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Americas and Americans Festival 2010:
Los Angeles Philharmonic

UpBeat Live!

BP Hall, WDCH , Los Angeles: 23 April 2010

Steven Stucky returns, host,

Standard, prepared introductions to the music on tonight’s program.

He does believe that someone other than Varese wrote the first piece for percussion ensemble.

Peter Lieberson is listed as a participant – he is a no-show. We are finished real early tonight

“….. maybe he is tired….”

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Americas & Americans Festival 2010:
Los Angeles Philharmonic

Ralph’s, WDCH , Los Angeles: 23 April 2010

Kelley O’Connor, mezzo;
Jean-Yves Thibaudet, piano

Gustavo Dudamel, Cond

It took numerous phone calls and several visits to the Box Office to finally get a ticket.

1) Carlos Chavez (1899 – 1978): ‘Toccata for Percussion’ (1942) for 6 percussionists. The percussionists are placed on their usual upstage top riser; they position Dudamel’s podium forward to meet them – dark stage except for the spotlight on Dudamel and a broad beam covering the full-width percussion. A new piece for me and it sounds great in this hall – soft / loud & lively & clever. Hey! TCP and a couple of friends……

2) Peter :Lieberson (1946-): “Neruda Songs” for mezzo & orchestra. Very beautiful piece and very touching, especially when you know the circumstances. I had forgotten that LAPhil was one of the co-commissioners. This was the first live performance foe me.

3) Bernstein: ‘Symphony No 2 – Age of Anxiety after WH Auden’ (1947 – 1949; rev 1965) for solo piano and orchestra. It’s been years, but I’ve heard this a couple of times before. I’ve never warmed up to it.

4) encore: ?? Something for string orchestra (with Jean-Yves only sitting at the piano, looking around) ???

Peter Lieberson is here; Frank & Berta Gehry are here

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Center Theatre Group:

Los Angeles County Music Center: Mark Taper Forum: Amelia Taper Auditorium:
24 April 2010

Glenn Davis, Brad Fleischer, Arian Moayad, Kevin Tighe, Hrach Titizian, Sheila Vand, Necar Zadegan.

Moises Kaufman, Dir

Rajiv Joseph: ‘Bengal Tiger at the Baghdad Zoo’

music by Kathryn Bostic

Non-music interlude:

This is my first visit after the renovation. They did insert rest rooms under the lobby corridor, but other than that – it seems to be just a decoration project. It remains a 760-seat, wide-wrap end stage. Rush tickets, for seats in the far side sections, are $20.

Center Theatre Group is the Goodman or Steppenwolf of LA. They discover, nurture and produce work by new playwrights (and send them to Broadway on occasion).

Glenn Davis has done a lot of work in Chicago. Good to see him again

The publicity and newspaper stories suggested this would be a strong play. As presented, it seemed trivial. Too much effort making it funny. Or maybe it’s just me – not in the mood to see anything funny about our Iraq wars

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Southwest Chamber Music (SCM):

Ascending Dragon (Thang Long) Music Festival and Cultural Exchange – Spring 2010
“When the Dragon Meets the Clouds, Peace is at Hand”

The Colburn School: Zipper Concert Hall : 24 April 2010

7;30p:: Pre-Concert Introduction: Jeff von der Schmidt, AD & Conductor; Composer: Kurt Rohde; Lynn Vartan, percussionist.

In addition to the typical discussions, Lynn throws 3 coins and calculates, several times, to determine what part of Cage’s ‘Atlas Eclipticalis’ will be performed tonight.

Dual purpose: SCM has started its celebration of the 100th anniversary of Cage’s birth as well as introducing his music to the Vietnamese.

von der Schmidt has known Carter forever, so in January, he was able to convince Elliot that the World and US Premieres should be part of this Festival (Levine and Barenboim can do the NYC and European premieres later)

8p:: Concert:

guest: Evan Hughes, bass-baritone

The same mix of Vietnamese and LA musicians

1) Rohde (1966-): ‘ Still Distant, Still Here’ for dan bau, 2 percuss, piano, dbass, 6 violin, 2 viola, 2 cello, 2 flute, clar, bass clar, basso, horn. (9 singing bowls and 5 Noh (sp?) Bells are distributed in the ensemble) (US Premiere). Substantial and beautiful piece and distinctive voice. I need to find some of his CDs.

2) ‘Atlas Eclipticalis’ [Page 1 of 4 – - selected by 3-coin chance operations in the pre-concert talk] (1961 / 1962) for: on-stage: clar, bass clar, basso, 2 viola, cello, dbass.
for: One instrument in each of 5 boxes, each side. Curious piece. Surround sound is fun

3) Carter: texts by Ezra Pound (Pisan Canto 81 & Canto 120): ‘On Conversing with Paradise’ for bass-barit, 5 percuss, 4 violin, 2 viola, 2 celli, 2 dbass, piano, clar, bass clar, horn , flute (US Premiere). Sounds great in this room, especially Mr Hughes.

4) Copland: ‘Appalachian Spring’ (1943 – 1944) original version for 13 instruments

http://www.swmusic.org/home/home.html

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Americas and Americans Festival 2010:

UpBeat Live!

