AMN Reviews: Roman Haubenstock-Ramati – Konstellationen [Kairos 0015003KAI]

0015003kai_haubenstock_webcoverAs sculpture, a mobile presents an ever-changing profile to the viewer, its constituent elements constantly rearranging themselves in relation to each other and creating new composite forms with every disturbance in the surrounding environment. As early as the 1932 composition of Henry Brant’s Mobiles for unaccompanied flute, the idea of the internally-reorganizing work had been imported into music from sculpture. Among the most prolific composers of the musical analogue of the mobile was Roman Haubenstock-Ramati (1919-1994).

Haubenstock-Ramati’s life and career reflected the tragedies and breakthroughs of 20th century European political and musical history. Born in Krakow, Poland, he and his family fled the country after the German invasion in 1939. From there Haubenstock-Ramati went to Lemberg (present-day Lviv in Ukraine), where he studied composition with Józef Koffler, a former student of Schoenberg’s, and graduated from the Lemberg Music Academy. In addition to the more orthodox dodecaphony he studied with Koffler, Haubenstock-Ramati was attracted as well to the music of Webern, which he’d been introduced to while still in Poland. Returning to Poland after the war, Haubenstock-Ramati next moved to Israel and then to Vienna in 1957, where he continued to develop his own unique ways of organizing musical sounds.

Konstellationen collects five different works ranging from 1948’s String Trio No. 1 to Morendo for tape and bass flute and Pluriel for string quartet, both of which were composed in 1991. Much of the work is based on what Haubenstock-Ramati called “dynamic closed form”—determined sets of constituent elements whose interactions are significantly indeterminate. In a sense, Haubenstock-Ramati’s “closed form” functions like an open field—a bounded unit allowing for multiple paths always subject to the possibility of deviation and change. Konstellationen, for example, which in a version for twelve-piece chamber ensemble appears in three iterations on the disc, is a graphic composition made up of a set of geometric forms set out in twenty-five slightly varying patterns. Aggregates of these forms repeat throughout the score, but in irregular cycles, making for a texturally-driven piece in constant flux as individual instruments enter and exit independently. Haubenstock-Ramati’s tendency to use overlapping cycles of differing lengths appears as early the String Trio, an expressive twelve-tone work bearing a resemblance to Second Viennese School polyphony, but which is nonetheless permeated by an unorthodox handling of musical material. Multiple 4 for oboe and horn, dating from the 1960s, is a fixed graphic score that juxtaposes gestures for each instrument in sparse interaction; rather than creating tension through superimposed, irregular cycles, the work derives its dynamic force from the collisions of the contrasting timbres of reed and brass.

The pieces in this collection are striking examples of composition as pure musical plasticity. Plasticity is a property usually associated with the visual, and especially sculptural, arts; its application to Haubenstock-Ramati’s compositions is appropriate not only because Haubenstock-Ramati was directly inspired by Alexander Calder’s sculptures, but because to a significant extent, Haubenstock-Ramati’s compositions capture and translate into musical language the intricate, quasi-epicyclic motions of Calder’s sculptures. Haubenstock-Ramati did this through structural means, by setting out elements that can be put into motion against each other through contrasts and coincidences of periodicity or of timing generally. Not unlike the movement animating Calder’s sculptures, in fact. And just as with mobile sculpture, plasticity in musical terms just is the dynamic relationships realized through the interplay of forms; the generating principle behind much of Haubenstock-Ramati’s work is exactly that: Forms moving dynamically with, against and through one another. To a large extent, these works’ dynamic is their structure. The work isn’t realized until its repertoire of forms is put in motion, constructing as it moves larger scale forms by virtue of the asymmetries inherent in its variable timing.

http://www.kairos-music.com

Daniel Barbiero

 

This Week in New York 

English: Darcy James Argue, moers festival 2009

Source: I CARE IF YOU LISTEN.

YARN/WIRE & ANDREW MCINTOSH | POP-UP CONCERTS
The first Pop-Up of the 2016-17 season features Miller veterans Yarn/Wire and Miller newcomer Andrew McIntosh. These close collaborators perform three of McIntosh’s works including the world premiere of We See the Flying Bird, written expressly for the two Yarn/Wire percussionists. The evening rounds out with two pieces for piano and Wolfgang Von Schweinitz’s Plainsound-Litany No. 2, a piece for solo viola written for McIntosh.
Tuesday, September 27 at 6:00 PM
Free
Miller Theatre, 2960 Broadway, New York, NY

VIOLIN, VIOLA & VIDEO VIRTUOSITY PART II
Violinist Karen Bentley Pollick returns to Spectrum with a diverse program fusing music and videos from Sweden, Lithuania, France, Lebanon, Israel, and Alabama.
Wednesday, September 28 at 7:00 PM
Tickets $15, $10 students/seniors
Spectrum, 121 Ludlow Street, 2nd Floor, New York, NY

