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’sConcerto for Violin and Orchestra. To celebrate Thea Musgrave’s ninetieth birthday, the strings of the orchestra will perform the composer’s Aurora.
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)
NEW YORK – ECM Records has released a number of great solo bass recordings. The label’s producer, Manfred Eicher, was himself a bassist, and he has invited a number of fellow low string players to record for ECM. Barre Phillips is a pathfinder in the genre, releasing one of the first solo bass recordings, Journal Violone, on Opus One in 1968. Eicher and he have been keen collaborators for many years, beginning in 1971 with a duo recording of Phillips with Dave Holland, Music from Two Basses, the first of its kind, which was followed by a number of solo and ensemble outings for ECM. In 2018, the imprint released what was announced as Phillips last solo CD, End to End, which he called the last entry in his “Journal Violone.”
It has been more than thirty years since Phillips last performed in New York. Originally from San Francisco and long a resident of France, much of the bassist’s career has been made playing in Europe. On Monday, May 20th, he appearedat the Zürcher Gallery, an art venue on Bleecker Street in lower Manhattan. The crowd was standing room only and contained a number of jazz and experimental music luminaries. They were attentive and enthusiastic throughout.
Phillips turns eighty-five in October. In his performance on Monday night, he appeared energetic and fit. He easily hoisted a sizeable double bass to his shoulder, and deftly moved it around to play its entirety: not just the strings. His playing and demeanor are vibrant, inquisitive, and often imbued with puckish humor.
The bassist gave a veritable masterclass of standard and extended playing techniques. The latter appear prolifically on End to End, among them high harmonics, different varieties of strumming such as plucking notes with both hands, a number of approaches to bowing, microtones, glissandos, and all manner of percussive playing. However, the CD intersperses these with a fair bit of cantabile playing. Less of that was on offer live. Instead, with a mischievous twinkle and disarming banter, Phillips went to work showing what it meant to “do your own thing” when, as he described it, career paths in more traditional jazz and classical music were denied him.
Each piece, most of them improvised but some selections fromEnd to End that had been crafted into compositions, centered on a different palette of techniques. At times Phillips played his instrument caressingly, seeming to coax delicate high notes and thrumming vibrations from the strings at a pianissimo dynamic. At others, he virtually attacked the instrument, scratching it from stem to stern with his bow. If a luthier were in attendance, they would have likely had a panic attack.
There was considerable variation in the harmonic vocabulary employed. Some of the music was in the ‘out’ post-tonal language of free jazz. Phillips also supplied an etude of octaves, another of open string drones, a third a chameleon-like shift to Eastern scales and gestures, and on “Inner Door, Pt. 4,” a plaintive modal jazz solo grounded in double-stopped fifths. Here, as elsewhere, Phillips displayed a penchant for executing a long, unerringly controlled decrescendo, bringing the music to a whispered close. Zürcher was an ideal location in which to hear these small details: an intimate space but one with good acoustics.
It is unfortunate that New Yorkers haven’t had more opportunities to hear Barre Phillips up close and personal. His performance was an unforgettable experience. Phillips joins Mat Maneri, Emilie Lesbros, and Hank Roberts for a performance on Saturday night at 8 PM at Brooklyn’s I-Beam. One more chance …
CAMBRIDGE – Blue Heron’s Ockeghem@600 project has steadily worked its way through much of the composer’s repertoire. On March 9th at First Church, one of the most special evenings of this series was performed: Johannes Ockeghem’s Missa Prolationum. The mass is constructed almost entirely out of a set of double canons, presenting imitative counterpoint throughout and at every scalar interval (a feat only matched by Bach’s Goldberg Variations, but Bach’s include single, not double, canons). The jaw-dropping intricacies of this work’s construction, and the comparative irregularity of its presentation on concert programs, made me more than happy to make the trip from New Jersey to Boston to experience it live.
Johannes Ockeghem, who died in 1497, was during his lifetime highly esteemed as both a composer and singer (some say the low bass lines one sees in his music would likely have been performed by Ockeghem himself). A number of composers and theorists referenced his music, employing it in paraphrase and parody works and holding it up as a paragon of craftsmanship. One of Josquin’s most affecting pieces is Nymphes des bois, a Déploration on the death of Ockeghem. So why isn’t he a household name today among choral enthusiasts? The challenges posed by pieces like Missa Prolationum keep them beyond the reach of any but the most skillful and dedicated ensembles. This is where Blue Heron’s Ockeghem@600 project comes in, raising both awareness for the composer and demonstrating that, while formidable, his is eminently singable music.
