I was fortunate to hear the US premiere at New York’s Weill Recital Hall by Ralph van Raat of Pierre Boulez’s early work Prelude, Toccata, and Scherzo (1944). Composed when he was just nineteen, the piece is a substantial one, twenty-seven minutes long. Unlike Boulez’s works from 1945 onward, as is evidenced by a recording here of 12 Notations from that year, the piece predates his fascination with Webern and total serialism, instead seeking a rapprochement between tradition and Schoenbergian dissonant harmonies. Van Raat’s recording of the work for Naxos is authoritative, details large and small shaped with impressive care and bold playing.
“Prelude, Toccata, and Scherzo” serves as the centerpiece of the French Piano Rarities recording, but it is accompanied by fascinating fare. In addition to the aforementioned, a late Boulez piece, Une page d’éphéméride, is also included, resembling late Stravinsky in its use of small repeating collections in post-tonal fashion. Olivier Messiaen is represented by three pieces, Morceau de lecture á vue from 1934, with strong polychordal verticals, two movements from the piano version of Des canyons aux étoiles…, filled with birdsong and color chords, and La Fauvette passerinette from 1961, a rapid birdsong essay.
Three earlier works by French masters are included: a gently ephemeral Menuet from mid-career Maurice Ravel, and two late pieces by Claude Debussy: Étude retrouvée and Les Soirs illuminés par l’ardeur du charbon. They all prove that, past the well-worn selections one frequently hears on recitals, there are many underserved pieces that hardly deserve to be “rarities.”
Sophie Schatleitner, violin; Lorelei Dowling, bassoon;
Klangform Wien, Stefan Asbury and Peter Rundel, conductors
Kairos CD 00140220KAI
Composer Liza Lim’s creative projects have long embraced a variety of ecomusicology. The environment in her home country Australia and the treatment of indigenous peoples there have featured in several works. 2018’s Extinction Events and Dawn Chorus casts an even broader net, addressing concerns of climate change worldwide. Scientific studies assessing projected extinction of flora and fauna due to the impact of the climate change disaster suggest that, unless humanity changes its ways quickly, a vast number of creatures vital to the ecosystem will no longer remain.
Narrative in instrumental music is an elusive business. However, like John Luther Adams and R. Murray Schafer, Lim is adroit at creating aural imagery that is evocative of environmental subject matter. Rain sticks, air-filled noises, and terse, insectile solos provide a sense of place and population to the piece. Baying brass announce movement breaks with poignant glissandos. The third movement, Autocorrect, features fluid solos by violinist Sophie Schatleitner offset by microtonal bends in the brass and flourishes from winds and percussion. During Dawn Chorus, the last movement, extended woodwind drones and terse sepulchral lines provide a slow-moving, harmonics filled background.
Especially impressive is the 2013 solo bassoon piece Axis Mundi, which is performed by Lorelei Dowling. Angular lines and glissandos that frequently fade are set against boisterous trills and blatting bass notes. It parses the piece into clear registral areas to create post-tonal and timbrally enhanced counterpoint that allows the disparate parts of the piece to cohere.
Songs Found in a Dream uses a similar palette as Extinction Events, feeling something like a more boisterous sketch for the larger work. However, Songs’ quicker pacing and frequently saturated textures distinguish it from the latter piece. On both works, Klangforum Wien creates supple, nuanced, and, where necessary, powerful performances. The Kairos CD sounds excellent, with a strong feeling of dimensionality among the various parts of the ensemble. Highly recommended.
