This Sunday: counter)induction performs in Brooklyn (Livestream)
The ensemble counter)induction has been active for over twenty years, premiering countless pieces. A collective of performers and composers, counter)induction has performed at many venues in NYC. This season, they will be in residence at Soapbox Gallery, a Brooklyn venue for visual art and music. counter)induction’s first concert in their new home will be this Sunday, December 5th at 4 PM EST. My new piece Chimera, for clarinet, guitar, and cello, is being premiered.
If you can’t make it to Brooklyn, here is a livestream for the event:
Anabasis: counter)induction presents trio music
Sunday December 5th at 4 PM EST
636 Dean Street
Brooklyn, NY 11238
Benjamin Fingland, clarinet
Dan Lippel, guitar
Caleb van der Swaagh, cello
Christian Carey: Chimera
Nils Vigeland: Quodlibet (cello and guitar)
Tania Leon: Paisanos Semos (solo guitar)
Jessica Meyer: Forgiveness (clarinet with loop pedal)
In 1944, Olivier Messiaen wrote a recital length work (about 2 hours in duration) for pianist Yvonne Loriod, one of his proteges and, later, his spouse. Vingt regard sur l’enfant-Jésus (“Twenty Visions of the Infant Jesus”) widely encompasses the techniques of Messiaen’s musical language and epitomizes the importance of religious contemplation and corresponding symbolism in his work. Where some Christmas music takes a sentimental approach to regarding the infant Jesus, there is none of that here. Instead, Vingt regards explores the awe inspiring power of this event, with music that ranges from ecstatic joy (Noël) to prayerful reverence (Le Baiser de-l’Enfant Jésus) to fear of the abyss.
Messiaen was quick to point out that, while religious symbolism and belief were intrinsic to his creativity, believers and non-believers alike could be moved by his music. However, his intimate knowledge of scriptural symbolism is intrinsic to Vingt Regards and is well explicated in Meinrad Walter’s lucid booklet notes. The movements are interconnected in a number of ways. The modes of limited transposition are the building blocks of the pitch material, and the composer’s characteristic birdsong is also present in many places, with great eloquence in Regards de la Vierge. Messiaen pointed out a particular chordal motif that is frequently present at pivotal points, as well as a God theme, a theme of the Star and the Cross, and a theme of Mystical Love, helping to bind Vingt Regards together. Correspondingly, his interest in syncopation and mixed meters abets the livelier sections, with complex yet exuberant dance music, as in Regard de l’esprit de joie, and in Par lui tout a été fait. In addition to Trinitarian formulations, Messiaen pays special attention to the Virgin Mary. Indeed, Première Communion de la Vierge (“First Communion of the Virgin”) is one of the most moving portions of the piece.
There are a number of recordings of Vingt Regards, but Alfonso Gómez proves to be an individual and distinctive interpreter, skilful in navigating the piece’s many challenges and expressive details. Aphoristic sections like L’Echange and Regard des hauteurs , are provided with incisive clarity of gesture, the latter’s birdsong practically evoking a grove of avians. Where Gómez truly thrives, though, is in the longer movements, where he shapes the juxtaposition of motives to underpin vivid textures. His rendition of the piece’s final movement, Regard de l’église d’amour (“Contemplation of the Church of Love”) knits together many threads of the essential material of Vingt Regards, providing a sophisticated and powerful conclusions to this towering example of 20th century pianism.
Emil Holmström, Joonas Ahonen, piano and keyboards;
Jani Niinimaki, Jerry Plippomem, percussion
Finnish Radio Symphony Orchestra, Hannu Lintu
This recording includes three live recordings of compositions from the 1990s by Magnus Lindberg. Hannu Lintu leads the Finnish Radio Symphony Orchestra in energetic and focused renditions of two of these challenging works, bringing out considerable detail from Lindberg’s vivid orchestrations. A quartet of pianists and percussionists perform the chamber piece, Related Rocks, an interesting corollary to the larger compositions.
By 1990, when Lindberg had completed Marea, he was already an established composer. Particularly noteworthy was 1985’s Kraft, with a large orchestra, multiple soloists, enormous gongs, and influences from German industrial music, notably Einstürzende Neubauten. Marea is for more modest forces, a sinfonietta; however, it sounds larger than the sum of its parts. The titlemeans “tides,” and the piece is a single movement set of variations. There is much in Marea that is muscularly scored, indicating the powerful ebb and flow of the ocean. Indeed, the flowing nature of the music overwhelms its constructivist design to create densely imprinted textures and dramatic climaxes.
