New Music

In the spring of this year there was a Cardew retrospectiv-ish looking thing in France put on by the Centre d’art contemporain de Brétigny that included John Tilbury, Keith Rowe, Marcus Shmickler, Rhys Chatham and many people I’m unaware of. I’d read about this back when it was going to be put on and apart from a regret that I couldn’t attend it more or less slipped my mind. In doing some searches for the Tiger’s Mind (I was curious if anybody had made a recording of the performance that Keith Rowe put on at Mills College as the David Tudor Composer-in-Residence ) I discovered that that the CAC Brétigny had setup a website for the festival and put up mp3s of the entire thing.  These are all streamable from the website site but you can also get into their FTP and download them all directly from this directory. This was a pretty impressive event and I have to say that it is great that they have put it all online.

Cornelius Cardew et la liberté de l’écoute
Exposition et programme de manifestations
5 avril – 27 juin 2009

The festival included performances of:

  • Treatise (p. 50) performed by Keith Rowe with projections by Luke Fowler and Peter Todd
  • Cornelius Cardew Piano works performed by John Tilbury
  • Treatise (p. 170, 136, 168, 167, 140) performed by Michel Guillet, Jean Jacques Palix, Marcus Schmickler and Samon Takahashi
  • Volo Solo performed by Rhys Chatham (!)
  • Tiger’s Mind performed by Nina Canal, Nadia Lichtig, Michael Morley & Sara Stephenson
  • The Great Learning paragraph’s 5 & 7
  • Christian Wolff’s Stones
  • Micheal Parson’s Walk
  • A Terre Thaemlitz performance

So far I’ve only listened to the Keith Rowe Treatise, which is quite nice, the Tilbury Piano Music, which is excellent and the Tiger’s Mind, which was interesting but not to my taste, nor did I really get much of a sense of the score from it. I look forward to working my way through the rest of the material.

Over the next five days there are four concerts and two panel discussions well worth seeing. The first four days were setup by Seattle Improvised Music, so much thanks to them for continuing to bring great musicians to Seattle.  The fifth day is a west coast tour from NYC based Delicate Sen, who will be playing a number of other shows.  Additionally lot of these musicians are also playing Portland (probably already have I’m afraid) and some will also be doing (or have done) Vancouver, so if you are in the PNW but outside of Seattle check around. Anyway I’m going to try to make most of these shows, but will definitely not be able to make it to tomorrows panel discussion (2pm Friday afternoon – I wonder who is expected to make it?). If anyone reading here does make it to that panel let me know how it goes.

Update 08.21.09
So I went to the first of these shows last night (the only non-performer in the audience – c’mon Seattle!) and it turns out that these shows are also including local improvisers. I don’t think the lineup will be the same for all nights but last night it included Gust Burns, Wilson Shook and Mara Sedlins. I think Gust and Wilson at least will be playing tonight and tomorrow possibly with other locals.

August 20th

Bonnie Jones, Vic Rawlings, Bryan Eubanks, Chris Cogburn
with locals Gust Burns, Wilson Shook and Mara Sedlins
Chapel Performance Space, Seattle WA USA

August 21st
Panel Discussion: Improvised music today – perspectives on artist run infrastructure
with Bonnie Jones, Vic Rawlings, Bryan Eubanks, Chris Cogburn
Gallery 1412, Seattle WA USA

Bonnie Jones, Vic Rawlings, Bryan Eubanks, Chris Cogburn
Chapel Performance Space, Seattle WA USA

August 22nd
Bonnie Jones, Vic Rawlings, Bryan Eubanks, Chris Cogburn
Gallery 1412, Seattle WA USA

August 23rd
Panel Discussion: Improvised music today – improvisation in community
with Bonnie Jones, Vic Rawlings, Bryan Eubanks, Chris Cogburn
Gallery 1412, Seattle WA USA

August 24th
Delicate Sen (Billy Gomberg, Anne Guthrie, Richard Kamerman)
with locals Mark Collins, Mara Sedlins, Tyler Wilcox and Wilson Shook
Gallery 1412
, Seattle WA USA

Lou HarrisonThursday March 27th, 2009
Drums Along the Pacific Day 2: The Music of Lou Harrison

While I was more familiar with Lou Harrison’s music going in to this then I was with Henry Cowell, this program was again almost entirely new to me.  Harrison was a contemporary of John Cage and he also was a student of Henry Cowell (and Schoenberg as well).  Like Cage he caught the percussion bug from Cowell and continued to work with it throughout his life.  During the 30s he and Cage fed off of each other using each others interests, innovations and developments.  Cage’s interest in metallic percussion instruments was taken up by Harrison as was Cage’s Water Gong and prepared piano.  While Harrison continued with percussion throughout his life his interests in the musics of other cultures became dominant and the use of alternate tunings became a primary feature of his music. Of the three musicians presented in this festival Harrison’s music is the least performed so this really was a rare opportunity that I was thrilled to have.