Sequentia Cyclica – Super Dies Irae ex Missa Pro Defunctis
Jonathan Powell, piano
Piano Classics PCL10206 (7 CD boxed set; digital)
Kaikhosru Shapurji Sorabji (1892-1988) was the composer of some of Western classical music’s most intricate, extended, and ambitiously virtuosic works to date. His output encompassed seven decades, from 1914-1984. The serial composer Milton Babbitt, often himself described as the creator of tremendously difficult pieces, ranked Sorabji, alongside Brian Ferneyhough, as the most complex composers of the Twentieth century (Talking Music, William Duckworth). This is not just due to the massive scope of the pieces – several last a number of hours in duration – nor to their formidable technical demands, although both of these aspects of Sorabji’s music are ubiquitous. The notation of the music poses challenges as well. It is a welter of corruscating counterpoint and its rhythmic shapes are seldom delineated with bar-lines; nor do their gestures readily suggest metricity. Dynamics and tempo indications are infrequent and the music is often laid out on several staves. Thus, a lot is left open to interpretation.
Despite these challenges, Sorabji’s music is being documented by stalwart performers. Happily, a performance practice for the music is taking root that is helping to clarify some of the aforementioned difficulties. Noteworthy among these interpreters is the English pianist Jonathan Powell, who has championed the composer for over two decades. He has taken a number of Sorabji’s works in manuscript and transcribed them into performing editions, toured them widely, and begun the challenging task of creating recorded documentation of the piano oeuvre. His most recent project has been Sequentia Cyclica, a piece lasting nearly eight hours that he has presented in marathon single-day concerts in the United Kingdom, Europe, and the United States. Piano Classics has released a seven-CD boxed set of Powell’s rendition of the piece. It is an extraordinary recording of a totemic work.
Sequentia Cyclica (subtitled Super Dies Irae ex Missa Pro Defunctis) is a set of twenty-seven variations on the Dies Irae sequence from the Catholic liturgy of the Mass for the Dead. Composed sometime in the thirteenth century, the Dies Irae has taken on extra-liturgical significance through its use in a number of concert works from the nineteenth and twentieth centuries, most famously in the Symphony Fantastique by Hector Berlioz, but also in a plethora of other piece including ones by Rachmaninoff, Saint-Saens, and Dallapiccola. Sorabji’s employment of the theme serves multiple ends. It gives a nod to its presence in works by predecessors, particularly in Rachmaninoff’s piano music, it serves as a contrapuntal motive that is treated with a near-encyclopedic array of variants, and, judged by the voluble praise-filled postscript appended to the work, as an object of Christian devotion. Sorabji made an initial (201-page long!) pass at a set of Dies Irae variations in the 1920s. They were to be dedicated to the recently departed composer and pianist Ferruccio Busoni, but the piece was withdrawn in favor of the 1949 version recorded here, dedicated to Busoni’s pupil the pianist Egon Petri (1881-1962).
True, eight hours is a long time to fill with a very familiar melody, but Sorabji creates a startling array of presentations, sometimes only employing the head motive and at other times the entire sequence. Elsewhere, it is submerged in other material, only to triumphantly rise up when called to the surface. Character pieces such as Hispanica, Marcia Funebre, and Quasi Debussy demonstrate imaginative deployments of the sequence in myriad styles. Trying to play “spot the influences” will provide the listener with glimpses at a panoply of creators, including Busoni, Liszt, Alkan, Debussy, Beethoven, Bach, Messiaen, and Rachmaninoff, to supply just a partial listing. None of these reference points is overarching; it is remarkable how adroitly Sorabji distills their essence into his own distinctive language. An enormous passacaglia with 100 variations takes up a disc-and-a-half worth of the recording and the piece concludes with an eighty-minute long fugue that successively builds from two-voice counterpoint to six, followed by a stretto on steroids that rousingly concludes this magnum opus.
Jonathan Powell’s traversal of Sequentia Cyclica is authoritative. The program notes are some of the finest I have read in a long while. His performance is deftly nuanced, technically assured, and powerfully rendered. It is a benchmark that will provide a tough act for future interpreters to follow, but hopefully his performance editions will encourage them to do so regardless. Powell’s dedicated work on behalf of Sorabji makes the composer’s legacy seem assured.
(Those looking for a more theoretical explication of Sequentia Cyclica are directed to Andrew Mead’s excellent article Gradus ad Sorabji in the Winter 2016 issue of Perspectives of New Music).
