Recordings of the Year

Recording of the Year: Terry Riley, Sun Rings, Kronos Quartet, Volti (Nonesuch)

            Terry Riley’s 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)
  • Matana Roberts, COIN COIN Chapter Four: Memphis (Constellation)
  • Heinz Holliger and György Kurtág, Zwiegespräche (ECM)
  • Andrew Norman, Sustain, Los Angeles Philharmonic – Gustavo Dudamel (Deutsche Grammophon)
  • Bonnie Prince Billy, I Made a Place (Drag City)
  • Igor Levit, Beethoven Piano Sonatas (Sony Classical)
  • Thomas Zehetmair, Sei Solo – The Sonatas and Partitas (ECM)
  • John Luther Adams, Become Desert, Seattle Symphony – Ludovic Morlot (Cantaloupe)
  • Philip Glass, Symphony 5, Choir of Trinity Wall Street, Downtown Voices, Trinity Youth Chorus, Novus NY – Julian Wachner (Orange Mountain)
  • Cipriano de Rore, I madrigali a cinque voci, Blue Heron – Scott Metcalfe (Blue Heron)
  • Johannes Ockeghem, Complete Songs, Volume 1, Blue Heron – Scott Metcalfe (Blue Heron)
  • Six Organs of Admittance, Companion Rises (Drag City)
  • Dominique Schafer, Vers une présence réelle (Kairos)
  • Leo Svirsky, River Without Banks (Unseen Worlds)
  • Christian Wolff, Preludes, Studies, Variations, and Incidental Music, Philip Thomas (Sub Rosa)
  • Caroline Shaw, Orange (New Amsterdam/Nonesuch)
  • andPlay, Playlist (New Focus)
  • Jan Garbarek and Hilliard Ensemble, Remember Me, My Dear (ECM)
  • Lucas Debargue, Scarlatti: 52 Sonatas (Sony Classical)
  • Cassandra Miller, Songs About Singing, Plus-Minus Ensemble (All That Dust)
  • Sarah Hennies, Reservoir 1 (Black Truffle)
  • Jenny Hval, The Practice of Love (Sacred Bones)
  • Sergei Rachmaninov, Arrival, Daniil Trifonov, Philadelphia Orchestra – Yannick Nézet-Séguin (Deutsche Grammophon)
  • Kali Malone, The Sacrificial Code (iDeal)
  • Stile Antico, A Spanish Nativity (Harmonia Mundi)
  • David Torn, Tim Berne, Ches Smith, Sun of Goldfinger (ECM)
  • Ka Baird, Respires (RVNG)
  • David Byrne, American Utopia (Nonesuch)
  • Þuríður Jónsdóttir, Halldór Smárason, Páll Ragnar Pálsson, and Hafliði Hallgrímsson, Vernacular, Sæun Thorsteinsdóttir (Sono Luminus)
  • Matt Mitchell, Phalanx Ambassadors (Pi)
  • Julian Anderson, Poetry Nearing Silence (NMC)
  • 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)
  • Saariaho, Schleirmacher, Werthmüller, Sturm, Ensemble Musikfabrik (Wergo)
  • Josquin and Bauldeweyn, Missa Mater Patris, Missa Da Pacem, Tallis Scholars (Gimell)
  • Antoine Beuger, Traces of Eternity: Of What is Yet to Be (Editions Wandelweiser)
  • Richard Barrett, Timothy McCormack, Liza Lim, World-line, ELISION (Huddersfield NMC)
  • George Perle, Serenades (BMOP)
  • György Kurtág, The Edge of Silence, Susan Narucki (Avie)
  • American Football, American Football LP3 (Polyvinyl)
  • Julia Kent, Temporal (Leaf)
  • The Comet is Coming, Trust in the Lifeforce of the Deep Mystery (Impulse)
  • Pan American, A Son (Kranky)
  • William Basinski, On Time Out of Time (Temporary Residence)
  • Shasta Cults, S/T (Important)
  • Harry Partch, Sonata Dementia, PARTCH (Bridge)
  • Robert Erikson, Duos, Fives, Quintet, Trio, Camera Lucida (New World)
  • James Tenney, Changes 64 Studies for 6 Harps (New World)

Vienna Boys Choir at Carnegie Hall

Photo: Lukas Beck.

Vienna Boys Choir

Carnegie Hall

December 8, 2019

By Christian Carey

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 others were 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.