Scott Metcalfe, Blue Heron’s director, carefully curated the program both to elucidate and to entertain. The concert opened with a brief canonic work by Jean Mouton, Ave Maria gemma virginum, which served as a talking point for a brief but animated lecture by Metcalfe. The singers of Blue Heron helped him to illustrate several musical examples that explicated the process of canon and how it was used by Ockeghem. Further demonstration of canonic procedure was provided by Prenez sur moi, one of Ockeghem’s most famous songs.
The program continued by interspersing some of Ockeghem’s songs with movements of the mass. Given the compositional rigor of Missa Prolationum, the inclusion of other music smartly broke it up into more manageable chunks for listeners. It also served to demonstrate the composer’s versatility; the chansons may not include double canons like the mass but are equally inventive in their own respective ways.
Throughout, Blue Heron sang with impressive tone, flawless intonation, and incisive rhythmic clarity. Indeed, the latter characteristic was particularly efficacious. One of the chief rewards of their rendition of the mass was being able to hear, clearly delineated, a veritable labyrinth of interlocking rhythms. As is their practice, Blue Heron shifts around the members of the ensemble (numbering nine singers plus Metcalfe directing and playing harp) from number to number. The upper part features both male and female voices and the rest of the singers, when singing solo, are heterogenous in tone color as well. However, when they join voices, the group adopts a resonant and supple blend.
The performance was inspiring, and the onstage remarks were spot-on in terms of content, level of detail, and duration. In addition to memories of the fine music-making, audience members left with another keepsake: a lovingly curated and detailed program book that was remarkably in-depth for such a document. It was yet another indication of the level of commitment that Metcalfe has brought to the Ockeghem@600 project. Blue Heron’s forthcoming recording of Ockeghem’s complete songs is not to be missed.
On Wednesday May 8th, Urban Playground Chamber Orchestrapresents the New York premiere of Florence Price’s Violin Concerto No. 2, music by Harry T. Burleigh, and a rarely heard oratorio, And They Lynched Him on a Tree, by William Grant Still. The program, titled From Song Came Symphony. fits the ensemble’s mandate to prioritize the performance of composers who are women and people of color. It focuses on the legacy of Burleigh. I recently caught up with UPCO’s conductor Thomas Cunningham, who told me more about the concert.
Cunningham says, ”I found programmatic inspiration in Jay-Z lyrics: Rosa Parks sat so Martin Luther could walk / Martin Luther walked so Barack Obama could run / Barack Obama ran so all the children could fly.”
“Burleigh wrote art songs so that the following generation – William Grant Still, William Dawson, and Florence Price – could write symphonies and concert works. Burleigh’s incorporation of African American music into Western art music, and his advocacy for this new American music genre through his work at Ricordi, had a vast influence on remarkable composers of color in America.”
Florence Price’s work has recently been receiving significant attention. Cunningham feels that Violin Concerto No. 2 will be a highlight of the concert. “Price’s second violin concerto is wonderfully idiosyncratic. The concerto is in so many places defined by its subtle and yet robust brass writing, atypical especially for a concerto for string instrument. All the while, this work demonstrates a novel voice, both aware and in touch with various traditions, but carving out singular nuance and identity.”
UNC-Chapel Hill Ph.D. candidate Kori Hill will deliver a pre-concert lecture at the event. Of Price’s work, she says, “This concerto, completed just one year before Price’s untimely death in 1953, is a fascinating example of her applications of African American vernacular and Western classical principles. It is an important component to understanding and fully appreciating her contributions to American classical music. We hope Price’s Violin Concerto No. 2 becomes a staple of the violin repertory in the years to come.”
In addition to the aforementioned works, the program also includes a movement from Dvorak’s Ninth Symphony. Cunningham says that the included excerpt is connected to multiple pieces on the program. “Incorporating the Largo from Dvorak 9 serves a dual purpose: first, to demonstrate the tangible connection between the spirituals sung by Burleigh to Dvorak, and second, to mirror the premiere of Still’s And They Lynched Him on a Tree, which also included the movement.”
This is the fifth year that UPCO has been active. Their advocacy is laudable, and the group has musicianship to match its ambition. Cunningham and company are persuasive performers of both standard-era repertoire and more recent music. May 8th’s concert should be a memorable one.
Urban Playground Chamber Orchestra and Harry T. Burleigh Society present