Boston Modern Orchestra Project, Gil Rose, conductor
BMOPsound CD 1069
David Felder has taught for a number of years at SUNY Buffalo, running the June in Buffalo Festival and mentoring countless contemporary composers in the school’s illustrious graduate program. His own works are multi-faceted, incorporating muscular gestures, modernist harmonies, innovative timbres, and, oftentimes, electronics. Felder’s recent music is given sterling performances on two CDs, one of his chamber music on Coviello and another of his orchestra piece Les Quatre Temps Cardinaux on BMOPsound.
The Coviello disc consists of three works that feature violinist Irvine Arditti. Its centerpiece, Jeu de Tarot, a chamber violin concerto based on seven of the twenty-two main tarot cards, reveals a mystical side to Felder’s music. Each movement is an interpretation of the character on its card – The Juggler, the Fool, the High Priestess, et cetera. Thus, the musical surface is multifaceted, unspooling a variety of characteristic textures. Arditti performs the solo part with laser beam incisiveness and Signal supplies comparable clarity, performing the piece’s interlocking rhythms with impressive coordination. Some sections of the piece, such as its finale “Moonlight,” explore a mysterious ambiance akin to Expressionism. Here, Arditti’s tone takes on a supple quality. He dovetails with the winds to provide intricate counterpoint.
The Arditti Quartet contributes Netivot, a work for strings and electronics, to the disc. On Felder’s website, you can see the optional video component, which adds another layer to the piece. By itself in two channels, there is considerable antiphony and with this setting one can only imagine how immersive the piece must be live. The recording also has an SACD layer which allows for surround listening, an engaging adventure that gets the listener closer to being there.
At times, string harmonics and pizzicatos meld with synthesized parts. Elsewhere, the strings and electronics trade registers. The overall effect is one of extensive integration of the elements into a “super-instrument” that swirls colorfully. Irvine Arditti concludes the disc with a solo piece, Another Face. Motoric ostinatos, mercurial leaps, and microtonal inflections contribute to an overarchingly variegated impression. Arditti plays with virtuoso technique and a questing manner.
Joined by soprano Laura Aiken and bass Ethan Herschenfeld, Boston Modern Orchestra Project performs one of Felder’s most prominent pieces, Les Quatre Temps Cardinaux. This is the second recording of the piece; the other is by Ensemble Signal with members of SUNY Buffalo’s Slee Sinfonietta. Each is an assured rendition, with BMOP stressing the dramatic sweep of the piece while Signal focuses with granularity of detail. The texts Felder employs in Les Quatre Temps Cardinaux are by Réne Daumal, Robert Creely, Pablo Neruda, and Dana Gioia. Most are Daumal’s, whose work Felder discovered via Buffalo-based writer Kathleen Frederick Rosenblatt’s biography of the polymath author. Felder does interesting things to treat the texts. He intermingles electronics with the vowels of the Daumal to create an ethereal quality. One of the two movements featuring Creeley’s poems emphasizes its sibilants, the other maps the consonant attacks onto the percussion, creating an intriguing sound world. Gioia’s poem is treated to the piece’s most stentorian and angular writing, clearly distinguishing it from the other texts.
Felder was a chorister with the Cleveland Orchestra in his teens but has only recently begun to set text. His vocal writing is ambitious, operatic in scope and compass. The piece opens with a series of spectral chords, over which Aiken’s voice soars, effortlessly managing pianissimo dynamics and altissimo high notes. She is worthily matched by Herschenfeld’s resonant low notes and seamless legato phrasing. The first section culminates in a rapturous duet in which the vocalists both navigate their upper registers fluently. In the section “Fragments (from Neruda),” an impressively thunderous tutti orchestral passage is matched by clarion singing from Aiken. A rousing duet rendition of Daumal’s “Stanza 3b” matches the Neruda’s intensity, and “Stanza 4a” is treated to a sepulchral solo by Herschenfeld in which he is accompanied by intertwining brass. He goes still lower on “Stanza 4b,” shadowed by sustained chords that move from strings to brass. Then, the vocal line is mimicked in counterpoint by the lower brass. Timpani thrumming is juxtaposed against choral-like passages as the piece moves into an instrumental postlude in which a clamorous buildup of drums heralds the final entrance of Aiken, her arcing solo haloed by trumpet glissandos, ascending to her top register and then plummeting down to conclude the piece.