The chamber piece Related Rocks (1997). for a quartet of pianists and percussionists with electronics, was written at IRCAM. It has a similar instrumentation to the Bartôk Sonata for two pianos and percussion, and its raucous ending is certainly Bartôkian in design. Most of the piece departs from this script, with a blending of the instrumental cohort rather than the bifurcation of the Bartôk sonata. Lindberg explores gamelan-like harmonics with spectacular shimmer. Rhythmic canons between piano and pitched percussion provide rigorous contrast for the more vertically oriented passages. Lindberg demonstrates both the percussive and sonorous qualities of the instruments, and the software he uses allows one to morph from one sound to the next.
Aura (1994) is dedicated to the memory of Wiltold Lutoslawski, who passed away while Lindberg was composing the piece. At forty minutes in duration, it is the longest piece in his catalogue. Cast in four movements, played attacca, with a scheme of fast-slow-scherzo-finale, Lindberg has said it is neither a symphony nor a concerto for orchestra. Instead it seems to flow organically, with successive movements commenting on their predecessors. The concerto designation is tantalizing because material is often deployed in smaller cohorts of the orchestra and soloists. The first movement’s brass fanfares are followed by ricocheting counterpoint from winds and strings. Each successive climax adds to the complexity of the vertical chords that announce it. Winds, strings, brass, and percussion each take a turn as active ensembles. A general pullback allows for diaphanous strings and whorls of woodwinds to blend together. This is supplanted by edgy ostinatos and rangy clarinet passages. The trading off intensifies, bringing the movement to a fortissimo pileup and moto perpetuo coda that leads into the spectral verticals that begin movement two.
Lindberg is not known for writing slow movements, but the second one of Aura qualifies. Blocks of harmony are connected by trumpet filigrees. Overtone chords and long string lines are underscored by stentorian timpani and succeeded by wind trills. The chorale-like movement of the harmony continues, until heraldic brass announce descending cellos and divisi string harmonies. Oscillating cells and intricate blocks of chords cascade through much of the rest of the movement, with echoing harmonics and busily moving pitched percussion giving decay a boost. Percussion – gongs notable in their appearance – and glinting winds bring the movement to a close. It is followed by a Scherzo, with skittering lines, repeated motives, and wide-ranging cascading verticals. The finale is a boisterous summation, with allusions to the music that has come before, motorized by post-minimal ostinatos, generously scored string melodies, and triumphal brass. Aura is an imposing, impressive piece.
“touchless questions the phenomenology of touch, reaching to transcend the boundaries of the physical to embody touch while remaining touchless.” – Matt Evans
In 2019, Matt Evans lost his partner, the sculptor and eco-feminist artist Devra Freelander. He commemorates both grief and the light that came into his life as a result of their relationship on the recording touchless. Synthesizers, field recordings, piano, and additional acoustic instruments provided by guest musicians come together to create beguiling textures.
Two piano pieces bookend the recording, Arcto 2 and Arcto 1. Artco 2, which begins the recording, consists mostly of muted chords in reasonably predictable patterns, only to go sideways at the end and venture into significant chromaticism. Arcto 1 repeats a middle register drone against which a repeating chordal ostinato and water sounds contend.
Two other pieces that form a pair are “Solar Silhouette” and “Fluorescent Sunrise,” made of drones with extensive harmonics. The former is girded by octaves in bass and treble; rising glissandos populate the latter, perhaps as a slight programmatic evocation of sunrise.
The title track is the most elaborate, with a harmonic series reinforced by Tristan Kasten-Krause’s double bass and, in multiple registers, David Lackner’s tenor saxophone. Overlaid with dissonant sustained tones, the piece serves as an eloquent statement on loss, in which unresolved tensions coexist with spectral harmony. A coda of trills adds a sense of belated keening, which cuts off suddenly; the inference is clear.
A modal canon, played on the piano, alongside sustained tones from violin, played by Elori Saxi, are the main components of “Firn.” The canons begin to operate in phase as Saxi plays in successively higher registers. Partway through, Kasten-Krause adds low register octaves to the proceedings, which reach a significant level of syncopation. Gradually, the music returns to being in sync. The reference to early minimalism by Steve Reich is clear, but Evans is also concerned with creating a version of ambiance that pushes the genre’s envelope in terms of expressivity. touchless is touching.