BP Hall, WDCH , Los Angeles: 25 April 2010

Veronika Krausas, Composition Department, The Thornton School of Music, USC

Osvaldo Golijov, Maria Guinand, Chad Smith , VP, Artistic Planning, LAPhil

wonderful discussion about this Festival and about ‘La Pasion segun San Marcos’

Chad reminds us that this Festival is Part III of the year-long welcome to Gustavo:

LA welcomed him at the Hollywood Bowl last Fall;

California welcomed him through the West Coast / Left Coast Festival last Fall.

The hemisphere welcomes him this Spring.

What will the galaxy do?

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Americas & Americans Festival 2010:

Ralph’s, WDCH , Los Angeles: 25 April 2010

La Pasion Orchestra;
Schola Cantorum of Venezuela;
Luciana Souza, vocalist;
Jessica Rivera, sopr;
Reynaldo Gonzales Fernandez, Afro-Cuban singer and dancer;
Deraldo Ferreira, capoeirista / berimbau

Ralph’s, WDCH , Los Angeles: 23 April 2010

Maria Guinand, Cond

Golijov: ‘La Pasion segun San Marcos’ (2000) (LA Premiere)

Funny how pieces of such importance somehow don’t get scheduled in all the major music centers. I heard this first at Ravinia, and second, at the BAM New Wave Festival, both in 2002. Robert Spano conducted both.

Maria Guinand conducted the World Premiere and recording in 2000. This (Her) Orchestra and Chorus played the premiers and the performances in the US in 2002. They have repeated it around the world. Somehow LA missed out until now.

I find it one of the top ten compositions of the new Century. Hearing it in a real concert hall was a major treat. Seeing / hearing these artists is a major treat. She is a relentless conductor – the action never stops, the chorus is standing; it reassembles into different groups over and over. Several members walk down to the apron for solos. Percussionists in particular, move from the ensemble to the apron frequently. The soloists enter and exit the action frequently.

To tell the story from the many many Latin American points of view, Golijov mixes many musics from his youth, his family background.

The stepped risers are in use and covered with black Marley; the musicians use stand lights. Dozens of lighting cues. Not the best amplification — too loud too often, damaging directional realism. Golijov sat next the operators.

An intense afternoon, wonder moment after wonderful moment. Huge ovation. The hall was about 80% full.

Teddy Dean Boys

Concert Artists Guild (CAG): 2009 – 2010 CAG Winners Series:

Claire Chase, flute (First Prize Winner, 2008 Concert Artists Guild International Competition)

with members of ICE: Jacob Greenberg, piano; Daniel Lippel, guitar; Bridget Kibbey, harp; Erik Carlson, violin; Kivie Cahn-Lipman, cello; Nuiko Wadden, harp; Nathan Davis, percussion

Carnegie Hall: Weill Recital Hall: 22 April 2010

Weill Recital Hall is on an upper floor of Carnegie Hall, seats about 220, and was about 98% Full.

The not-to-be-missed recital this season. And worth every effort. Part of her prize was this recital — her Carnegie Hall debut.

JSBach opened and closed the official program, starting with ‘Sonata in E, BWV 1035 for flute and guitar’. I had not been in Weill for several years, so the initial notes were a bit of a shock – I had forgotten how dry the sound is, not at all flattering to Claire’s bright flute sound. Not the sound quality you expect for JSB. Nicely balanced with the guitar.

Closing the program was the Salvatore Sciarrino transcription (1993) of the JSBach ‘Toccata & Fugue in d’. Jaw dropping, Spectacular. Death-defying. Beyond all belief.

This is a foot-stomping, cheering crowd and is instantly on its feet. This is as amazing as the encore:: her transcription of Caprice No 24 of Paganini. We heard that before, in Chicago last Spring, and it was a treat to hear it again

In between – music of today:

Donatoni: ‘Fili’ (1981) for flute and piano.

Saariaho: ‘Terestre’ (2002) for solo flute and violin, cello, harp, & percussion.

Takemitsu: ‘Toward the Sea’ (1981) for alto flute & harp.

Boulez: ‘Sontatine’ (1946) for flute and piano.

One major piece after another. For these pieces, the music and the room sound fit together much better. Crackling clarity – easy to be swept up in the details – oh, so many details. Again, great balance between the star and the ensemble.

The Boulez piece is from his angry era. Claire introduced it by noting that she and Jacob were rehearsing it in a Chicago apartment and twice, someone called the police, claiming:: ‘Domestic Dispute!’

The post-performance party was at in a penthouse bar in a nearby hotel, with a spectacular view of Times Square. The penthouse might accommodate 50 people comfortably; with 200 New Music Fans, it was unbearably hot & humid – so I left. (Also, I had a 6:30am flight back to California)

 Teddy Dean Boys

Sunday, 4/25, there were two musical events on my calendar.
MAVerick at the Ukrainian Museum of Art and The Newberry
Consort at 4th Presbyterian Church.

The MAVerick concert was amazing, each piece besting the
last. Jennifer Leckie was all over her violin bridge in Capprici
#4 & #5 by Sciarrino.

Next was “Petroushka Dreams” by John Bilotta. I could really
imagine the recently deseased Petroushka following up on his
romance with the ballerina after death. Jason, Andrea DiOrio
and Mark Sudeith played cello, clarinet and piano respectively.

Seth Boustead’s “Intone” was very subtle and included Jason
on cello, Jennifer on violin and James Baur on guitar.

James came back for a solo guitar piece, “Forged” by
Tomi Räisänen which had beautiful harmonics and vibratos
played by stretching stings on the frets.