Throughout, BMOP plays impressively. Rose shapes the piece beautifully and provides a detailed account of its myriad details. Hopefully, Les Quatre Temps Cardinaux will be followed by more vocal music from Felder. It is a formidable entry into his catalogue of works. Recommended.
Christian Carey is editor at Sequenza 21 and an Associate Professor of Music Composition, History, and Theory at Westminster Choir College in Princeton, New Jersey (www.christianbcarey.com).
Barbara Hannigan, soprano and conductor; Ludwig Orchestra
La Passione is soprano and conductor Barbara Hannigan’s second CD with Ludwig Orchestra. Their first collaboration, Girl Crazy, won a 2018 Grammy Award. Like Girl Crazy, the selections on La Passione are disparate, but they cohere into a convincing program. Whether she is performing a solo vocal piece by Luigi Nono, conducting a Haydn symphony, or conducting and singing a spectral work by Grisey, Hannigan is a compelling performer. This is also true of Ludwig Orchestra, who thrive in this setting.
Luigi Nono’s solo vocal work Cjamila Boupacha eulogizes a dissident who, during the lead up to the French-Algerian war, was raped and murdered. Her story galvanized anti-colonial resistance in the country. The piece is a vocalize that often accesses the extreme upper register of the soprano’s range. Hannigan navigates its wide range and visceral expressive qualities with eloquence and impeccable technique.
It might seem strange to pair a Haydn symphony with a Nono piece, but Symphony No. 49, “La Passione,” explores grief with depth of feeling and dramatic flair. Composed in 1768, it is one of Haydn’s “Sturm und Drang” pieces. Its formal design is that of a church sonata, with an extensive slow movement preceding the sonata allegro second movement. In terms of both form and demeanor, it may have been played at Esterhazy during Holy Week. The first movement extends a mournful demeanor over a quarter-hour, and it is followed by a combative allegro. Hannigan provides a supple reading of the minuet and trio, with the latter finally allowing the listener let-up from f-minor’s pathos, which has thus far dominated the proceedings, with a glimpse, albeit brief, of F-major. The emotional finale truly embodies the “Sturm und Drang” aesthetic, ending the piece in powerful, albeit tragic, fashion.
French composer Gérard Grisey passed away in 1998 at age 52 from an aneurysm, leaving behind a compact but compelling body of work that helped to define the spectral approach to composition. His last completed piece was Quatre Chants pour Franchir les Soueil (“Four Songs for Crossing the Threshold”), premiered posthumously in 1999. In recent years Hannigan has championed Quatre Chants, notably performing it with Ensemble Intercontemporain conducted by Susanna Mälkki and Sir Simon Rattle conducting the Berlin Philharmonic. On La Passione, she undertakes the daunting task of both singing and conducting the piece. Of the recorded performance with Ludwig Orchestra, Hannigan has remarked, “It took us to our limits.”
A variety of texts are used: Guez-Ricord’s The Hours of Night, Egyptian Sarcophagi of the Middle Empire, a fragment from sixth century Greek poetess Erinna, and an extract from the Babyloninan Epic of Gilgamesh (courtesy Tim Rutherford-Johnson). Overtone chords and micro-tunings abound. The instrumentation is distinctive, particularly the percussion cohort that includes fifteen tuned gongs that are played in quick arpeggiations at a low dynamic level, an impressive feat and singular sound. The bass drum has an evocative role as well, serving to toll a memento mori that divides the piece’s several sections. In the first song, “Death of the Angel”, is one of the piece’s signatures, bracing unison lines between soprano and trumpet that shatter an otherwise merely ominous atmosphere. A variety of wind instruments are employed throughout, including saxophones. Hannigan’s singing seamlessly intermingles with the various instruments, moving from sinuous angular lines to altissimo shrieks with myriad gestures in between. After the four songs is a postlude, “Berceuse,” haunting in its comparative reserve with a number of duets between Hannigan and various instruments in floating vocal lines.