I determined that I was going to be able to attend this show only about an hour before it started and I left for Cornish immediately upon confirmation.  I arrived about a half hour before the curtain to find it sold out and they were putting people on the waiting list! I was about eighth on that list and I hung around ’til a few minutes before showtime to hear if I’d get in. I did and it seemed they also opened up the balcony which means everyone got in. I got a great seat, second row center and the seats next to me never filled in.  Due to filling in all of the wait list the show started a bit later then it had the previous night, but around 8:15 the lights dimmed and the show was announced. This time special thanks went out to people who had helped with all of the tuning needs.

The first set began with Double Music which was jointly written by John Cage with each composer writing parts for two percussionists.  The Pacific Rims Percussion Quartet, operating unassisted for this piece had a vast array of materials including the ubiquitous brake drums and Cage’s water gong along with a thunder sheet, tuned cowbells, tam-tams and so on.  The piece had a really Gamalan feel to it, much more so even than Cowells similar percussion works. The water gong had a fantastic wavery sound to it as it was moved through the water and the mostly metallic percussion instruments gave this the feel a a junkyard band.  The piece was quite uptempo and fascinating, a really great start to the night. This was followed by May Rain for prepared piano, tam-tam and baritone, which came across as a Henry Cowell song with Cage like accompaniment.  The piano reminded me of the more lightly prepared pianos of  Cages earlier prepared piano pieces such as Perilous Night. The song was low, slow and very rich, but thematically I didn’t find much there.

The first chamber piece of the evening was The Perilous Chapel for flute, harp, tom-toms and ‘cello.  This was an interesting composition that was apparently inspired by Persian miniatures but it contained elements that reminded me of certain trends in contemporary composition. It began with the flute playing a short scale, which was then joined by the ‘cello doing likewise and then finally the harp entered.  This movement went on for a while with these three interlocking scales which was interrupted at one point by a brief rather tribal tattoo on the drums.  Later movements were more drum oriented with the harp providing glissando effects, arpeggios and the like. The end of the piece was percussion free with the ‘cello providing a slow drone as the flute and harp floated above it with rather wistful melodies.  A nice piece with interesting elements.

The final piece for the first set was the lengthy Suite for Percussion featuring the percussion quartet along with Bonnie Whiting Smith also on percussion.  This piece made extensive use of the brake drums to provide the melodic content and also had a section that featured the springs from a clock (originally Harrison’s own).  Its three movements were quite different beginning with what seemed like all five percussionists following their own rhythmic structure that interconnected with each other.  This varied in density and it was in the middle of this first movement that there was a very soft section with the aforementioned clock spring accompanied by bells and chimes. Very charming. The second movement opened with just the thunder sheet and a gong whose sound was allowed to decay before being struck again before moving on to a long section of solo wooden blocks.  The final movement again began with a slow, loud rhythm this time set by a big bass drum.  The metallic instruments came back in and the piece came to a head at the end with all members vigorously playing.  I found this piece fully engaging with lots going on, incredible textures and a wide variety of sounds.

Set two began with the most dramatic, energetic and aggressive piece of the night, Simfony #13 composed in 1941. To quote from the program notes, for this piece:

“The orchestration is a mix of instruments in typical Harrison fashion. Players one and two have three sets each of five or six wood and metal instruments: woodblocks, water buffalo bells, and cowbells for one; suspended temple blocks (dragon’s mouths) and muted brake drums for the other. The third player has an elephant bell, a triangle, a suspended cymbal, a gong, and a tam-tam, and the fourth, seven tom-toms and a bass drum. This performance marks the Seattle premiere of this work.” -Matthew Kocmieroski

The Seattle premier of this piece was preformed by the Pacific Rims Percussion Quartet who deftly weaved this dense and driving piece.  Like most of the Harrison percussion pieces the use of polyrhythms was quite apparent giving this the feel of both locked and shifting patterns.  The piece concluded with a super loud assault on the drums which stopped dead and was repeated.

