AMN Reviews: Elliott Sharp – Plastový Hrad (2019; Infrequent Seams)

Sharp_Plastovy_Hrad_COVER_1400x1400_James_IlgenfritzComposer, improviser and multi-instrumentalist Elliott Sharp has been a major voice within the downtown New York music scene for decades. Timbre, dynamics, motion, shape and rhythm are always in play in Sharp’s compositional and improvisational practice. His music is a kind of avant-garde “groove” that combines algorithmic thinking with interpretive and improvisatory intuition. His latest album “PLASTOVY HRAD” presents three very different compositions that feature the bass clarinet.

 

“Plastovy Hrad” is for chamber orchestra with bass clarinet soloist. The composition was commissioned by the Brno Contemporary Orchestra as part of the celebration of the one hundredth anniversary of the formation of the Czech Republic. In this piece Sharp builds a kind of labyrinth that is somewhat dark and relentless. The bass clarinet soloist is a lone voice that wanders the labyrinth commenting and questioning as it moves through its ever changing surroundings. The cimbalom is prominently used to provide a counter voice to the bass clarinet.  The use of the cimbalom also gives the piece bits of Czech folk sounds that pierce the dark textures often revealing bits of light.  It’s a really interesting piece that is well recorded.  Both the soloist Lukasz Danhel and the ensemble perform with a great deal of power, conviction and subtly.

“Turing Test” premiered at the Venice Biennale in 2012. It is performed by the voices of the Neue Vocalsolisten Stuttgart and the bass clarinet of Gareth Davis. It is a kind of mini-opera where disembodied voices try to understand who they are and where they are. While many of the techniques in Elliott Sharp’s musical language such as cells and looping appear to be at work here, they are used very differently than in other works by Sharp. In this piece Sharp uses these techniques not to construct actively evolving dense textures but clear melodic segments of counterpoint and chords for the voices. Gareth Davis’s wonderful bass clarinet is used to comment and question the voices as they continue their test. It’s a wonderful piece that is beautifully performed. I look forward to hearing more work in this vein from Elliott Sharp.

“Oumuamua” is a graphic score for bass clarinet and electronics. In this piece the bass clarinet is processed by the electronics in real time. In many ways this piece resembles Sharp’s solo electric guitar work, in that there are repeated fragments overlaid in a constant forward motion that occasionally collapses into a sustained sound mass.  The use of electronics here is really interesting in that they are both transformative and interactive. The bass clarinet transforms into clusters of floating sounds that dissolve into duets between the bass clarinet with sounds that resemble berimbau, saxophone and organ. It’s an interesting and wild romp that features Elliott Sharp’s excellent bass clarinet playing.

All in all, “PLASTOVY HRAD” is a really interesting and diverse album that presents three different faces of Elliott Sharp, one of America’s most interesting contemporary composers.

Highly Recommended!

Chris De Chiara

AMN Reviews: Thomas DeLio – Selected Compositions III (1986-2017) [Neuma 450-120]

Selected Compositions III (1986-2017) is Neuma’s third compilation of work by composer Thomas DeLio (b. 1951). As with the previous two CD releases, which surveyed his work of 1991-2013 and of 1972-2015, Selected Compositions (1986-2017) collects both acoustic instrumental and electroacoustic pieces, with a particular emphasis on DeLio’s settings of texts.

When writing about the second album in the series, I characterized DeLio’s work as embodying an aesthetic of intermittence—a focus on sound as such standing alone in well-defined islands of time. The pieces collected on this third album further elaborate DeLio’s deep engagement with the intermittences of sound. One area where this engagement makes itself especially felt is in DeLio’s settings of spoken texts.

On this as on previous releases, DeLio presents compositions that take recordings of the poetry of P. Inman as source material. Two pieces appear here: by parch reading (2016) and “decker” (1998). DeLio has said he has a particular affinity for Inman’s work and it isn’t hard to see why: what DeLio does with sound is analogous to what Inman does with language, which is to say, breaking it not at the joints one would expect, but instead dismantling it across those joints, the better to alienate it from its usual function—for Inman and language, the semantic or meaning-conveying function; for DeLio and sound, the function afforded by temporal continuity–and to recompose it in unexpected ways. Inman’s poetry recasts words and phrases from semantic elements into a kind of musique concrète of utterance; in a similar way, DeLio breaks sounds up to play off against each other as a series of timbral contrasts and likenesses. When DeLio electronically modifies recordings of Inman’s poetry a kind of multiplier effect is at work; what results are conflicts and concordances of consonants and vowels–an abstract music of the voice.