Tamara Stefanovich (piano), Katherine Bryan (flute), BBC Scottish Symphony Orchestra, BBC Philharmonic, Ilan Volkov
Two concertos and two substantial orchestral works by Scottish composer Martin Suckling are programmed on This Departing Landscape, his debut portrait CD. The White Road (after Edmund de Waal) is inspired by De Waal’s ceramic artworks. It features flutist Katherine Bryan, a friend of Suckling’s since childhood – they played in youth orchestra together, and she managed to extract a promise of this commission some twenty years ago. Her virtuosic and energetic performance is remarkable. The violin part consists of frequent registral shifts, microtones, and angular melismas, often at high speed. The White Road includes a series of cadenzas punctuated with brash interruptions from the orchestra. The orchestral writing also consists of “virtual flutes” that Suckling makes by selecting particular string harmonics with an uncanny resemblance to the flute’s sound quality.
Release has a terrifying opening, with stentorian tutti followed by portentous silences. Gradually the spaces are filled in with echoes of microtones, then an English horn and viola duet, and a song-like theme in the upper register. Cascades of polyphony replace the tutti to create even more reverberant releases.
Although the piano is a fixed pitch instrument, microtonal harmony plays a significant role in the concerto too. Suckling, like Julian Anderson (a colleague who writes the liner notes for the CD) picks different instruments from the orchestra to supply quarter tones related to deviations from equal temperament in the overtone series. Anderson calls this technique “macrotonality,” and it is an effective way to exploit rich timbres. The rhythmic design is also intricate, with frequent use of polyrhythms.The concerto is cast in five movements, a fifteen movement first movement marked “Vigorously” followed by three intermezzi and a passacaglia as the finale. The first movement has a Carterian division of forces, with the piano interacting with different subsets of the orchestra: cor anglais and viola (the same combination found in Release), then strings, clarinets, oboes and horns (which contains some truly mind-blowing sounds), piccolo and violin, claves, and back to solo viola to finish the movement.
In Intermezzo 1 – Implacable, a vigorous moto perpetuo inhabits the upper register with gradually introduced bass pedal points unfolding a chromatic ground against the dissonant counterpoint above. This leads attacca into the second Intermezzo, marked Luminous in which hushed repeated notes and chromatic melodies on the piano are accompanied by high string harmonics, brief wind melodies, and brass swells. Intermezzo 3 has a more aggressive cast, with determined piano attacks, overblown flutes, and acerbic string lines. The final movement is a passacaglia that begins delicately, with ornamented lines in the piano and sustained strings. The piano builds corruscating lines over the ground bass, successively joined by members of the wind family who play sustained passages. Arcing strings and brass chords crescendo before cutting off to allow the solo piano to return to music reminiscent of the reflective opening, which here leads to a hushed close. Tamara Stefanovich is a powerful performer with a commanding presence, full sound, and facility in fleet passages. She also plays, in places such as the close of the final movement, with considerable delicacy. The Piano Concerto is an impressive, formally inventive, addition to the genre.
The title work concludes the CD. In his program note, Suckling expresses the desire to “write twenty minutes of orchestral music that lives its life in a perpetual state of high energy.” He achieves this goal, creating an imaginatively scored and formally intricate work. It begins with attacks from percussion and disjunct pitch cells and glissandos from strings and winds. These gradually accrete into a short ostinato in which bass octaves are followed by gear shifting gestures that alternate between sections of the orchestra. This ends with an accelerating, thunderous climax of hammering bass octaves and fortissimo polytonal tutti chords. It is succeeded by a quieter, but no less vivid, section for altissimo flutes and sustained strings. A sudden breakthrough of loud brass chords, exuberant drumming, and oscillating strings propels the piece forward only to be cut off in favor of solo timpani repetitions.
The second movement begins attacca, with flute filigrees returning, set against brass swells this time, with a horn melody that begins to reestablish a sense of tonality. The brass moves from chorale to coloristic overtone chords. Microtonal adjustments added by instruments joining create a bevy of shimmer. Suckling maintains this spectral aura, tweaking it with overtones added and subtracted. In the midst, a lyrical theme appears first in lower brass and then oboe. We move gradually from microtones to a blurring into the micropolyphonic spectrum, with glissandos, clusters, and sustained notes competing for the field. This builds into an intense cluster chord that is echoed by a just major triad and then a harmonic laden overtone passage. Polychords in a reverberant echo, stacked verticals, and slashing melody are succeeded by an echo of the beginning of the first movement’s percussion attacks, which closes the piece.
Martin Suckling has an unerring sense of pacing and is an abundantly talented orchestrator. This Departing Landscape establishes him as a distinctive voice. One hopes his second portrait CD isn’t long in coming.