Another Sciarinno piece “Omaggio A Burri” followed which included
very much tooting, puffing, key tapping and breath into the flute and
clarinet of Andrea and Lisa Goethe-McGinn. Jennifer’s violin
provided sort of a background drone on scratchy strings.

After intermission, MAVerick performed “Vox Balanae” by
George Crumb (whale songs). It was set back in the corner
of the space with dim lighting and played by Jason on cello,
Lisa on flute and Mark on piano. It was a very evocative piece
and in-tune with George Crumb’s particular view on life and
music.

The reception at the Ukrainian Museum was excellent and
I extend thanks to Jason and the crew.

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Thursday morning, 4/22, I woke up, fell out of bed,
Dragged a comb across my head.
Found my way to the living room and drank a cup.
And looking up I noticed I was late.
Found my coat and grabbed my hat,
Made the bus in seconds flat…

From there on, I was in a dream. The CTA ride
to O’Hare was smooth as was the flight to NYC
which left exactly on-time and arrived 10 minutes
early.

The express bus to Manhattan took only 30min
and the Fairfield Inn Manhattan was so nice,
I have to recommend it to anyone visiting NYC:
http://www.marriott.com/hotels/travel/nyctm-fairfield-inn-and-suites-new-york-manhattan-fifth-avenue/?vsremarsha=NYCTM&vsresect=rd&vsretype=p&vsrebrand=FN&vsrelink=vhw

It’s in the Fashion District and surrounded by trim
and bead shops. I had to sing “Baubles, Bangles and
Beads” to myself when I walked to/from the hotel.

After roaming around Times Square I had to duck into
an Irish Pub to avoid a cloudburst. Two Guinesses
later, the sun came out and I met my friend Teddy
to continue with the evenings plans to see Claire
Chase’s flute recital at the Weill Concert Hall upstairs
in Carnegie Hall. See the NY Times review at http://www.nytimes.com/2010/04/24/arts/music/24claire.html?ref=music

After the concert, the reception was at the AVE Lounge
in the Dream Hotel a few blocks from Carnegie Hall.
It was way too hip, loud and crowded for me and Teddy,
so we called it a day around 10:30.

I wandered back to my hotel through Times Square
stopping back to the Pub I’d earlier took shelter in
and then getting a sausage in a pita from a street cart
and sitting around and gathering in all the delights
and lights of Times Square.

Friday after a walk through the modern marvel of
Grand Central Station, I caught the bus back to
LaGuardia.

On the flight back to Chicago, I sat next to a High
School football coach from Woodstock who coached
a boy who later attended the U of Iowa and was drafted
by the Green Bay Packers during the NFL Draft
that was happening at Radio City Music Hall. So watch
for Brian, #75, a future tackle for GB. http://www.nfl.com/draft/2010/profiles/bryan-bulaga?id=496988

Later in the evening when I got back home there was a
welcoming reception at the old Viet Nam Veterans
Art Museum on 18th & Indian Av in my neighborhood.
It’s being turned into a community rec-center. www.park550advisorycouncil.com

But I had to leave early to hear the Southern Illinois University
(Carbondale) Percussion Group perform a concert at
the nearby Sherwood Community Music School.
http://music.siuc.edu/ensembles/PercussionEnsemble.htm. It was a fun concert with lots of banging on drums,
marimbas and other miscellaneous objects.

Southwest Chamber Music (SCM):

Ascending Dragon (Thang Long) Music Festival and Cultural Exchange – Spring 2010
“When the Dragon Meets the Clouds, Peace is at Hand”

The Colburn School: Zipper Concert Hall : 17 April 2010

[ It did not occur to me that this weekend would have a theme until I saw the John Jasperse Company / ICE project at Redcat (see below) ].

Dark. Many of us consider our Vietnam years as very very dark.

Light. Returned in a couple of ways, thanks to this SCM project:

The US State Department once again considers Cultural Exchange an essential activity!!. Celebrate the 1000th anniversary of the founding of Hanoi. Celebrate the 15th anniversary of the normalization of relations between Vietnam and the United States. Celebrate with music …..

Performances , Workshops and Special Events began in Pasadena in late February; moved to Hanoi and Ho Chi Minh City for two weeks in March. Now they continue with five programs in LA through 3 May 2010. This is the first of three I plan to attend

7;30p:: Pre-Concert Introduction: Jeff von der Schmidt, AD & Conductor; Composers: Alexandra du Bois & Vu Nhat Tan

The project included commissions for US and Vietnamese composers for Western and Vietnamese instruments. The World Premieres were split between LA and Vietnam. Jeff has worked on this for four years – tonight his dream comes true

‘Classical’ music in Vietnam is rooted in French music from early in the 20th Century. The large gap in exposure to Western traditions, between Debussy and today, allows Copland, Cage & Carter to be included in the concerts.

Alexandra considers Saigon her favorite city in the entire world – the combination of gentleness of the people and the madness of city life. There is a National Academy of Music in Hanoi and Conservatory in Ho Chi Minh City – both were partners in the project.

This is the first time Vietnamese musicians have been permitted to play in the US: dan bau, violin, viola, cello, celesta, percuss, horn, clar, flute.