This same use of fragmentation is a significant factor in the instrumental works; for example, the two pieces for percussion ensemble: 2002’s wave / s for marimba and one-person percussion ensemble, and the earliest composition in the set, the two-movement Against the Silence…of 1984-1985. On both pieces sounds—a wash of cymbal, a trill on the marimba, scattered strikes on tuned and untuned surfaces of wood, metal, and membrane—play against the silence that breaks them apart and at the same time frames them. In fact it may be that this idea of silence—or at any rate a negative audio space—as a frame for sound is given its most complete expression in the series of six brief works from 2017 that appear interspersed throughout the album: each piece in itself traces silence as a framing device while at the same time serving to frame the works on either side. It’s a central motif of DeLio’s, put to work at two different levels.

http://neumarecordsandpublications.com/_albums/450_120.html

AMN Reviews: Isaac Schankler – Because Patterns [Aerocade AM011-CD]

Identified as a significant artistic trend in the late 1960s, systems aesthetics—the quintessential programmatic statement was Jack Burnham’s 1968 essay by that name—has continued to represent a viable and important direction in contemporary art and music. Current systems music—simply put, music that is the product of a defined operation or set of operations performed on a defined input—often takes the guise of generative composition, frequently done by computer or other means of electronic music production, and sometimes done by hand. While the fit between a systems aesthetic and electronic music is a logical one, systems music for acoustic instruments, whether alone or with electronic augmentation, can be just as natural and the results aesthetically satisfying.

The title track of Because Patterns, an album of four works by composer Isaac Schankler, is one such work. Because Patterns—the title is a witty rejoinder to Morton Feldman’s 1978 Why Patterns for flute, glockenspiel and piano—is a generative composition for four-handed prepared piano. Commissioned by the duo of Aron Kallay and Vicki Ray, who perform it here, the work uses a set of rules to generate outputs from melodic and rhythmic patterns whereby the content of a measure is the product of a rule applied to the content of the preceding measure. The process may sound mechanical but the music isn’t; the piece has an engaging melodic logic and compelling rhythmic propulsion. The score calls for preparing the piano’s upper registers to shorten the notes’ sustain, producing a bright bell-like or pizzicato sound. For this album the composer chose to mix Kallay and Ray’s performance of Because Patterns with a performance of The Deep State (2017) for double bass and electronics. In contrast to the swift-moving Because Patterns, The Deep State—performed by double bassist Scott Worthington, to whom it is dedicated–is structured by long, slow, deep tones. The hybrid obtained by combining the two pieces makes for an interesting study in contrasts, but having each piece presented separately would have been welcome as well.

Because Patterns also contains Mobile I (2009) for solo violin and electronics and Future Feelings (2018) for piano. Mobile I is a beautiful piece with a generative electronics component and a translucent violin part, brilliantly played by Sakura Tsai. Future Feelings, performed by Nadia Shpachenko, opens with tautly cascading repeated phrases that serve as rhythmic cells or kernels shaping the first section of the piece; the second section features interactive electronics that take the piano part as input and outputs it as a ghostly afterimage. Like Mobile I, it unfolds in a dramatic arc of increasing complexity and emotional urgency.

http://aerocademusic.com

Daniel Barbiero

AMN Reviews: “The Happiness Handbook” – The Instruments of Happiness, Tim Brady [Starkland ST-232]

ST-232 Instruments of Happiness_The Happiness Handbook_Cover_HiRes

In the 20th century the electric guitar was invented and then proceeded to globally dominate popular music for decades. But the electric guitar is still somewhat of an outsider in the world of contemporary composition. Many conservatories and university music schools still do not allow students to select the electric guitar as their principal instrument of study. But despite this situation we now have several generations of highly trained electric guitarists possessing both the skills and the interest in playing something other than popular music.

In the last forty years or so a new chamber format has appeared all over the planet – the electric guitar quartet. The electric guitar quartet offers contemporary composers a chamber ensemble with an enormous sonic palette, an instrument familiar to all kinds of listeners, a globally increasing number of skilled instrumentalists and no defined “style” or accepted common practice. All of this has led to an increase in new works for the electric guitar. The Sheer Pluck Database of Contemporary Guitar Music  currently contains more than six thousand entries of works specifically for or that include the electric guitar.

Still much of the interest from composers in writing for the electric guitar has largely stemmed from the efforts of a small group of proponents. A leader among these proponents is composer/guitarist Tim Brady. Brady has spent more than thirty years composing and commissioning new works, organizing concerts and performing new works for the electric guitar.  Whether it be for the opera, the orchestra or the electric guitar quartet, Tim Brady is a composer whose compositional eclecticism synthesizes the sounds of classical, folk, rock, jazz, noise, improvisation, and electronics into his own personal sound world.

“The Happiness Handbook” is the second album on Starkland from the electric guitar quartet configuration of Tim Brady’s ensemble known as “The Instruments of Happiness”. The album features premiere recordings of compositions from Scott Godin, Jordan Nobles, Maxime McKinley, Gordon Fitzell, Emily Hall and Tim Brady. Each of the composers explore many of the unique sonic abilities of the electric guitar and often reference popular electric guitar styles and techniques. Style wise the compositions generally fall into the new tonality and post minimalist aesthetics; making the album ideal for a wide range of audiences.

