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.

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

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

June 1st: League of Composers Season Finale at Miller Theatre (preview)

 

On Saturday June 1st at Miller Theatre at 7:30 PM, Louis Karchin and David Fulmer will lead the Orchestra of the League of Composers in a program of contemporary works, including two premieres. 

Karchin’s premiered work is Four Songs on Poems by Seamus Heaney, performed by soprano Heather Buck. Since I heard her in the title role of Charles Wuorinen’s opera Haroun and the Sea of Stories, I have been a great admirer of Buck’s singing Heaney’s poetry is another touchstone, making this work one I am particularly keen to hear.

Friedrich Heinrich Kern will perform his commissioned piece for glass harmonica and orchestra with the ensemble. Kern is a virtuoso glass harmonica player, and the choreographic component of pieces for this instrument, in addition to the attractive language in which Kern composes, promises something very different from the usual fare at League concerts. 

Curtis Macomber, a mainstay on the New York new music scene, will be the soloist in Martin Boykan’s Concerto for Violin and Orchestra. To celebrate Thea Musgrave’s ninetieth birthday, the strings of the orchestra will perform the composer’s Aurora. 

Event Details

Orchestra of the League of Composers
 
Saturday, June 1, 2019, 7:30 PM
Miller Theatre at Columbia University
 
Louis Karchin, Music Director and Conductor
David Fulmer, Conductor
Heather Buck, Soprano
Curtis Macomber, Violin soloist
 
Martin Boykan: Concerto for Violin and Orchestra
Louis Karchin: Four Songs on Poems on Seamus Heaney
Friedrich Heinrich Kern: Von Taufedern und Sternen (Of Dew Feathers and Stars)
Thea Musgrave: Aurora, for string orchestra
General Admission $30, Students/Seniors $15
Tickets can be purchased at the door or online at http://bit.ly/league2019

Barre Phillips in New York

Barre Phillips

Zürcher Gallery

By Christian Carey

Sequenza 21

May 20, 2019

Barre Phillips

NEW YORK – ECM Records has released a number of great solo bass recordings. The label’s producer, Manfred Eicher, was himself a bassist, and he has invited a number of fellow low string players to record for ECM. Barre Phillips is a pathfinder in the genre, releasing one of the first solo bass recordings, Journal Violone, on Opus One in 1968. Eicher and he have been keen collaborators for many years, beginning in 1971 with a duo recording of Phillips with Dave Holland, Music from Two Basses, the first of its kind, which was followed by a number of solo and ensemble outings for ECM. In 2018, the imprint released what was announced as Phillips last solo CD, End to End, which he called the last entry in his “Journal Violone.” 

It has been more than thirty years since Phillips last performed in New York. Originally from San Francisco and long a resident of France, much of the bassist’s career has been made playing in Europe. On Monday, May 20th, he appearedat the Zürcher Gallery, an art venue on Bleecker Street in lower Manhattan. The crowd was standing room only and contained a number of jazz and experimental music luminaries. They were attentive and enthusiastic throughout. 

Phillips turns eighty-five in October. In his performance on Monday night, he appeared energetic and fit. He easily hoisted a sizeable double bass to his shoulder, and deftly moved it around to play its entirety: not just the strings. His playing and demeanor are vibrant, inquisitive, and often imbued with puckish humor. 

The bassist gave a veritable masterclass of standard and extended playing techniques. The latter appear prolifically on End to End, among them high harmonics, different varieties of strumming such as plucking notes with both hands, a number of approaches to bowing, microtones, glissandos, and all manner of percussive playing. However, the CD intersperses these with a fair bit of cantabile playing. Less of that was on offer live. Instead, with a mischievous twinkle and disarming banter, Phillips went to work showing what it meant to “do your own thing” when, as he described it, career paths in more traditional jazz and classical music were denied him. 