8p:: Concert: (astonishing number of missing accents – sorry)

1) Debussy: ‘ Danse sacree et danse profane

2) Vu Nhat Tan (1970-): ‘Pho’ (Streets) (US Premiere) for dan bau, flute, clar, oboe, basso, piano, 4 violin, 2 viola, 2 cello, dbass. [The missing accent distinguishes the ‘Pho’ (Streets) from pho (the soup)] The dan bau is one of the traditional Vietnamese instruments. It appears to be a cousin of those you see from Japan and China – long wood body, held horizontally, limited number of strings, plucked. The sound is theramin-like and is the most interesting aspect of the composition.

3) Takemitsu: ‘Archipelago S for 21 Players’ . The 21 players are organized into five groups; 3 on -stage represent: Seattle, Stockholm & Seto Island Sea, Japan. ‘Group’ 4 & 5 is one clarinet, in an Audience Box, each side. Very recognizable Takemitsu and lovely in this room. Equal numbers of LA & Vietnamese musicians

4) Nguyen Thien Dao (1940-): ‘ Au dessus du vent’ (1985) (US Premiere) for harp & string ensemble. The harpist has great time.

5) Alexandra du Bois (1981-): ‘ Within Earth, Wind Grows’ (2010) (US Premiere) for dan bau & the chamber ensemble. A rich composition, inspired by a Vietnamese poet / peace activist. Maybe a little longer than it needs to be, but deeply felt and it sounds great here. Dark and Light

http://www.swmusic.org/home/home.html

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John Jasperse Company / International Contemporary Ensemble (ICE)

Redcat: 18 April 2010

‘Truth, Revised Histories, Wishful Thinking, and Flat-Out Lies’

Choreography, Design, Lighting & Costumes: John Jasperse

Original Music: Hahn Rowe
Additional music: Ginuwine & Rick Ross.

It is not often that you are required to leave the audience chamber at intermission – ‘for production reasons’. The first half was staged traditionally in this black-box theatre: black masking curtain upstage and black wall panels each side of the floor and black Marley floor. But where is ICE? All the music is recorded. Too loud. Too much blast in your face.

I had read several great reviews of Jasperse’s work in the last few years, but had not had a chance to see anything until now. One thing that sets him apart is his sense of humor. The piece alternates scenes (some serious, some humorous) with his always humorous interludes. The audience has a great time

Returning for the second half, we see the stage has been transformed into a brilliant white box – walls and floor – and the ICE musicians (dbass, cello, violin, viola) are dressed in white, seated on white chairs, music on white music stands. At one point, dancers and musicians put white veils on. The dancers costumes are all white

The live music is way over-amplified, harsh and still blasting in my face. Not very interesting.

Dark & light environment, but little indication that means anything.

Good entertainment

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Monday Evening Concerts (MEC)

‘In The Dark’

Neighborhood Unitarian Universalist Church (the oldest church building in town — 1887) (next door to Gamble House), Pasadena

JACK Quartet

(The Ultimate Dark): George Friedrich Haas (1953-): ‘In iij. Noct” String Quartet No 3 (2001) (West Coast Premiere).

JACK has been touring this piece for a couple of years, performing it once in Chicago, but I missed it.

I’ve gotten to know downtown LA pretty well, but Pasadena is new territory. When the season was announced, I started looking at ways to get to & from this church on public transportation from downtown LA – a challenge – looking nearly impossible. Finally determined it was just a little over a mile walk from the Pasadena Sheraton, where I could get a couple of free nights. One problem solved

Then try to get a ticket – ha.

MEC is always on Monday, except for this performance, which due to the small size of the church (120 people) was scheduled for Monday and Tuesday. Monday was Sold Out. So I got a ticket for Tuesday. Yesterday afternoon (Monday) the forecast was for rain on Tuesday, so I decided to try to get in on Monday. It worked. ‘Sold Out’ but many subscribers did not show up. About 80% attendance, once those of us on the wait list took our seats.

By getting there early, I was first on the list and had a chance to talk with Justin Urcis, the Artistic Director, about the process of finding a space where this quartet could be performed – properly and safely.

The composer’ s requirement: total darkness.

No ‘Exit’ signs. No aisle lights. Don’t even think about music stand lights. Cover your glowing watch dial

The assigned member of the fire department arrived and approved the set up and said he was excited to attend. He and the four ushers wore infra-red goggles, to allow them to see if a problem arose in the audience, or someone needed to leave in the middle – or if member of the quartet passed out.

It is a flat-floor church and seating is portable, padded, upholstered chairs. For this concert, they were arranged in a pattern of 4 chairs, aisle, 4 chairs, aisle….. so no one was more than one seat away from an aisle.

My little group of wait-listees had a laugh when the LATimes photographer showed up. He got the last laugh – he brought an infra-red camera.

http://latimesblogs.latimes.com/culturemonster/2010/04/georg-friedrich-haas-revelatory-romp-in-the-dark.html#more

All audience members were required to sign waivers.

They had a 60-second trial run of total darkness – anyone feeling uncomfortable could then choose to leave and get a refund. I don’t think any one left.

Not one cell phone went off . Not one cough.

The composer note notes that a performance should last at least 35 minutes. JACK’s version is about 70 minutes. After the concert, when I asked the cellist how it expands beyond 35 minutes , he said it just happens that way, that’s how long they feel it requires, as they play it, and asked me : ‘….. how long did we play tonight?”