Scott Wollschleger’s music has great emotional range. Dark Days explores an atmospheric and lyrical side to his composing for piano. Wollschleger has collaborated with pianist Karl Larson for some time, and this collection of pieces created over a number of years attests to the felicitous nature of their work together.
The tile piece is both the briefest and most dissonant piece. It was composed on the day of Trump’s inauguration and channels Schoenberg’s atonal phase, but in a subdued manner. Much of the music here emulates impressionism instead of expressionism. One can often hear the influence of Debussy’s Preludes on works such as Tiny Oblivion and Brontal 2, “Holiday”. Music Without Metaphor resembles Satie in its delicate modal segments and slow rhythmic underpinning. Blue Inscription and Brontal 11, “I-80,” on the other hand, represent another throughline in Wollschleger’s work; his affinity for the New York School, particularly the music of Morton Feldman. Wollschleger is quick to point out that his graduate instructor at the Manhattan School of Music, Nils Vigeland, was one of Feldman’s prominent students and interpreters, and another influence on his music.
It is most interesting when Wollschleger combines these two demeanors, as on Brontal 6, where frequent rests and modal figurations coexist with pointillist fragments. The last two selections, Secret Machine 4 and Secret Machine 6, are considerably charming. They mark a return to the modality, whole-tone scales, and short motives of Debussy, with frequent ostinato repetitions. Dark Days is a well considered collection and it benefits from Larson’s assured interpretations.
Performance of Dark Days at Roulette on May 6, 2021
On February 26th, twenty-five years into their recording career, Mogwai hit #1 on the UK charts. The band’s two previous full length releases were in the Top 10 in the UK, but the success of As the Love Continues, their tenth album, is remarkable.
Known for a live act that is one of the loudest in history, Mogwai retains a musicality that often hews close to the shaping of post-rock, with varied textures supplied both by synthesizers and electric guitars replete with pedals. The looping melody of “Dry Fantasy” evinces minimalist sympathies, as does “Here We, Here We, Here We Go Forever,” the latter combining a looping chordal ostinato with drums supplying one of the more danceable grooves in the band’s catalog.
Vocals treated with vocoder appear on a couple tracks, and the album opens with a spoken word excerpt – Benjamin John Power (Blanck Mass) apparently speaking in his sleep – that also serves as the song’s curious title, “To the Bin My Friend, Tonight We Vacate Earth.” What follows seems to emanate from a dreamstate, with heartbeat drums and haloing of harmonics giving way to overlapping melodies for synth-piano and guitar that provide a slow burn prior to one of the band’s patented anthemic choruses. Mogwai often gives their music enigmatic titles. The track “Ritchie Sacramento” was inspired by a record store clerk’s mishearing of Ryuichi Sakamoto. However, the piece, the only one with non-modified vocals, is more somber than this pun would suggest, referencing grief, not just for the COVID year, but for departed musician friends, among them David Berman. Some emphases have changed, and As the Love Continues shows the band savoring a temperament for exploration. But Mogwai still makes thunderous rock. “Ceiling Granny” is inspired by a scene from TheExorcist, and the terror that Braithwaite experienced upon viewing it is translated into roaring guitars and triple forte drumming.
Listen to an interview with Stuart Braithwaite and some live performances below.
The last live performance I saw before the pandemic hit New York was Caroline Shaw with Sō Percussion at Miller Theatre, which I wrote about for Musical America. It was Shaw’s debut as a solo vocalist (she has performed as an ensemble member in Roomful for Teeth for several years). Hearing these pieces again reminds me of the joy of concert life before the pandemic. I am glad to revisit them.
Two Nonesuch releases document the material she presented at Miller, one featuring Shaw as vocalist and the other the soprano Dawn Upshaw. Upshaw is joined by her longtime collaborator the pianist Gilbert Kalish.
The title piece on The Narrow Sea finds Shaw reworking spirituals from the 19th century collection Music from the Sacred Harp. The centerpiece is “Poor Wayfarin’ Stranger,” with a different tune to the timeless words. The instrumentation that accompanies the five parts of the piece is imaginative, including synthesizers, poured water, flower pots and the piano played like a dulcimer. Kalish and Sō Percussion collaborate well, particularly on the ghostly introduction to Part Three, which depicts shades of Henry Cowell. Upshaw sings with fluid legato and declaims the Sacred Harp texts vividly and emotively.
