sense that they sound otherworldly, but there is a double meaning in the album title: Thoegersen’s Polytempic Polymicrotonal music is also alien to all that has gone before it.

The title track, Alien Music, is perhaps the most developed piece of the collection. This opens with a steady percussive beat and an engaging microtonal melody in the marimba. Thoegersen’s crisp drumming weaves in and out of the texture, supported by an ambient wash in the deep background. The contrast of the frenetic drumming, cymbal crashes, marimba line and luminous bell tones with an undercurrent of languid strings is at once unsettling and engaging. The mixing is carefully crafted and does not unnecessarily favor any one element, allowing each to add to the total. The level of tension rises and falls as the piece proceeds, depending on what sounds are heard in the foreground. The active drumming subsides and then builds up in cycles and the ambient strings occasionally dominate to produce a mysterious feel. A nice groove develops in the percussion towards the finish and the piece ends with a soft bell tone that seems to hang in the air. For all its rhythmic and harmonic complexity, Alien Music holds together convincingly, with each unique element contributing to a cohesive and pleasing overall sound.

Other pieces on the album explore subsets of the polytempic and polymicrotonal possibilities that were incorporated into Alien Music. The shortest piece of the album is Polymicrotonality Etude VII, and this contains just an unintelligible echoed voice with bell microtones, one complimenting the other to create an increasingly anxious feel. Gorgeous Monstrosity, track 2, starts with a light tapping and scuffing, continually building to eventually include mechanical percussion and chimes. There is less integration of rhythm and pitch in this track but nevertheless it conveys a distinctively alien feel. Iraq, track 7, features more of Thoegersen’s solid drumming along with an almost conventional accompaniment of synthesized rock band and electronic keyboard. A sort of rough spoken rap is heard against a lyrical contrasting vocal line, and the ensemble works effectively to make a political statement critical of the invasion of Iraq. The other tracks of Alien Music are much like watching experiments in a laboratory, with each trying assess the potential of various combinations of ensemble, rhythm and tuning.

The impact of alternate tuning in contemporary music is still working itself out. Originally employed as a way to restore some character to the compromised conventional 12-tone equal temperament scale, alternate tuning has become a highly mathematical and theoretical discipline as well as an ongoing search for new harmonic syntax. Adding a polytempic component in addition to the microtone pitch set has been Thoegersen’s line of inquiry for over 20 years. His later works, such as Three Pieces in Polytempic Polymicrotonality from 2019, show a more mature handling of the polytempic polymicrotonal paradigm and are worth hearing for comparison. Alien Music provides a look into the origins of this system and gives us bright flashes of its future promise.

Alien Music is available for listening and download on Spotify.



by Paul Muller
CD Review, Contemporary Classical, File Under?

Molly Tuttle – Crooked Tree on Nonesuch (CD Review)

Molly Tuttle and Golden Highway

Crooked Tree

Nonesuch

 

Songwriter, vocalist, and guitarist Molly Tuttle makes her Nonesuch debut with Crooked Tree. Co-produced with dobro virtuoso Jerry Douglas, the release includes a number of prominent traditional musicians as collaborators and focuses on Tuttle’s connections to bluegrass and roots music. Previous releases have seen Tuttle sit astride pop and bluegrass, and while Crooked Tree emphasizes the latter, the memorability and single-worthy character of many of its songs reminds us that she is a versatile and formidable talent. 

 

Tuttle plays guitar in a flat-picking style and at turns plays nimble lead lines and boisterous rhythm. A showcase for her playing is “Goodbye Girl.” On this track, as elsewhere, Douglas makes the perfect addition to the proceedings, seamlessly integrating his formidable chops into arrangements with Golden Highway. His solo on “Goodby Girl” is simultaneously fleet and soulful. Tuttle’s band Golden Highway, which consists of fiddle-player Bronwyn Keith-Hynes, mandolinist Dominick Leslie, banjo-player Kyle Tuttle, and bassist Shelby Means, are a formidable combination, all equally comfortable taking a solo turn as well as being imaginative yet rock solid ensemble players. Other musicians joined the sessions in Nashville, including bassist Viktor Krauss, drummer Jerry Pentecost, and harmonica-player Cory Younts. Ketch Secor co-writes several songs with Tuttle and contributes mandolin. Melody Walker is another co-writer and sings backing vocals on the album. 

 

The title track starts with a slow build to the chorus, upon which we get the full band providing a vintage bluegrass arrangement, with a stirring fiddle solo from Keith-Hynes. “She’ll Change” and “Over the Line” show the assembled musicians to excellent advantage. Kyle Tuttle’s banjo takes the instrumental spotlight on “Flatland Girl,” while Margo Price contributes vocals. The layering of her voice with Tuttle creates a beautiful blend. Adding Old Crow Medicine Show to the “Big Backyard” creates another highlight focusing on group singing, a verse with a memorable hook followed by ebullient choruses. Guitarist and singer Billy Strings joins Tuttle on the blues shuffle “Dooley’s Farm.” The waltzing “San Francisco Blues” is a melancholy duet with Dan Tyminski. Perhaps the biggest star turn is Gillian Welch’s appearance on “Side Saddle,” a ribald, rousing showcase for the vocalists with great licks from Douglas. 

 

Left to their own devices, Tuttle and Golden Highway provide equally compelling performances. “Nashville Mess Around” is great fun – a hootenanny, complete with yodeling. “The River Knows” has a haunting melody that alternates sparsely arranged accompaniment of the singing with intricate instrumental breaks.“Castilleja” co-opts the melody of “Poor Wayfarin’ Stranger,” but takes it uptempo. The album  closes with a moving song, “Grass Valley,” which deals with family and loss with an uplifting sensibility. Crooked Tree is a compelling, uniformly excellent recording. Recommended. 