The darkness novelty evaporated fast as the music started — endlessly fascinating. They say the score is very detailed. Each musician is required to offer a phrase, which the others can respond to or not at that instant. A response is required eventually, in order to continue

The church is richly resonant and reasonably quiet. The dynamic range was extreme – much of the score is barely above the background noise level of the room. Each musician occupies one corner of the room, so you can easily follow each part, follow the dialogues, get lost in the sonic whirlwinds, the micro tonalities and over tonalities — and Gesulado for a minute

Wow Wow Wow! Have to hear this again

http://www.jackquartet.com/

http://www.universaledition.com/Georg-Friedrich-Haas/composers-and-works/composer/278

Teddy Dean Boys

Bienen School of Music, Northwestern University

Music of Kaija Saariaho, 2008 Winner of the Michael Ludwig Nemmers Prize in Music Composition:
The Complete Chamber Music for Cello

The cello studio of Hans Jorgen Jensen

Anssi Karttnunen, guest cello

Pick-Staiger Concert Hall, Northwestern University, Evanston IL:: 15 April 2010

For the conclusion of her residencies over the past two years, the School offered two programs of her music – this was the first.

Many of her works for cello are dedicated to Anssi, so his participation in the master classes and coaching for the performances must have been a great treat for the students.

My two favorites were: a) ‘Sept Papillons’ (2000) for solo cello and b) ‘Neiges’ (1998) for 8 celli.

Sept Papillons has become a Big, 21st Century Hit with cellists and audiences – how can you not love butterflies. I have heard both Felix Fan and Anssi play it twice. Richard Narroway obviously loved playing it at this concert. The butterflies were tickled.

‘Neiges’ was new to me. Anssi conducted the ensemble, emphasizing the variety and contrasts in the movements.

The published program included: ‘Mirrors’ (1997) for cello & flute; ‘Spins and Spells’ (1997) for cello solo; ‘Pres’ (missing accent) (1992) for cello & live electronics; ‘Petals’ (1988) for cello & live electronics; ‘Oi kuu’ for cello & bass clar.

The duos seemed flat. The live electronics seemed flat.

Late in the program Anssi noted that there was one short piece he needed to play to make it truly a presentation of the complete cello music: named “Spark” (it sounded like when he announced it) — 30 measures from her cello concerto, arranged for solo cello.

Where was the audience? Maybe 150 people. 850 people missed a nice program

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Bienen School of Music, Northwestern University

Music of Kaija Saariaho, 2008 Winner of the Michael Ludwig Nemmers Prize in Music Composition

Pick-Staiger Concert Hall, Northwestern University, Evanston IL:: 16 April 2010

Contemporary Music Ensemble
Ryan Nelson, Cond.

J Austin Wulliman, solo violin; Russell Rolen , solo cello

The second program:

1) ‘Graal theatre’ (Grail theatre) (1997) – Violin Concerto. Dazzling violin writing and playing. A great threat. Austin rocks! This was the second live performance for me. It was on a Green Umbrella program in 2007; Jennifer Koh, soloist

2) ‘Amers’ (1992) – Cello Concerto. Kaija controlled the live electronics. Another dazzler. Russell rocks! This was the second live performance for me. It was on a MusicNow program in 2003 :: Esa-Pekka Salonen conducting, Stephen Balderston, soloist

Once again — where was the audience? Maybe 150 people. 850 people missed a great program

Let’s Hope Kaija gets home soon

Teddy Dean Boys

Los Angeles Philharmonic

UpBeat Live!
BP Hall, WDCH , Los Angeles: 10 April 2010

Veronika Krausas, Composition Department, The Thornton School of Music, USC

We learn that Thomas Ades (missing accent) is a roller coaster fan and wanted to go to Magic Mountain this week, but ran out of time.

She says ‘Adis’; Steven Stucky always said ‘Adesh’

She has renamed the Violin Concerto : ‘Trans-Atlantic Nights, or 1001 Faxes’. Marwood was teaching / performing in Vermont, receiving a few bars of music via Fax every day from Ades in England.

We learn the name of the extra trumpets for Respighi’s ‘Feste Romane’: Bucina or Buccina.

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Los Angeles Philharmonic

Ralph’s, WDCH , Los Angeles: 10 April 2010

Anthony Marwood, violin

Thomas Ades (1971-), Cond

A spectacular program featuring three Ades compositions in the first half and one by Respighi in the second:

1) ‘These Premises Are Alarmed, Op 16’ (1996) — a 4-minute dazzler for large orchestra, commissioned for the opening of Bridgewater Hall in Manchester. A brilliant, sparkling piece in this hall

2) ‘Dances from “Powder Her Face” ‘ (2007) . For the opera, he wrote for a chamber ensemble. Now he has expanded the orchestration for three dances and also created a version for solo piano. Naughty and mad.

3) ‘Violin Concerto (“Concentric Paths’), Op 23 (2005). Commissioned by LAPhil, Premiered here by Marwood / Ades in 2006.

Great Treat. I heard rehearsals and the performance at the Cabrillo Festival in 2007, Marin Alsop / Yumi Hwang Williams. (Also on that program was Mason Bates’ ‘Rusty Air in Carolina’ for Electronica and Orchestra).