Each piece, most of them improvised but some selections fromEnd to End that had been crafted into compositions, centered on a different palette of techniques. At times Phillips played his instrument caressingly, seeming to coax delicate high notes and thrumming vibrations from the strings at a pianissimo dynamic. At others, he virtually attacked the instrument, scratching it from stem to stern with his bow. If a luthier were in attendance, they would have likely had a panic attack. 

There was considerable variation in the harmonic vocabulary employed. Some of the music was in the ‘out’ post-tonal language of free jazz. Phillips also supplied an etude of octaves, another of open string drones, a third a chameleon-like shift to Eastern scales and gestures, and on “Inner Door, Pt. 4,” a plaintive modal jazz solo grounded in double-stopped fifths. Here, as elsewhere, Phillips displayed a penchant for executing a long, unerringly controlled decrescendo, bringing the music to a whispered close. Zürcher was an ideal location in which to hear these small details: an intimate space but one with good acoustics.

It is unfortunate that New Yorkers haven’t had more opportunities to hear Barre Phillips up close and personal. His performance was an unforgettable experience. Phillips joins Mat Maneri, Emilie Lesbros, and Hank Roberts for a performance on Saturday night at 8 PM at Brooklyn’s I-Beam. One more chance …    

-Christian Carey

Urban Playground Premieres Florence Price

On Wednesday May 8th, Urban Playground Chamber Orchestra presents the New York premiere of Florence Price’s Violin Concerto No. 2, music by Harry T. Burleigh,  and a rarely heard oratorio, And They Lynched Him on a Tree, by William Grant Still. The program, titled From Song Came Symphony. fits the ensemble’s mandate to prioritize the performance of composers who are women and people of color. It focuses on the legacy of Burleigh. I recently caught up with UPCO’s conductor Thomas Cunningham, who told me more about the concert.

Cunningham says, ”I found programmatic inspiration in Jay-Z lyrics: Rosa Parks sat so Martin Luther could walk / Martin Luther walked so Barack Obama could run / Barack Obama ran so all the children could fly.”

“Burleigh wrote art songs so that the following generation – William Grant Still, William Dawson, and Florence Price – could write symphonies and concert works. Burleigh’s incorporation of African American music into Western art music, and his advocacy for this new American music genre through his work at Ricordi, had a vast influence on remarkable composers of color in America.”

Florence Price’s work has recently been receiving significant attention. Cunningham feels that Violin Concerto No. 2 will be a highlight of the concert. “Price’s second violin concerto is wonderfully idiosyncratic. The concerto is in so many places defined by its subtle and yet robust brass writing, atypical especially for a concerto for string instrument. All the while, this work demonstrates a novel voice, both aware and in touch with various traditions, but carving out singular nuance and identity.”

UNC-Chapel Hill Ph.D. candidate Kori Hill will deliver a pre-concert lecture at the event. Of Price’s work, she says, “This concerto, completed just one year before Price’s untimely death in 1953, is a fascinating example of her applications of African American vernacular and Western classical principles. It is an important component to understanding and fully appreciating her contributions to American classical music. We hope Price’s Violin Concerto No. 2 becomes a staple of the violin repertory in the years to come.”

In addition to the aforementioned works, the program also includes a movement from Dvorak’s Ninth Symphony. Cunningham says that the included excerpt is connected to multiple pieces on the program. “Incorporating the Largo from Dvorak 9 serves a dual purpose: first, to demonstrate the tangible connection between the spirituals sung by Burleigh to Dvorak, and second, to mirror the premiere of Still’s And They Lynched Him on a Tree, which also included the movement.”


This is the fifth year that UPCO has been active. Their advocacy is laudable, and the group has musicianship to match its ambition. Cunningham and company are persuasive performers of both standard-era repertoire and more recent music. May 8th’s concert should be a memorable one.

Event Info

Urban Playground Chamber Orchestra and Harry T. Burleigh Society present

From Song Came Symphony

Wednesday May 8th at 7:30 PM

Langston Hughes Auditorium

Schomburg Center for Research in Black Culture

515 Malcolm X Blvd.

New York, New York 10037

Tickets