An ambitious program with a “can’t miss” piece (the Grisey) and all of it exquisitely executed: recommended.
-Composer Christian Carey is Associate Professor at Westminster Choir College, Editor at Sequenza 21, and regularly contributes to Tempo, Musical America, and other publications. He has created eighty some compositions for orchestra, choir, solo voices, and chamber musicians. His electronic score for Gilgamesh Variations was produced at Bushwick Starr Theatre in Brooklyn, NY.
Kirill Gerstein, piano; Christianne Stotijn, mezzo-soprano; Mark Stone, baritone;
Boston Symphony Orchestra, Thomas Adés, conductor
Deutsche Grammophon CD/DL 4837998
Thomas Adés is in his third year as Artistic Partner of the Boston Symphony Orchestra. It has been an extraordinarily fruitful pairing. Adés has performed with the ensemble as a conductor and pianist, contributed new pieces to its repertory, and curated events such as the Festival of Contemporary Music at Tanglewood. In the midst of this plethora of activities, the March 2019 premiere of his Concerto for Piano and Orchestra was a highlight. Both the performance of the BSO under Adés’s direction and the brilliant playing of the work’s soloist, Kirill Gerstein, were widely acclaimed. The DG recording of its premiere confirms the buzz — the concerto is indeed a formidable work and the performance is radiant.
Cast in the traditional three movement structure (fast-slow-fast), the concerto demonstrates Adés’s encyclopedic familiarity with composers of the past, including hat-tips to Prokofiev, Ravel, Liszt, and Stravinsky. Despite revelling in touchstones of eras past, Adés ultimately distills them into a glinting, sharply contoured language with a distinctive character all its own. The first movement contrasts extensive glissandos with clock-like ostinatos. Sustained chorales create an aura of poignancy in the middle movement. The finale juxtaposes upward and downward scalar passages that provide a tilt-a-whirl of intensifying momentum that ends the piece aloft – and on a brilliantly orchestrated major triad to boot.
In these times of pandemic and social distancing, Adés Totentanz (2013) is a particularly sobering piece. It is based upon the text of a fifteenth century frieze, which depicts all walks of life, from the Pope to an infant, being invited to dance with the Grim Reaper. Baritone Mark Stone embodies Death with a muscular and menacing delivery. Mezzo-soprano Christianne Stotijn sings the parts of the various people attempting to elude his grasp as heartfelt laments. Adés creates a searing score that allows space for declamation while interpolating ominous interludes, often supplying aggressively syncopated ostinatos that suggest the inexorable dance. Bracing listening, but engaging throughout. Recommended.
Recording of the Year: Terry Riley, Sun Rings, Kronos Quartet, Volti (Nonesuch)
2002 work Sun Rings simultaneously celebrates the 25th
anniversary of the Voyager exploration and soberly reflects on September 11,
2001. Kronos Quartet, longtime collaborators with Riley, the ethereal voices of
Volti, and a collection of space sounds are combined to create a fascinating and
engaging amalgam. An exhilarating ride through the various styles that Riley
has at his disposal.