CHORAL ELEMENTS: EARTH, AIR, FIRE AND WATER
The four elements—earth, air, fire and water—portrayed in pieces for choir, harp and string quartet by W.A. Mozart, Gustav Holst, Frank Ferko, Frank Ticheli, John Kennedy and others. Includes a New York premiere by composer Julia Adolphe and poet Nahal Navidar.
Wednesday, September 28 at 7:00 PM
Tickets $25 to $80
Church of St. Ignatius Loyola, 980 Park Avenue, New York, NY

WRITTEN IN FIRE | MOMENTA FESTIVAL II
This concert, curated by Stephanie Griffin, features music by Matthew Greenbaum, Wang Lu, Leoš Janáček, and Tony Prabowo.
Wednesday, September 28 at 8:00 PM
Tickets $15, $50 festival pass
Tenri Cultural Institute, 43A West 13th Street, New York, NY

AN INTERVAL OF INFINITY | MOMENTA FESTIVAL II
This concert, curated by Alex Shiozaki, features music by Joji Yuasa, Somei Satoh, Toru Takemitsu, Akira Nishimura, and Ludwig van Beethoven.
Thursday, September 29 at 8:00 PM
Tickets $15, $50 festival pass
Tenri Cultural Institute, 43A West 13th Street, New York, NY

TOKYO TO NEW YORK
This concert includes world premiers by Japanese composers Masatora Goya and Kazutomo Yamamoto, the United States premiere of a work by Bin Li, and other music by John Cage, Hidemi Mikai, and Chatori Shimizu.
Friday, September 30 at 8:00 PM
Tickets $35, $30 seniors, $15 students
Bargemusic, Fulton Ferry Landing, Brooklyn, NY

AT THE FOREST’S EDGE | MOMENTA FESTIVAL II
This concert, curated by Emilie-Anne Gendron, features music by Eugène Ysaÿe, John Cage, György Kurtág, and Edvard Grieg.
Saturday, October 1 at 8:00 PM
Tickets $15, $50 festival pass
Tenri Cultural Institute, 43A West 13th Street, New York, NY

VERDANT: A SOUND TASTING ON SWALE | TENTH INTERVENTION
A chamber concert of new/experimental music presented by Biome Arts and Tenth Intervention, curated by Sally Bozzuto. The evening will feature works by Nathan Hall, Sally Bozzuto, Eve Beglarian, Dorian Wallace, and Hajnal Pivnick featuring members of the Tenth Intervention Ensemble.
Saturday, October 1 at 8:00 PM
Free
Brooklyn Bridge Park, 334 Furman Street, Brooklyn, NY

GUY KLUCEVSEK
Guy Klucevsek’s program features his tributes to those who have inspired him, including the composers Astor Piazzolla, Erik Satie, Nino Rota, and Kurt Weill, among others. For this performance, part of John King’s “Born into Flames” series, Klucevsek is joined by Todd Reynolds, violin, Kamala Sankaram, soprano voice, and the pianist Phillip Bush.
Saturday, October 1 at 9:00 PM
Tickets $15, $10 students/seniors
Spectrum, 121 Ludlow Street, 2nd Floor, New York, NY

DARCY JAMES ARGUE’S SECRET SOCIETY
Brooklyn-based composer Darcy James Argue and his 18-piece ensemble Secret Society celebrate the release of their third album, Real Enemies. Composed by Argue, Real Enemies is a 13-chapter exploration of America’s fascination with conspiracy theories.
Sunday, October 2 at 7:00 PM
Tickets $29
National Sawdust, 80 North 6th Street, Brooklyn, NY

DARK MATTER | MOMENTA FESTIVAL II
This concert, curated by Michael Haas, features music by Henri Dutilleux and Alberto Ginastera.
Sunday, October 2 at 8:00 PM
Tickets $15, $50 festival pass
Tenri Cultural Institute, 43A West 13th Street, New York, NY

All About Jazz Reviews

English: Nels Cline @ All tomorrow's parties f...

Source: All About Jazz.

Kris Davis
Duopoly (Pyroclastic Records)

Peter Kuhn Trio
The Other Shore (NoBusiness Records)

Construction
Centreline Theory (Leo Records)

Andrew Cyrille Quartet
The Declaration of Musical Independence (ECM Records)

Protean Reality (Feat. Chris Pitsiokos, Noah Punkt & Philipp Scholz)
Protean Reality (Clean Feed Records)

Jonas Cambien Trio
A Zoology of the Future (Clean Feed Records)

Nels Cline
Lovers (Blue Note Records)

Don Preston / Jeff Boynton / Philip Mantione
TriAngular Bent (Self Produced)

Jason Stein/Paul Giallorenzo/Frank Rosaly
Hearts & Minds (Astral Spirits)

I Am Three
Mingus, Mingus, Mingus (Leo Records)

Parrinha / Lopes / Jacinto
Garden (Clean Feed Records)

Stephan Crump
Stephan Crump’s Rhombal (Papillon Sounds)