4) Respighi: ‘Feste Romane” (1926 – 1928). A knock-your-socks-off performance, which included 3 Buccinas standing in the organ loft. Hurricane Mama earned her name. Stravinsky / Sacre-sized percussion contingent. I‘ve heard ‘The Pines of Rome’ several times, but this was the first live performance of Feste Romane . Electrifying in this hall.

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The Colburn School: Colburn Chamber Music Society

Zipper Concert Hall, Los Angeles: 11 April 2010

Colburn School Students and Faculty members

This is a regular series of free Sunday matinee concerts. This one is a preview of the performance planned here tomorrow night , 12 April, one of the early events in the LA Ring Festival, which James Conlon will host.

Chamber Music of Klein, von Zemlinsky, Krasa & Ullman — programmed opposite Wagner’s ‘Siegfried Idyll’.

Lotsa of controversy

In this case, you wish you did not know any of the stories of any of the composers and could just appreciate the music. I couldn’t ignore the stories

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Los Angeles Master Chorale (LAMC)

ListenUp!

BP Hall, WDCH: 11 April 2010

Alan Chapman, host; KUSC Radio

Meredith Monk and Grant Gershon

Lively discussion of Meredith’s new work ‘Weave’

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Los Angeles Master Chorale (LAMC)
and members of the Meredith Monk Ensemble (MME)

Soundscape Part (missing accent a ) & Monk

Ralph’s, WDCH , Los Angeles: 11 April 2010

Grant Gershon AD & Cond

1) Part: ‘Miserere’ for 5 LAMC vocal soloists, chorus of ~50, organ and small ensemble.
Has Part written anything that was not gorgeous?

2a) Monk: ‘ Weave’ (2010) for 2 MME vocal solists, chorus of ~ 50, and small ensemble (West Coast Premiere) (The world premiere was conducted by David Robertson last month – St Louis Symphony)

2b) ‘Night’ (1996 for 10 voices, horn, 2 keyboards & violin. This performance is the version orchestrated by Allison Sniffin in 2005 for 8 vocal solists (LAMC & MME) and small ensemble (LAMC & MME).

2c) selection from ‘Songs of Ascension’ for Meredith Monk, vocals & shurti, 5 vocal soloists (LAMC & MME), wandering chorus of ~50, string quartet, percussion, kaen gao / bass clarinet.

2d) encore: Meredith & Grant & chorus surround the platform – vocalizing, step dancing

If you are fan of Part & Monk – this was a major event. Gorgeous performances. But the concert was 2h40m long, 40m of which was watching the stage hands moving chairs and music stands and reconfiguring the stage platforms (from stepped to flat).

Probably one too many Monk pieces. She does not stray from her formula, so one an evening is a treat. Two or more….

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Green Umbrella 2009 / 2010 –

UpBeat Live!

BP Hall, WDCH , Los Angeles: 13 April 2010

Veronika Krausas, Composition Department, The Thornton School of Music, USC

Where is Louis?

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Green Umbrella 2009 / 2010 –

Asko / Schoenberg Ensemble

Synergy Voices
Los Angeles Children’s Choir
4 vocalists: Claron McFadden; Cristina Zavalloni; Jeroen Willems; Marcel Beekman

Reinbert de Leeuw, Cond

Ralph’s, WDCH , Los Angeles: 13 April 2010

NewMusic Block Buster!!: Louis Andriessen: ‘La Commedia’ (US Premiere of the complete composition)

Part I: The City of Dis, or The Ship of Fools.
Part II: Racconto dall’Inferno.
Part III: Lucifer
Part IV: The Garden of Earthly Delight
Part V: Luce etterna
Part 2 received its US Premiere with Cristina Zavalloni & Synergy Voices in John Adams’ Minimalist Juke Box Festival in LA in 2006.

Part I was commissioned by the Los Angeles Master Chorale and premiered the following season

This was one of the smallest audiences I have seen at Green Umbrella

Dante’s text is the base for this opera, but Andriessen created his own drama, by incorporating the texts of several other authors, rather than simply setting the classic work to music. Just what that drama is was not very clear in this performance. Even with surtitles. Who are these people? The vocalists were reinforced, but that did not help intelligibility. So just forget the story and enjoy the sounds.

If you know his music, it was easy to do that.
Apparently a number of people did not know his music and tip-toed out during the performance – of course, you can’t tip-toe in this hall – there is no carpet.

Some of the orchestra risers were used for the musicians and the singers; the singers moved and posed all over the stage. Interactions may have more impact when it is fully staged – but here, not knowing the text or the characters – not much was gained by moving the singers around.

The children’s chorus sings only for the final few minutes – telling us ‘tough luck’ if you didn’t understand this.

Comedy?

Answer to the burning question1 this week: 6 green umbrellas hang low, above the rail of the chorus / ‘orchestra view’ benches

Answer to the burning question2 this week: Louis comes on-stage to accept applause – why did he not appear at UpBeat Live!?

Teddy Dean Boys

Monday Evening Concerts (MEC) 2009 / 2010: Shattered Shadows

Zipper Concert Hall, The Colburn School, Los Angeles:
08 March 2010

MEC often focuses on one composer – tonight – Frank Denyer (1943 -), born in London, now Professor of Composition, Dartington College, Devon

He conducts the last piece on the program.

Why was his music not on the first half of the program? What is the connection? – looks like none.