“The Instruments of Happiness” quartet members Marc-Oliver Lamontagne, Jonathan Barriault, Simon Duchesne and Tim Brady have playing skills that are deep and wide.  The quartet is extremely well versed in everything from classical chamber music to popular music to extended techniques and experimental music including electronic effects and pedals. As an ensemble they are tight, lyrical and energetic.  They play with a wide range of dynamics and control and are able to move effortlessly from an ensemble of highly independent voices to performing as one large instrument.

“The Happiness Handbook” opens with Scott Godin’s “Martlandia” which explores swelling chords and intricately articulated themes with shades of progressive rock. Tim Brady’s “Equal But Opposite Reaction” combines standard and extended techniques with electronics into a wonderful contrapuntal kaleidoscope that covers a lot of ground.

Jordon Nobles “Deep Field” would make a great sci fi soundtrack with its swells of sounds that roll by as it moves slowly through deep space. It’s as if a flamenco and blues gesture were combined and intertwined; then slowed down a few hundred times while slowly twisting and turning to reveal itself.  A wonderful piece!  Maxime McKinley’s “Reflects de Francesca Woodman” begins with harmonics bouncing and refracting off of one another that eventually builds up into jagged variations on a bluesy theme only to finds its way back into a refractive meditative state. Gordon Fitzell’s “Bomb Crater Garden” is an aggressive mix of clear harmonics and scattered noisy sounds. It beautifully utilizes extended techniques and electronics to slowly build up and then melt away into a kind of noisy slide guitar bird song.  The album ends with Emily Hall’s “The Happiness Handbook”. A suite of five short movements that covers a lot of ground as it celebrates the sheer joy of playing the electric guitar.

“The Happiness Handbook” is a wonderful album. Many AMN readers will enjoy this album, especially guitarists. I think the album should have appeal not just with the minimalist/post minimalist, new music and experimental guitar crowds. “The Happiness Handbook” may be an ideal gateway recording to introduce progressive rock and fusion listeners to contemporary electric chamber music.  So, give it a listen!

Highly Recommended!

Chris De Chiara

AMN Reviews: Splinter Reeds – Hypothetical Islands [New Focus FCR222]

Extended technique long ago lost its shock value, which is all to the good. For many composers as well as performers, extended technique is a resource that can be drawn on as a matter of course—as one musical device among many, rather than as novelty or anomaly. As their fine second album demonstrates, the music written for and performed by the extraordinary reed quintet Splinter Reeds—oboist Kyle Bruckmann, clarinetist Bill Kalinkos, saxophonist David Wegehaupt, bass clarinetist Jeff Anderle and bassoonist Dana Jessen—shows how artfully extended technique can serve as the organizing principle for stimulating works that are challenging to performer and listener alike.

An excellent example of this is composer Sky Mackley’s Choppy, which was written in 2017 for Splinter Reeds and premiered at the Berkeley Art Museum that November. The piece weaves together a dense tissue of multiphonics, microtonal detuning, overblowing and the non-musical sounds of disturbed water (a sonic allusion to the title’s evocation of windblown water, perhaps). It’s a piece that inhabits extremes of register and dynamics and might be something we could imagine the Furies listening to when not out pursuing transgressors.

Like Choppy, Eric Wubbels’ Auditory Scene Analysis II, written for the group in 2016, employs multiphonics as a significant element. Also like Choppy, it contains jarring dynamic contrasts as well as harsh, massed sound clusters. Some of the percussive effects in Wubbels’ piece find an amplified echo in Theresa Wong’s Letters to a Friend, which uses key clicks and slap-tongue to set up a complex set of rhythms and counterrhythms.

The title track, by Yannis Kyriakides, augments the sound of the acoustic winds with electronics. The piece begins with a wind-like background rumble that, rising and falling in prominence, runs as an undercurrent throughout. On top of it the reeds carve out dissonant islands of sound—short, discordant fragments of ensemble work that take the guise of tantalizing, because deliberately incomplete, hints of melody.

The album also includes the gleefully stuttering polyphony of Matthew Shlomowitz’s Lines and Length, and the Cara Haxo’s alternately pointillistic and movingly lyrical Exercices I and II.

https://newfocusrecordings.com

https://www.splinterreeds.com/

Daniel Barbiero

AMN Reviews: Post-Haste Reed Duo – Donut Robot! [Bandcamp]; Lori Freedman – Excess [Dame cqb 1923]

The technical innovations of the past sixty or so years have given instrumentalists and composers a vast and diverse set of resources to draw on in creating new music both written and performed. Just how vast and diverse is something best seen in the context of music for solo performers or very small ensembles. Two releases for reeds–one for reed duo and one for soloist–provide good examples.

