Monday 1/27: Westminster Homecoming Concert

On Monday, January 27th at 7:30 PM, Westminster Choir will perform my Psalm 96 setting at Richardson Auditorium at Princeton University. This Homecoming Concert culminates the choir’s January tour, which included a number of concerts on the West Coast. 2020 marks the 100th anniversary of the ensemble.

Composer News 2020

Westminster Choir

Westminster Choir, conducted by Joe Miller, will be performing my Psalm 96 setting on their West Coast Tour. The choir is celebrating its centenary in 2020 and commissioned the piece to mark the milestone. (Dates below)

Friday, January 10 • 7:30 p.m.
Plymouth Church – United Church of Christ
Seattle, WA
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Sunday, January 12 • 4 p.m.
Cathedral of the Rockies
Boise, Idaho
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Thursday, January 16 • 7:30 p.m.
The Cathedral of the Madeleine
Salt Lake City, Utah
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Saturday, January 18 • 8 p.m.
Christ Cathedral
Garden Grove, CA (greater Los Angeles)
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Sunday, January 19 • 4 p.m.
St. James-by-the-Sea Episcopal Church
La Jolla, CA (greater San Diego)
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Monday, January 27 • 7:30 p.m.
Tour Homecoming Concert
Princeton, NJ
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Christian Carey: Complete Organ Works 2008-2020

This year, Zimbel will publish my complete organ works (thus far). You may read more about the project in the program notes below.

Christian Carey: Complete Organ Music 2008-2020

Selections

Spiritual Variations I–III

Chanson Variations

Hymn: Add One More Seat to the Table

Prelude on Add One More Seat

Let the Water Rain Down (hymn)

Lullaby Prelude

Lullaby Fugue

Offertorium (Bob Morris)

Postludium (Andy Mead)

Golgotha (Ken Ueno)

Fantasy on Rondeau Carol 

Three and a Half Little Carol Settings

Program Notes

Spiritual Variations I–III were composed for organist Joseph Arndt. Each is based on tunes of American spirituals. Variation 1 features three spirituals, “Brethren We Have Met to Worship (Holy Manna),” “Poor Wayfaring Stranger,” and “What Wondrous Love is This?” Variation 2 is a chorale prelude on “Wherever I May Wander (New England).” Variation 3 is based on “I’m Going to Live So God Can Use Me.”  Using registration creatively to imitate a jazz organ is encouraged in the latter piece.

Chanson Variations is based on my setting of Clement Marot’s  Je suis Aimé de la plus belle, which was an anniversary gift to my wife Kay Mitchell. It was commissioned by the composer and organist Carson Cooman, and was the first in a number of fruitful collaborations between us.

Hymn: Add One More Seat to the Table

Prelude on Add One More Seat

The hymn Add One More Seat to the Table was a collaboration with my wife, poet/playwright Kay Mitchell. It was written to celebrate the retirement of Pastor Jeffrey Mays from Christ Congregation in Princeton, New Jersey. The prelude treats the hymn tune to embellishment and alternate harmonizations.

Let the Water Rain Down (hymn)

Lullaby Prelude

Lullaby Fugue

Let the Water Rain Down is another collaboration with Kay Mitchell, this time a baptismal hymn. It is dedicated to Christ Congregation, Princeton. The pieces based on the tune are a chorale prelude and fugue that contains a number of traditional elements, such as invertible counterpoint and stretto.  

Offertorium (Bob Morris)

Postludium (Andy Mead)

Golgotha (Ken Ueno)

Three pieces in more contemporary idioms that serve as gifts to their dedicatees, composer-colleagues Robert Morris, Andrew W. Mead, and Ken Ueno. Offertorium uses a 12-tone tow found in Morris’s composition Not Lilacs, while Postludium employs two rows found in the music of Mead. Golgotha is the sole work in this volume to use extended techniques, such as hand slaps to blur the pitch material, which are meant to foster gestural angularity typical of Ueno’s music.

Fantasy on Rondeau Carol 

Three and a Half Little Carol Settings

Rondeau Carol was a holiday gift to Kay and I from Carson Cooman. To return the favor, I wrote Fantasy on Rondeau Carol, treating the tune to reharmonizations and melodic variations. Three and a Half Little Carol Settings is a medley for Christmastime. It includes the carols “I Saw Three Ships A-Sailing,” “Bring a Torch, Jeanette, Isabella,” “Sussex Carol,” and a small quotation of another that will be left as a modest puzzle for interpreters. 