Following this dramatic entrance was a piece for a single upright piano, Incidental Music to Corneille’s ‘Cinna’. The piano had a really metallic sound and the piece had an almost player piano feel.  Reading the program description of this piece it turns out that the piano was tuned into 7-limit Just intonation and had tacks added to the hammers to create what is known as a “tack piano”.   This music,  which was scored for a play, was in three distinct movements each with its own character. The first was almost rag-time like, the most Nancarrow feeling, whose tempo shifted constantly throughout. The second had a fugal character to it which the tacks gave almost a harpsichord like flavor thus strongly evoking the baroque. The final movement was more melancholy and romantic with a strong classical feel.  A real varied piece that took full advantage of this strange instrument and its non-standard tuning.

Two shorter chamber works follow, the first In Memorium of Victor Jowers for harp and bass clarinet was defined by low, slow melodic lines from the clarinet punctuated with single plucked notes from the harp. Very melodic and simple as it developed the harp played simple octaves in an ascending scale.  Music for Remy which followed directly afterward was for clarinet and percussion and was written for a long time friend of Harrison’s who was a professional dancer. It began with an almost snake charmer like sound, the clarinet weaving through the simple, but steady, percussion.  It developed from this into a very klezmer feeling piece perhaps utilizing the hijaz scale. It concluded gently, almost soporific, which nicely wound down an interesting and different piece.

The concert concluded with the Concerto in Siendro with a full stage including two tack pianos, trash cans, ranch triangles, gongs, washtub, violin and celesta. The lead violin from the Seattle Chamber Players was right out front and performed with his typical exuberance. He literally bounced around as he played and waved tempo in parts when he wasn’t playing a big grin on his visage the whole time.  The piece opened big with a massive percussive blast which then shifted into a rollicking, almost Russian flavored melody driven by pyrotechnics on the violin. The middle movement of the piece was much less dense, quite sentimental with the violin evoking a nursery rhyme sang by a keening voice and answered with rather staccato interplay from the piano.  For the final movement the energy was brought back up, with dramatic little solos from the violin and answering missives from the percussionists. In the very end all of the musicians were playing and the combination of the percussion, tack pianos and celesta was like a demented mechanical music box.  Very entertaining piece and a stunning conclusion to a great evening.

Following this evenings performance was a champagne reception next door to the recital hall which I briefly attended. The show had run well after 10pm due to the late start and as I was going to be quite busy all weekend with family activities I was not able to linger.  It was a nice affair though with the performers, organizers and staff mingling amongst the audience and supporters.  These first few days of the festival had been really well done, very professionally put on and musically rewarding. I’m really glad I got a chance to see these two rarely performed composers and regret missing the rest of the festival. I’m sure that the rest of it was as great as these first days.

Drums along the Pacific

Drums along the Pacific

Early this spring, Seattle’s Cornish College of the Arts put on a four day festival, Drums Along the Pacific, celebrating the music of Henry Cowell, Lou Harrison and John Cage.  While I am usually quite aware of what is happening vis-à-vis new music performance in the Seattle area this one took me completely by surprise. I actually first heard about it a couple of weeks before the festival as a sponsor on my local NPR station.  While I was happy to learn about it I was devastated to find out that it corresponding with some family business that I was not going to be able to work around.  I was free for the first night of the festival and circumstances aligned themselves so that I was able to attend the second day as well.  The third day was four sets of the music of John Cage and it kills me that I wasn’t able to attend that.  Ever since the Vancouver New Music’s Silence: John Cage festival I have become increasingly obsessed with his music and I have found so much of interest and enjoyment.  Even though I have seen performances of the bulk of the Cage pieces they were going to play, it is still a fairly rare event to get to see his music  live. Also they performed Ryoanji which is a piece that I love that I have not yet seen performed. The fourth day featured Gamelan Pacifica performing Cage and Harrison gamelan pieces which I also would have loved to have seen.  Additionally there was a series of presentations on Saturday and Sunday that it was a shame to have missed. The two days I was able to attend were highly interesting and they were important music historically both in the development of contemporary composition in America and as influences on Cages music.

The basic background to this festival was John Cages stint as a professor at Cornish College of the Arts from 1938 to 1940.  It was here that he developed the prepared piano in an attempt to bring the sounds of percussion into confined spaces, for at this phase in his musical development percussion was the focus of his interests.  One could argue that this planted the seeds of much of his later musical development but that is another post.  Percussion was a major interest of many American composers at this point in time, with Henry Cowell being in the vanguard. Percussion music is of course inherently sound oriented and the diversity of sounds available from the basic notion of striking an object is limitless.  Historically percussion was used as punctuation, as a rhythmic device and for sound effects. When you work with percussion on its own there has to be a shift in focus as it must provide all the elements that the music requires.  Cage and Harrison both turned their attention toward percussion in the late 30s inspired by the classes they had taken with Cowell which had introduced them to the sounds of Gamelan, Gagaku, Kulintang and other percussion traditions.  They organized a series of percussion oriented music festivals first at Cornish, then at various Pacific Northwest colleges and finally all up and down the west coast which Henry Cowell dubbed “drums along the pacific”.  Cornish put on this festival in celebration of the seventieth anniversary of these concerts.