Best Recordings of 2019 (in no particular order)
Terry Riley, Sun Rings, Kronos Quartet, Volti (Nonesuch)
Jaimie Branch, FLY or DIE II: Bird Dogs of Paradise (International Anthem)
FKA Twigs, Magdalene (Young Turks)
Kris Davis, Diatom Ribbons (Pyroclastic)
Angel Olsen, All Mirrors (Jagjaguwar)
Guided by Voices, Sweating the Plague (GBV)
Anna Thorvaldsdóttir, Haukur Tómasson, Maria Huld Markan Sigfúsdóttir, and Páll Ragnar Pálsson, Concurrence, Víkingur Ólafsson, Sæunn Thorsteinsdóttir, Iceland Symphony Orchestra – Daniel Bjarnason (Sono Luminus)
Michael Finnissy, Vocal Works 1974-2015, EXAUDI Vocal Ensemble, James Weeks (Winter and Winter)
Emmanuel Nunes, Eivend Buene, Andreas Dohmen, Márton Illés, Chaya Czernowin, Donaueschinger Musiktage 2017 (Neos)
Minor Pieces, The Heavy Steps of Dreaming (Fat Cat)
Zosha di Castri, Tachitipo (New Focus)
Morton Feldman, Piano, Philip Thomas (Another Timbre)
Aaron Copland, Billy the Kid and Grohg, Detroit Symphony – Leonard Slatkin (Naxos)
Ivo Perelman, Matt Maneri, Nate Wooley, Matthew Shipp, Strings 4 (Leo)
Liza Lim, Rebecca Saunders, Chaya Czernowin, Mirela Ivičević, and Anna Thorvaldsdóttir, Speak Be Silent, Riot Ensemble – Aaron Holloway-Nahum (Huddersfield-NMC)
NEW YORK – On Sunday, the Vienna Boys Choir performed a Christmas program at Carnegie Hall. It included much standard Christmas fare, both carols and pops selections. However, there were also a number of more substantial pieces, both Renaissance polyphony and 20/21st century music. The superlative musicianship of both the choir and its director/pianist Manuel Huber were impressive throughout, and the flexibility in navigating the various styles of the programmed music seamlessly was noteworthy.
Although the membership rotates through some hundred members at a given time, with various touring groups and educational activities, the sound of the choir remains distinctive. Unlike English boys choirs, the sound up top is narrower yet retains a bell-like consistency. Several members of the group are in the midst of their voices changing, which allowed for tenor and baritone registers to be accessed in select places. The retention of adolescents not only allows for the group’s larger compass, it is also a compassionate way to treat young people, flouting the long tradition of dismissing choristers whose voices have “broken.”
The choir entered from offstage singing plainchant. This was followed by a selection of Latin church music by Palestrina, Duruflé, Salazar, and Verdi. The latter piece was the most taxing on the program and the singers navigated it with aplomb. Gerald Wirth has long been the music director for Vienna Boys Choir, arranging and composing pieces for the group. The Sanctus-Benedictus from his Missa-apostolica showed the choir’s voices to best advantage. Canadian composer R. Murray Schafer’s pentatonic vocalization of Gamelan sounds was another winning selection. A nod to America included “I Bought Me a Cat” from Aaron Copland’s Old American Songs, “Somewhere” from Leonard Bernstein’s West Side Story, and Gershwin’s “I Got Rhythm.”On the pops selections, choirmaster Manuel Huber provided jaunty accompaniments at the piano with cocktail jazz embellishments.
The second half of the program was divided between carols and pops selections. Es ist ein Rose entsprungen, Adeste Fideles, O Holy Night, and otherswere performed with gossamer tone and considerable musicianship, putting paid the many stolid renditions one must endure during the holiday shopping season. A new carol to me, Es Wird sho glei dumpa, from Upper Austria, will certainly feature in my own Christmas performances in the future.
The closing set of pops numbers included “White Christmas” and “Rudolph the Red-Nosed Reindeer” – it was once again impressive to hear the change in tone the choir was able to adopt between stylistic margins of the program. The inclusion of “Let it Snow,” which is more suggestive than the other pops tunes, marked a questionable choice. Ending with “Stille Nacht” made far more sense for this fine group of young singers.
Composer George Perle passed away a decade ago, but his
music has remained part of the repertory. This is noteworthy in that, upon
their deaths, many composers are eclipsed for a time. An excellent example of
the resilience of Perle’s work is a new recording on BMOP Sound. The Boston
Modern Orchestra Project, conducted by Gil Rose, presents a disc of
Perle’s Serenades: one featuring viola soloist Wenting Kang, another
featuring piano soloist Donald Berman, and another for a chamber
orchestra of eleven players.