Christian Carey has created over eighty musical works in a variety of genres and styles, performed throughout the United States and in England, Italy, and Japan. Organists have played his compositions in many houses of worship, including St. Patrick’s Cathedral, Trinity Church Wall Street, Memorial Church at Harvard University, Princeton Chapel, and Grace Church in Newark, New Jersey. Other compositions have been performed by ACME, Aspen Contemporary Ensemble, Atlantic Chamber Orchestra, C4, Cassatt String Quartet, Chamber Players of the League of Composers, Harvard Choral Fellows, loadbang, Locrian Chamber Players, Manhattan Choral Ensemble, New York New Music Ensemble, Righteous Girls, Urban Playground Chamber Orchestra, Westminster Choir, and Westminster Kantorei. His score for the play Gilgamesh Variations was staged at Bushwick Starr Theatre in Brooklyn. Recordings: New Focus, Perspectives of New Music/Open Space, Tundra, and Westminster. Publishers: GIA and Zimbel.

Carey is Associate Professor of Music Composition, History, and Theory at Westminster Choir College in Princeton, New Jersey. He holds degrees from the Juilliard School (B.Mus. in Voice Performance), Boston University (M.M. in Composition), and Rutgers University (Ph.D. in Music).  He has served as a church musician in a variety of liturgical settings.

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

Tallis Scholars: new CD, Concerts in Princeton and New York

Now in their forty-sixth year of singing, the Tallis Scholars, directed by Peter Phillips, have long made an annual December concert at Church of St. Mary the Virgin in midtown Manhattan a stop on their winter tour. Part of Miller Theatre’s Early Music Series, these concerts have focused on Renaissance polyphony, but there have also been some noteworthy new works on the programs. They frequently program the music of Arvo Pärt. Last year’s concert featured the premiere of a piece for the Tallis Scholars written by Nico Muhly.

However, this year an imaginative program, titled “Reflections” is on offer that interweaves selections based on different liturgical sections, bringing together composers from England and on the Continent active throughout the Renaissance as well as twentieth century French composers Francis Poulenc and Olivier Messiaen.

The group is nearing the completion of its edition of Josquin’s Masses. Their latest recording of Missa Mater Patris and Missa Da Pacem (Gimell CD, 2019), presents pieces whose attribution has been the matter of some controversy. The former mass is based on music by Brumel, which would be the only such borrowing by Josquin, contains some uncharacteristic blocks of homophony at strategic places and fewer of the composer’s signature imitative duos. So, is it a misattribution? Without stating anything categorically, in his characteristically erudite liner notes Phillips suggests the Brumel connection might place the mass in 1512 or 1513, shortly after Brumel’s death as an homage to a composer friend; this would make it one of the last two mass settings we have by Josquin. The source material might help to account for the different approach.

Whether Josquin wrote it or someone else, Missa Mater Patris contains some much fine music that is superlatively sung on the Gimmell CD. The Hosanna sections of the Sanctus and Benedictus, borrowing cascades in thirds from the Brumel motet, is both fleet and exuberant. The Agnus Dei III is another section where the contributions of Brumel are expertly integrated.

Phillips relates that, from the nineteenth century to relatively recently, Missa Da Pacem was held up as an example of the Josquinian style. Recent discoveries have suggested another author, Noel Bauldeweyn (Beauty Farm recently released a fine disc of this lesser known composer’s masses). Phillips is not entirely willing to concede that Da Pacem isn’t Josquin’s, he instead mentions passages that seem to point to one and then the other author and leaves the listener a chance to judge – and savor – for themselves.

CONCERT DETAILS

PROGRAM

Salve Regina

Chant: Salve Regina

Padilla: Salve Regina

Poulenc: Salve Regina

Cornysh: Salve Regina

Ave Maria

Chant: Ave Maria

Cornysh: Ave Maria

Poulenc: Ave Maria a10 (arr. Jeremy White)

Miserere

Allegri: Miserere

Croce: Miserere Mei

O sacrum convivium

Tallis: O sacrum convivium

Messiaen: O sacrum convivium

Magnificat

Byrd: Magnificat from Short Service

Victoria: Magnificat Primi Toni 

Princeton, New Jersey, USA

McCarter Theatre

December 13, 2019, 8 PM

Church of St. Mary the Virgin, New York, USA

December 14, 2019, 8 PM

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

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.