While the original “drums along the pacific” concerts inspired this festival they did not exclude the performances to just the featured composers works for percussion.  For these concerts Cornish relied on both local and nationally recognized performers.  Local groups, the Pacific Rim Percussion Quartet and Gamelan Pacifica represented the percussion side of things while  Seattle Chamber Players, NYC pianist Stephen Drury and opera singers John Duykers and Kathryn Weld were brought for the other elements. All of the performances were in Cornish’s Poncho recital hall which is a very nice sounding small theater that was packed on both of the nights that I attended. The stage wasn’t overly large but it was deep and between each piece they’d transfer instruments from backstage to the front and close a curtain behind it.  All in all I found the musicians, the space and the organization of the event top notch.

Thursday March 26th, 2009
Drums Along the Pacific Day 1: The Music of Henry Cowell

Going into this festival it was the music of Henry Cowell that I was least familiar with. I’d heard a few of his pieces here and there and I was aware of his influence on the early music of Cage but I had yet to really explore his oeuvre. This night was to give a nice taste of a number of his musical concerns: songs, of which he wrote nearly two hundred, the string piano, which pioneered inside piano playing, the music of other cultures and of course his percussion works.

The first set of music began with an announcement that the first and last pieces of the program would be swapped which is not reflected if you check out the excellent online program notes.  Also a note of thanks was given out to an antique automotive associate for help in finding period appropriate instruments. The first piece was thus Ostinato Pianissimo performed by the Pacific Rims Percussion Quartet, Stephen Drury, Jarrad Powell, Paul Taub and Adrienne Varner. The pianos were played on the inside (thus “string pianos”) often muted by the performers and were mostly used as additional rhythmic elements  The percussion was hypnotic and driving led by melodic figures on the marimba.  The piece had a driving rhythmic pattern that continued until right before the end in which the tempo changed and all the musicians were playing for a a dense and energetic conclusion.

The stage was cleared of all of the percussion elements leaving only a single piano which Stephen Drury came out to play. He was joined by mezzo-soprano Kathryn Weld for three of Cowell’s songs.  Cowell wrote songs throughout his life many of them virtually lost or buried in obscure publications.  This first set of songs, Sunset, Rest and Night Fliers was interesting in that Drury would use his arm to crush dozens of keys in the lower register emitting  thunderous roar which contrasted strongly against the rather typical operatic singing.  I wasn’t very taken by the  content of these songs, most of them from obscure poets. This trio of songs was followed by a second set of songs based on the poems of Langston Hughes: DemandMoonlight Night: Carmel and Fulfillment. For these the piano was replaced with a trio of flute, clarinet and ‘cello from the Seattle Chamber Players. While the source material was a lot stronger for these, the music was much less interesting; it mainly was used to underscore thematic elements, or echo the melody line of the singer.

Following the songs was what I thought was the highlight of the first set: three pieces for solo piano preformed by Stephen Drury. He began by telling us that “there will be no exultation, hopefully only a program change and not a metaphor”. The first piece, The Tides of Manaunaum, began with massive, often dissonant,  bass clusters generated by the whole hand and forearm but eventually became much more melody driven with a hymn-like character. The following piece, The Banshee, was the first piece Cowell wrote for the string piano, which was played entirely by stroking, rubbing and occasionally plucking the strings  while an assistant kept the sustain pedal down the entire time. This was a wonderfully dreamy piece of overlapped shimmering sounds, rich with overtones and colliding sounds. This was my favorite piece from this night of music. The final solo piano piece, Aolian Harp,  was nearly as engaging, with Drury standing in front of the keyboard playing both the keys and the strings while he worked the sustain pedal.  This piece had a really charming combination of tentative melodic fragments and ghostlike shimmers. The way he worked the pedal would damp the sounds and perhaps was meant to evoke the wind that an aeolian harp depends upon.