 

-Christian Carey

 

 

 

by Christian Carey
CD Review, Contemporary Classical, Music Instruments

MicroFest Records – Harry Partch, 1942

Harry Partch, 1942 is a combination CD and printed hardcover book from MicroFest Records that documents the events leading up to Partch’s pivotal recital in Kilbourn Hall at the Eastman School of Music on November 3, 1942. This proved to be the turning point in Partch’s career, after many years of frustration and hardship pursuing his innovative tuning theory. The CD contains the original recording of the recital and lecture at Kilbourn Hall and includes The Lord is My Shepherd, selections from Seventeen Lyrics by Li Po and the iconic Barstow. The book brings together notes, letters, newspaper accounts and Partch’s own artistic manifesto. When combined, his recorded words and music produce a deeper appreciation of this immensely influential composer.

Those who follow new music at some point become aware of Harry Partch as a pioneer of alternate tuning theory and the creator of handmade acoustic instruments. We have likely heard a performance of the popular Barstow and formed a rather hazy image of Partch as a luckless vagabond toiling away in obscurity. While all this is partly true, Harry Partch, 1942 provides a wealth of material that illuminates an active and highly developed intellect that will cause even the most doubtful listener to reconsider the value of his work.

In the center of the book is a reproduced copy of Partch’s hand-typed resume: “The Music Philosophy and Work of Harry Partch Composer – Instrument Builder and Player – Theorist.” This occupies a dozen pages and includes sections on his music theory and system, notation, his instruments and a personal biography. This alone makes Harry Partch, 1942 worth owning. The biography is especially revealing and describes his early interest in the science of wave theory – especially the Helmholtz-Ellis book Sensations of Tone. This resulted in the conviction that conventional music lacked ‘true intervals’ and the remedy Partch proposed was a tuning system that contained no less than 43 divisions of the octave. He soon began building several specialized musical instruments designed to achieve this. The book also describes how Partch continued his private research in the British Museum in London, studying Greek and other historical tuning systems. A visit with W.B. Yeats in Dublin evolved into the theory of ‘speech music’; the idea that music should contain the inflections and rhythmic patterns that give human speech its emotional power. The depth and discipline of Partch’s self-directed study is astonishing.

Harry Partch, 1942 also describes the difficulties he endured during his long struggle to advance his unique musical vision. Partch worked for a time in the proofing rooms of various California newspapers as well as other odd jobs to support his art. Always short of funds, he nevertheless continued to experiment with tuning and the construction his instruments. He was, as he described in his biography, “…beginning to retrace the whole history of the theory of music.” When the ‘adapted viola’ was completed Partch gave countless demonstrations and networked among local California musicians and music patrons. He applied for, and was awarded, a Carnegie Grant of $1500 that allowed him to travel to England to further his research. Upon his return he lived in a small cabin in Carmel, CA to further refine his new instruments. Eventually Partch built the viola, two reed organs, a kitharn and the adapted guitar. As compiled by John Schneider, the liner notes and text in Harry Partch, 1942 covers all of this in detail, without being tedious or boring.

The book also describes Partch’s 1941 epiphany in Carmel, the legendary two-week hitch-hiking journey to Chicago and his efforts there to promote his music. Famously, Partch arrived in Chicago with just ten cents in his pocket but soon embarked on a series of undesirable jobs while supporting his music. There is a copy of a November, 1941 concert bill at the Chicago School of Design, where Partch performed, that also included works by John Cage and Lou Harrison. The book also has copies of the letters that Partch wrote to various new music luminaries to solicit support, and these efforts ultimately gained him an invitation from Howard Hanson to lecture and perform at the Eastman School the following year. Harry Partch, 1942 carefully lays out the sequence of circumstances that led up to this decisive moment in his career.

The CD included with the book was crafted from the original recording of his appearance in Kilbourn Hall. The CD is divided up into 16 separate tracks, each containing a distinctive element of the lecture. The first thing you notice is that, although not studio perfect, the quality is surprisingly good given the technology of the early recording machines in use at the time. Scott Fraser’s restoration work here is especially noteworthy. Partch’s lecturing is also remarkable in that he is articulate, thoughtful and always in full command of his subject. The explanations and demonstrations of his tuning scheme and instruments are full of technical detail, yet concise and eloquent. His engagement with the student audience is notable, especially with his singing and sly humor. No doubt Partch had much previous experience presenting his ideas, but his delivery in this recording is polished and a pleasure to hear.

In the CD, Partch describes and then demonstrates his speech music technique with The Lord is My Shepherd (23d Psalm), sung and accompanied by the composer playing the chromolodian. The adapted viola is introduced and then used to accompany several of the Seventeen Lyrics by Li Po. This proves to be a more effective demonstration with the exotic drama of the English translation nicely complimented by the timbre and diverse pitch set of the viola. An enthusiastic ovation follows, doubtless inspired by Partch’s masterful playing as the vocals are clearly heard working in tandem with the expressive lyrics. Far from his reputation as the rumpled vagabond, Partch here shows himself to be a first-rate performer.

The final sections of the CD are devoted to Barstow, with Partch describing his adapted guitar along with the background and origins of this enduring work. As Barstow is speech music, based on the interaction between the singing voice and accompaniment, we have in this fine recording the definitive performance by it’s talented composer.

Harry Partch, 1942 is a brilliantly organized portrait of the events in a critical year for Harry Partch – and for new music in general. This handsome book, with its meticulously engineered CD, belongs on the bookshelf of anyone who is studying or working in alternate tuning.

Harry Partch, 1942 is available from MicroFest Records and Amazon.




by Paul Muller