“Taxidermy” is an additional piece for Sō Percussion, who once again add flower pots to a considerable arsenal of percussion instruments. Steel pan and a hailstorm of chiming attacks swell and recede and are succeeded by layers of pitched percussion. A simple chord progression played by mallet instruments is elaborated by steel pan and a canon of spoken word is followed by the chord progression returning to serve as coda.
Let the Soil Play its Simple Part is a more collaborative venture, in which Shaw and Sō Percussion spent three days in a recording studio together creating an eclectic work, both textually and musically. It begins with “To the Sky,” in which Shaw’s voice is synthetically manipulated and set against mallet filigrees and Jason Treuting’s syncopated drumming. “Other Song” was originally part of an orchestra piece that Shaw composed to celebrate Sarah Bareilles. Here it becomes a banquet of battery, with the Sō Percussion players bringing, as Shaw puts it,”all of their toys to the table.”
Four of the pieces on the recording are duets. The title track is a duet between Shaw and steel pan specialist Josh Quillen. It features Shaw’s characteristic free-floating chordal writing alongside stream-of-consciousness lyrics. “The Flood is Following Me” is a setting of James Joyce that is groove forward with Shaw’s voice blending with keyboard harmonies and synth bass. It may be the first musical depiction of James Joyce with a hook. Joyce makes a reappearance on “A Veil Upon the Waves.”
Perhaps the most enigmatic section of the piece is a radical revision of ABBA’s “Lay All Your Love on Me,” just a small section of the middle of the song for Shaw and a marimba playing a chorale-like progression, with a gradual accumulation of Sō Percussion members joining around the instrument to build out an ostinato. “Cast the Bells in Sand” features both an IDM ambience and elaborate drumming from Treuting. Treuting and Shaw duet on “Long Ago We Counted,” which features nonsense syllables instead of conventional text.
A poem by Anne Carson is the text for “A Gradual Dazzle,” with thrumming bass drum and a vibraphone outlining subtle harmony that underscores some of Shaw’s most chromatic singing. The final song, “Some Bright Morning,” is a duet with Eric Cha-Beach, who mostly plays a single note but finds numerous textures to animate it. Shaw plays with the lyrics from another gospel standard, “I’ll Fly Away,” rendering the result in gentle melismas.
Both of these recordings display abundant imagination and felicitous collaborations. Recommended.
Composer and pianist “Blue” Gene Tyranny passed away in December 2020 of complications due to diabetes. The boxed set Degrees of Freedom Found, a generous six-CD compilation of tracks from 1963-2019, was already in the works and contains liner notes by Tyranny. Thus, it is an endorsed release rather than a posthumous archival grab.
He was associated with a number of prominent musicians, Robert Ashley, Carla Bley, Bill Dixon, and Iggy Pop, whom he joined on an early tour of the Stooges. Most viewed him as a generous collaborator. Ashley, in particular, afforded Tyranny a considerable amount of freedom in crafting the music he played in the opera “Perfect Lives (Private Parts),” in which he enacted the role of Buddy, the world’s greatest piano player.
Like Tyranny’s talents, the boxed set is eclectic in makeup and it is curated roughly by category rather than chronology. The set begins with selections that highlight the extraordinary pianist he was, with a warm touch yet fluid dexterity. The stylistic incorporations of the music, even within a single work, is wide-ranging throughout. Thus, one can be in the midst of listening to a minimalist-inspired piece and suddenly swerve through blues or honky tonk pianism. His detractors took this to be undisciplined and digressive, but appreciators knew better that the amalgamations the pieces underwent were intrinsic to their design.
If one dipped into a later disc first, they might get the impression that Tyranny was more interested in synthesizers, chamber orchestra, jazz, or theatrical vocal works than solo piano: all are here. The performance dates range from 1963, when the composer was still in Ann Arbor, to later presentations in Montana, Massachusetts at Jacob’s Pillow, Philadelphia, and a number in New York, which became his longtime base of operations, culminating with a valedictory piece featuring winds from 2019, titled “The Forecaster Hopes.”
Some of the included works are aphoristic, the length of pop songs. Often the most evocative all too quickly vanish. One piece, “Meditation” for trio and chamber orchestra, is spliced together (seamlessly) between two performances thirty years apart. There are also large-scale pieces, such as Tyranny’s epic monodrama “The Driver’s Son,” the half-hour long piano work “We All Watch the Sun and the Moon (for a Moment of Insight), and “Barn Fever,” a substantial synthesizer piece with a rollicking groove and fiendishly fleet soloing.
Degrees of Freedom Found is a substantial amount of music, but a deep dive into Tyranny’s work is amply rewarding.