The final piece of the first set was Homage to Iran an example of Cowells integration of the music of other cultures into his compositions.  This piece was written for piano and violin and three of its four movements featured a “middle eastern drum” that  in this case looked to me like a djembe. The first movement began with this drum solo sounding ever so much like your typical hippie drum circle. The violin entered with a jaunty melodic line and the two play together for a while until they come to a sudden stop. At that moment the piano starts up and plays for a couple of measures in an equally jaunty manner. The other two join in again and shortly the piano drops out again. The second movement does not feature the drums but retains the poppy character of the previous movement at one point a little rhythmic turn even brought appreciative chuckles from the audience. The third, short movement was just the violin and djembe while the entire trio played in the final movement. This movement was the most energetic, with a much less relaxed and driving rhythm. It had a dervish quality to it, joyful and in constant movement. It ended with a flourish that brought much applause from the audience.  A good way to end a set.

After a short set break in which the percussion instruments were brought back to the stage (this is where my sad cameraphone picture above comes from) setup for Return, which features three percussionists and a “wailer”.  This piece was quite active, with the percussionists changing from item to item as it progressed.  There was a section where there was a lot of bowed metal including a music stand.  The wailer was a no-show until the very end where a member of the audience in the front row let out a long warbling “whoaaaaaaa”. This was followed by a shake of a rattly object to conclude the piece.  The next piece, 26 Simultaneous Mosaics, from 1963 is indeterminate in form, making one wonder if the bi-directional influence between Cage and Cowell continued beyond percussion (Cowell also composed for Cage style prepared piano) though an earlier Cowell piece also allowed for a changeable structure at the group instead of this pieces more variable indeterminacy at the  individual level. This piece for piano, percussion, violin, ‘cello and clarinet made up of  the aforementioned 26 parts which the instrumentalists can play in the order of their choosing thus causing each performance to be unique. In this realization the piece was spacious and meandering with the various mosaics taking on many different characteristics.  A nice piece with hints of romanticism here and there.

We return to songs at this point, this time with tenor John Duykers accompanied by Stephen Drury. The Donkey, The Dream-Bridge and Spring Pools, weren’t too dissimilar from the songs heard earlier again based on published poems the last by Robert Frost.  Unlike the earlier piano accompanied songs, the music for these was on the whole uninteresting.  Rather staid and for the most part simply underscoring what were rather traditional vocal melody lines.  John Duykers though was quite charismatic, opening up by addressing the audience informing us that there would be no changes to the program. This laugh-line was of course in response to all the program change announcements that had preceded him. After these three songs he then introduced the final set of songs, Three anti-modernist Songs. These songs, written while Cowell was in prison on morals charges, were based poems sent to newspapers collected in Nicolas Slonimsky’s,  Music Since 1900.  These songs were hilarious:

A sharp, where you'd expect a natural,
A natural, where you'd expect a sharp;
No rule observed but the exceptional,
And then (first happy thought!) bring in a Harp!

No bar a sequence to the bar behind,
No bar a prelude to the next that comes;
Which follows which you really needn't mind --
But (second happy thought!) bring in your drums!

For harmonies, let wild discords pass;
Let key be blent with key in hideous hash;
Then (for last happy thought!) bring in your Brass!
And clang, clash, clatter -- clatter, clang and clash!

As the song progressed, song in a declamatory style, the piano music would underscore the sentiments expressed by the author – strumming sounds for the harp, crashes for the drums and brass and so on. Definitely the most entertaining of the songs, read the full text to all three on this site.

The final piece (formerly intended to be the initial piece) was Pulse written in 1939 for the original Drums Along the Pacific tours. This piece is for five percussionists each whom have two sets of three similar sounding objects.  The sixth performer moves throughout the ensemble and damps instruments presumably in a scored manner.  This piece, like the first piece, utilized melodic percussive elements to setup a rhythmically structured melodic line. While it was marimba in that piece that drove the melody in this one it was tuned drums.  Other players added more accents to this structure using their blocks, gongs, bowls and brake drums (another Cage invention that Cowell utilized). I had definitely noticed the “dampening” performer but it was hard from the audience to see what he was actually doing, it wasn’t until I read the program notes that I figured that out.  This piece had a real driving rhythm and you could clearly sense the influence of gamelan and other Asian percussion traditions in its nature. I thought this was the most engaging and successful of the Cowell percussion pieces played, a really enjoyable piece.

A really nice night of music, most of which I was entirely unfamaliar with.  Prior to this I’d heard some of his string piano and songs and it was the later that rather turned me off to his music.  I’m definitely interested in exploring more, first with more of his solo piano music and then through some of his percussion works. In general I tend to prefer to go right to the source (gamelan, gagaku, etc) as opposed to musicians “inspired” by such musics, but I think there is something in Cowells mix of traditional musics and modernism that is pretty appealing.  As this ended up being quite long, I’ll report on day 2 tomorrow.

Next Page »