1) James Tenney (1934 – 2006): “Three Pieces for Drum Quartet (1974 – 1975, original version for a mechanical instrument-cum-artwork, ‘Drum’): a) ‘Wake, for Charles Ives’; b) ‘Hocket, for Henry Cowell’; c) ‘Crystal Cannon, for Edgard Varese’. 3 sets of four different drums, with four bass drums scattered around the room for ‘Hocket’ — talk about rolling thunder!. Send Third Coast Percussion (TPC) a note – we want to hear this in Chicago. This was performed by the Los Angeles Percussion Quartet and was a big hit.

2) Alvin Lucier (1931-): “Still Lives” (1995) for solo piano (Joseph Kubera, for whom it was written) & electronics. Planned conflict between the piano chords and the electronic tones , result : beating.

Denyer : This was my introduction to use music:

3) “The Hanged Fiddler” (1972 – 1973) for 2 violins and percussion (US Premiere). A haunting piece. Feldmanesque. One violin is the solo; the other provides a drone; shaken ‘bones’ and bass drum.

4) “Woman, Viola, and Crow” (2004) for solo viola (Elisabeth Smalt, for whom it was written) (US Premiere). Vocalizing and whistling and footstomping (high heels), as well as playing the viola. Also Feldmanesque – except for the vocalizing and whistling and footstomping. She stands / stomps on a group of concrete pavers (you know the stage crew loved this). Very quiet and contemplative. Not sure we can talk Masumi into playing this. Worth a try

5) “Out of the Shattered Shadows 2″ (1999) (World Premiere) for five male vocalists, 2 flutes, viola, violin & cornetto. Also very Feldmanesque – except for the shattering bits — major pounding on a 3′ x 3′ x 3′ wood box (think Mahler 6 meets Morton). Wow.

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Green Umbrella 2009 / 2010 – Focus on Peter Eotvos (missing umlaut on o’s)

UpBeat Live!

BP Hall, WDCH , Los Angeles: 09 March 2010

Veronika Krausas, Composition Department, The Thornton School of Music, USC

Basic, standard concert introduction.

Where is Peter?

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Green Umbrella 2009 / 2010 – Focus on Peter Eotvos (missing umlaut on o’s)

Los Angeles Philharmonic New Music Group
Gregory Vajda (replacing injured Lionel Bringuier), Cond

Ralph’s, WDCH , Los Angeles: 09 March 2010

Focusing on one composer – not a typical format for Green Umbrella.

The concert opened with “(co)ro(na)” for small, sparkly ensemble by Vykintas Baltakas (1972-) , a student of Eotvos. Bright and brilliant sound by the ensemble of upper register instruments. Really really bright in this hall

Three works by Eotvos (1944 -) completed the program:

1) “Snatches of A Conversation” (2001) for speaker (Timur Bekbosunov), double-bell trumpet (Brandon Ridenour) and small ensemble;

Just when you think you have seen / heard it all: solo double-bell trumpet!. He uses 5 mutes as well as no mutes and can switch from one to the other bell every 1/16th note.

The text, delivered by the speaker, is just another percussion instrument. He had a lot of fun

Everyone is amazed and amused

2) ”Korrespondenz” (1992) , String Quartet (Calder Quartet). Based on the exchange of letters between Wolfgang & his father, Leopold. The 1st violin & viola represent Wolfgang’s point of view; the 2nd violin & cello are his father’s response .

Everyone is amused

3) “Sonata per sei” (2006) for 3 percussion, 2 pianos and 1 keyboard sampler

This is one of his arrangements of his “CAP-KO” (Concerto for Acoustic Piano, Keyboard & Orchestra) and honors Bartok’s 125th birthday.

Fine evening, humor is alive and well in New Music . But the smallest audience I have seen for Green Umbrella

Answer to the burning question 1: Six, glowing, green umbrellas are mounted on floor stands at the upstage wall of the platform – a first

Answer to the burning question 2: Peter comes on-stage to accept applause – why did he not appear at UpBeat Live!?

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Perspectives – Kronos Quartet

Kronos Celebrates Terry Riley

Kronos Quartet
Young People’s Chorus of New York City

Terry Riley is here

Zankel Hall, Carnegie Hall, New York City: 11 March 2010

Carnegie Hall established “Perspectives” several years ago, allowing artists to curate and perform whatever what ever they want. It is Kronos’ turn this month – there are several concerts and master classes.

Terry Riley (1935 -):

1) “Another Secret eQuation” (2009) (World Premiere) for String Quartet and Young People’s Chorus. You know the kids loved working on this. As they slowly enter the platform, several get to make prehistoric bird sounds,. Finally the whole group is shrieking. What a way to start the evening.

2) “Transylvanian Horn Courtship” (2008) (NYC Premiere) for custom Stroh quartet, doubling string quartet.

Just when you think you have seen / heard everything, Part II:

Stroh instruments replace the wood body with a horn – a small one for the violins & viola (looking like a bicycle horn) and a large one for the cello (looking a lot like a Victrola – His Master’s Voice).

For Kronos, they asked Walter Kitundu (MacArthur awardee) to design and build them new ones.

The sound is somewhere between one of those Chinese string instruments and a string quartet heard on an old 78 recording, played on a Victrola. They switch back and forth during the nine movements.

3) “The Welcoming Baptism of Sweet Daisy Grace” (2008) (NYC Premiere) for string quartet and Indian drone on tape. Daisy Grace is his new grand daughter. She will be very pleased.