-Christian Carey

BMOP Plays George Perle (CD Review)

George Perle

Serenades

Boston Modern Orchestra Project

Gil Rose, conductor

BMOP Sound

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 music.

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 ensemble.

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.

-Christian Carey

Two new recordings feature Carey compositions; new choral pieces

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.

Wendy Richman, singing violist.

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.

The Princeton Packet previewed the concert and then reviewed the concert.

” 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.

John Luther Adams – Become Desert (CD Review)

Become Desert

John Luther Adams

Seattle Symphony, Seattle Symphony Chorale, Ludovic Morlot, conductor

Cantaloupe Music

“Become Desert is both a celebration of the deserts we are given, and a lamentation of the deserts we create.” – John Luther Adams

Born in Mississippi, John Luther Adams first came to the attention of listeners as a composer and author based in Alaska, where he lived and worked for some forty years. Pieces such as Inuksuit, The Place Where You Go to Listen, and Dream in White on White are eloquent expressions of Adams’ time there and how it impacted him both as a creator and as a person. His book, Winter Music, is a required text for composers, as well as an accessible read of significant appeal to non-musicians. In a remarkable change of pace, Adams has recently moved to the desert, staying in Mexico and Chile.

In 2013, Adams was awarded the Pulitzer Prize in Music for Become Ocean, a work for the Seattle Symphony that mourned the rising seas caused by climate change, posing a timely questions: would land-roaming creatures, humans among them, be subsumed and return to the waters from whence they came. Since then, the piece has become a trilogy, followed by Become River and now Become Desert. The latest piece deals with climate change’s impact on water supply and the effects of warming in dry climates.

Like its performance and recording of Become Ocean, the Seattle Symphony, conducted by Ludovic Morlot, creates beguiling sounds eloquently shaped in their rendition of Become Desert. Whereas the former piece had an apocalyptic cast, moving from low to high and then cascading, the latter is filled with bells and chimes and sustained chords, creating the aura of aridity and hazy lights so appropriate to its subject matter. Partway through, rolling drums give us the only hit of respite from dryness, thundering against reiterated brass chords. Harps and plenty of sixth chords recall Impressionism, while the insistent repetition of overtone chords provides a spectral cast. Its end is a deliciously long denouement leaving us with faint chimes that evoke the piece’s opening.

Become Desert is one of the best recordings of contemporary music of 2019. Recommended.

Six Organs of Admittance – “Two Forms Moving”

Six Organs of Admittance releases Companion Rises, their first full length in three years, on February 21, 2020 via Drag City Records. The band has shared a teaser track on various digital platforms, titled “Two Forms Moving.” Great loping rhythm guitar line here Offset by strings and overdubbed backing singers, the lead vocal is gently paced: a dash of indie meeting a slab of folk. A vibrant lead guitar solo pushes the track into effervescent terrain.

10/16 at the Jazz Standard – Ethan Iverson with Tom Harrell

Photo: Monica Frisell/ECM Records

In recent years, pianist Ethan Iverson has been collaborating with a number of artists, particularly elder statesmen of the jazz tradition. In 2017, he appeared at the Village Vanguard with trumpeter Tom Harrell. The performances were document on Common Practice, Iverson’s most recent ECM recording. In addition to Harrell, the CD’s personnel includes bassist Ben Street and drummer Eric McPherson, longtime associates of the pianist.

The common practice to which the title refers are jazz standards, mostly from the Great American Songbook but also bebop originals. The group investigates a range of styles, from ardent balladry on “The Man I Love” to smoky lyricism on “I Can’t Get Started” to puckish wit on “Sentimental Journey.” Harrell and Iverson display imaginative recasting of harmonic changes throughout, but especially on vigorous versions of “All the Things You Are” and “Wee.” Iverson contributes two tunes, “Philadelphia Creamer” and “Jed from Teaneck,” both blues with twists and turns of the form.

Photo: Monica Frisell/ECM Records

On Wednesday, October 16th, the quartet reunites for two sets at Jazz Standard (details below). Their take on jazz’s common practice is not to be missed.

Photo: Monica Frisell/ECM Records.

Event Details

Ethan Iverson Quartet featuring Tom Harrell

Wednesday, October 16 - shows at 7:30 and 9:30 PM
Jazz Standard
116 E. 27th Street, NYC
Tickets here
Ethan Iverson – piano
Tom Harrell – trumpet, flugelhorn
Ben Street – bass
Eric McPherson – drums