Serenade No. 1, which features Kang, is
deftly scored to accommodate the tenor/alto register of the viola, allowing the
other members of the ensemble to move astride the soloist in the soprano and
bass registers. The violist is supplied a fair amount of virtuosity to
navigate, as well as the lyricism to which the instrument frequently adheres.
The piece is cast in five movements, beginning with a Rondo and traversing through
Ostinato, Recitative, Scherzo, and Coda. As is customary in Perle’s “12-tone
tonality approach,” Bergian row-types, that allow for triads to appear in the
midst of post-tonal harmony, make for varied and attractive pitch structures. Kang
plays with considerable fluidity and appealing tone.
Serenade for Eleven Players is like a
concerto for orchestra in miniature, also configured in five movements. The
first movement begins with stentorian brass pitted against staccato piano
shuffles and string solos. The timpani thwacks tritones instead of fifths, and
wind chords provide a piquant underpinning. Later, sinuous saxophone lines are
offset by angular piano arpeggiations and countered by string solos and trills
from the remaining winds. The third movement has a mournful cello solo set
against pensive lines in the winds. Bustling counterpoint fills the fourth
movement with a number of jump cuts between textural blocks. The finale begins
stealthily with chordal stabs juxtaposed against melodies in multiple tempi that
build in intensity. There is a pullback before the finish that telegraphs a gentle
coda. The piece as a whole is reminiscent of Schoenberg’s early post-tonal
Donald Berman is the piano soloist in Serenade No. 3, again
a five-movement work consisting of pithy sections. Here, however, instead of
Schoenberg or Berg, Perle explores a sound world akin to that of Stravinsky’s 12-tone
concerto Movements. Twelve-tone tonality can be deployed in a manner
similar to Stravinsky’s own idiosyncratic approach to serialism, rotational
arrays. Both these details of pitch and the general muscularity of the gestural
palette, again made up of blocks of material, allow us to hear Perle through a
different lens of influence. Berman does a marvelous job with the solo part,
playing incisively with rhythmic precision and precise coordination with the
Rose leads BMOP through all three serenades with
characteristic attention to detail and balance. The players prepared well for
this challenging program. Better advocates would not have been the wish of the
composer. Kudos to BMOP for keeping Perle’s memory and music alive. This disc handily
makes my Best of 2019 list.
Out on Friday, December 6th, via New Focus Recordings,Wendy Richman’s Vox/Viola recording includes a piece I wrote for her in 2010, “He Wishes for the Cloths of Heaven.” The CD significantly enlarges the repertoire for singing violists, with pieces by Ken Ueno, Everette Minchew, Arlene Sierra, Jason Eckardt, and others.
Recently released on Westminster Choir College’s label, Composers at Westminster features music by five faculty composers: Joel Phillips, Stefan Young, Jay Kawarsky, Ronald Hemmel, and myself. Westminster Kantorei, conducted by Amanda Quist, recorded two of my Magnificat Antiphons for the project. Soprano Victoria Browers and pianist J.J. Penna recorded three of my Jane Kenyon Songs for the recording as well. It is available to stream/download on all major platforms (such as Presto Classical).
In other news, Joe Miller commissioned a Psalm 96 setting from me for Westminster Choir, to celebrate the ensemble’s centennial in 2020. It has received three East Coast performances, will be performed at Westminster’s homecoming concert, and then will be programmed on the choir’s West Coast tour in early 2020.
” For its 100th anniversary season, the Choir commissioned Westminster Choir College professor Christian Carey for a new work; his setting of Psalm 96 (“Sing to the Lord a new song”) was fitting for the occasion both in text and music. Receiving its second performance in this concert, Carey’s piece pays tribute to Westminster Choir’s rich tradition of church music and showed off well the Choir’s well-blended sound and ability to shift harmonies smoothly. “
Nancy Plum, Princeton Packet, November 13, 2019.
I’m currently at work on a short choral piece for Manhattan Choral Ensemble, to celebrate the group’s twentieth anniversary. My wife, Kay Mitchell, has written the lyrics.