4) “One Earth, One People, One Love” from ‘Sun Rings’ (2002) for string quartet with text, sounds and temple bell on tape. Classic

5) “ ”Good Medicine” fro ‘Salome Dances for Peace’ for sting Quartet. Joyous. Where / When can we hear the whole piece live?

Major cheering for Terry. Great night.

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Perspectives – Kronos Quartet

Playing with Toys and Technology

Kronos Quartet
Margaret Leng Tan, Toy Piano, Toy Orchestra, Vocals
Victor Gama, Pangeia Instrumentos
Matmos: Drew Daniel & MC Schmidt, Electronics

Zankel Hall, Carnegie Hall, New York City:
12 March 2010

The second program in this series also opens with a world premiere:

1) JG Thirlwell (1960-): “Eremikophobia” ( a fear of deserts or sand) (2010) for String Quartet and tape of the singing sands / booming dunes of Oman. Quite beautiful. I am seated closer to the center, so directional realism is better than last night.

Mr Thirlwell is here. He uses many pseudonyms: Foetus; Steroid Maximus; Manorexia; Baby Zizanie Clint Ruin; Wiseblood. Why?

2) Erik Griswold (1969-): “Old MacDonald’s Yellow Submarine” (2004) (NYC Premiere) for solo prepared piano / toy piano / wood blocks / miniature music boxes / bicycle bell / bicycle horn / train whistle. Great fun. To sound four instruments at once, the bicycle horn is under her arm.

3) Ge Gan-ru (1954-): “Wrong, Wrong, Wrong!” (2006) (NYC Premiere) for solo voice / toy orchestra. A video camera behind her shows the small details of her performance on a large video screen. Inspired by Peking Opera conventions, it was written for Margaret, who notes in the program that she is not a trained singer. The text is by Lu You (1125 – 1210). Technology was a great help for this, allowing us to see the dozen small instruments in her orchestra. I liked the (very quiet) miniature cricket boxes a lot; if you had not been able to see them , you probably would not have heard them. Great piece

(You never have a problem hearing the #$%^& subway here)

4a) Victor Gama (1960-): “SOL(t)O” (2007) (US Premiere). He performs on ‘dino’ (three of his invented Pangeia Instrumentos) and ‘acrux, toha’ [totem harp]. The music accompanies a film from his ‘Tectonik: TOMBUA Project’- – - set in the Namib desert, a bleak look at the aftermath of the war there.

[Just when you think you have seen / heard them all – Part III this week].

4b) Victor Gama (1960-): “Rio Cunene” (2009) (World Premiere) for String Quartet doubling instruments built for Kronos and Pangeia Instrumentos. The film focus on the children of Angola, after the 30 year war.

The instruments were made from:

(Carregador) the magazine of a Kalashnikov machine gun;

(Batuque) an empty capsule of an artillery shell;

(Viola) a guitar sculpted from a piece of wood with metal from a military vehicle as a sound board;

(Lata) an empty bullet box.

Very serious and moving.

[Just when you think you have seen / heard them all – Part IV this week].

5) Matmos: “For Terry Riley” (2005)(NYC Premiere) for String Quartet and video.

It was good to hear / see it again. They played this in the West Coast / Left Coast Festival last Fall in LA. It is playful and hopeful, as Terry wants to be.

Teddy Dean Boys

This weekend I had mixed schedule of a play and a few
music events.

Saturday afternoon I drove down to the U of C Campus for
Court Theater’s production of “The Illusion” by Pierre Coreille
adapted by Tony Kushner, for the 2nd to last performance.
I was totally struck by the story of the characters, whose
names change during the show, but never the the less
tell a compelling story about love and betrayal.

***

Later on Saturday night, DePaul’s new modern music
group “Ensemble 20+” had a concert of three pieces I’ve
never heard before.

“Scherzo: Over the Pavements” by Charles Ives
“Scratchband” by John Adams
“Crying Out Loud” by M-A Turnage

The Turnage was by far the best. But all were interesting
works. I noticed that several of the players in the Turnage
wore red shoes, so I had to go downstairs to compliment
the players on their musicianship and audacity of wearing
red shoes. Look for this trend to continue!

***

Sunday afternoon, Quintet Attacca performed at
Lily Reid Holt Memorial Chapel in Lake Forest College.
The program included:

“Quintet in D minor” by Anton Reicha
“Quintet (1876)” by Paul Taffenel
“Le Tombeau de Couperin” by Ravel, adapter by Gunther Schuller

All of which sounded great in the chapel. The one new work on
the program was written by that wonderful curly-short-red-haired
woman who organizes the Lyrica series at Lake Forest, Rami Levin.
It was written specifically for Attacca and dedicated to Rami’s late
father. I told her later that her Dad would be proud.

It’s to bad Lake Forest is so hard to get to, because Lyrica
presents some very interesting performers.

Bruce

Wednesday, 4/7, I switched the original date for “Lost Boys of Sudan”
because there was what turned out to be a wonderful concert by CUBE
at the Sherwood Conservatory hall on Thursday.

It’s difficult for me to re-cap plays without giving away too much of the
plot, but “Lost Boys” left me puzzled. Go see it for your self. I liked the
dialog in a Afro-French that lended authenticity to the play, but didn’t get
enough of the new-world shock that these “boys” experienced in Fargo North Dakota.

–
Bruce