Donut Robot! is the second release from the Post-Haste Reed Duo, the Portland, Oregon duo of saxophonist Sean Fredenburg and bassoonist Javier Rodriguez. Both are instructors—Fredenburg teaches saxophone at Portland State University, while Rodriguez is Assistant Professor of Bassoon at the Lionel Hampton School of Music at Idaho State University—as well as performers; they’re also dedicated to presenting new music for their instruments. In fact, all of the pieces on Donut Robot! were commissioned or inspired by the Post-Haste Duo. The album opens with the title track, Ruby Fulton’s lively, contrapuntal sound portrait of mechanical processes cycling through smooth function and complete breakdown. Drew Baker’s First Light, for bassoon and soprano saxophone, is a spatial work that has the two instrumentalists standing in close proximity while playing parts separated by microtones. The piece develops as a thick-textured, slowly descending pattern of oscillating tones that take on the quality of the falsetto human voice; the closely-spaced pitches effectively fuse into something approaching pure timbre. Michael Johanson’s Soundscapes was partly inspired by a residency the composer spent in Noepoli in Basilicata. The three-movement work begins with lively, intertwining lines for both instruments; moves to a slow, wintry section notable for its use of multiphonics; and culminates in a quick-paced movement built on unison rhythms in changing time signatures. Snapshots, a shorter, four-movement composition by Takuma Itoh, contains an eclectic mix of extended techniques, chance-derived orchestration of repeating figures in overlapping pulses, and a very concise homage to Charlie Parker at the finale. Donut Robot! also contains Edward J. Hines’ Hommage: Saygun et Bartok en Turquie 1936, a piece that draws on his engagement of Middle Eastern musical traditions, and Andrea Reinkemeyer’s movingly austere, hymn-inspired In the Speaking Silence, a piece dedicated to the memory of the composer’s mother.

In contrast to Donut Robot!, which cleaves to a mean between technical experimentation and more conventional modes of playing, Lori Freedman’s Excess furnishes exactly what its title promises: a program of music for bass and contrabass clarinets that pushes instrumentalism to its outer edges. Freedman, originally from Toronto but now based in Montreal, is known as an improviser as well as a composer and performer of new work; it is in this latter capacity that she appears on Excess, some of whose works were written for her. Each embodies the notion of excess in its own way, whether in the quick shifts over extremes of register and dynamics of Brian Ferneyhough’s Time and Motion Study I (1977), or in the expressive excess of Richard Barrett’s Interference (2000) for contrabass clarinet, voice and kick drum. In opening the recording with the confrontational sounds of Interference, Freedman seems to throw down a challenge to the listener to stay with the recording and hear her out. Persistence will be rewarded. Paul Steenhuisen’s 2015 composition Library of Fire, for bass clarinet, was composed for Freedman and alludes directly to her skills as an improviser: the piece was created out of transcriptions of some of her recorded improvised performances. The growls, shrieks and half-articulated, half-breathy sounds of Paolo Perezzani’s Thymos (2014), for contrabass clarinet capture the emotional immediacy and drive of the ancient Greek concept of the thumos, that human faculty thought to be responsible for prodding a person to take up a challenge and grapple with it in a spirited way. As to Freedman’s challenge to the listener, this virtuoso set shows it to be something worth meeting.

http://posthasteduo.com/wp/

https://aerocademusic.com/donut-robot

https://actuellecd.com/en/album/5957/Lori_Freedman/Excess

http://www.lorifreedman.com/en/accueil

Daniel Barbiero

AMN Reviews: Bearthoven / Scott Wollschleger – American Dream [Cantaloupe CA21145]

Whether by design or by accident, the three Scott Wollschleger compositions performed on the trio Bearthoven’s American Dream album capture, in their spare beauty, the pervasive sense of uncertainty and disorientation so characteristic of recent years. This may not simply be something imagined: Wollschleger himself sees them as expressing an often contradictory set of emotions—“doom, optimism, hopelessness, and the sublime.” Perhaps as a result, the collection is pervaded by an elegiac, haunted atmosphere, an impression conveyed by the fragmentary and understated nature of much of the music and made explicit by the title of the final work in the trilogy: We See Things That Are Not There.

Gas Station Canon Song, the opening piece for solo piano, captures this mood in a concise manner. It’s a short work made up of brief phrases, dissonances that sound like stumbled-upon “mistakes,” and an artfully halting pace. Hearing Karl Larson’s performance is like listening to someone reaching for a memory that won’t quite crystallize. The five-movement American Dream for the full Bearthoven trio of Larson, double bassist Pat Swoboda and percussionist Matt Evans continues and expands on the atmosphere established by Gas Station Canon Song. American Dream is very much an ensemble piece of collective sound rather than a work with sharply defined figure and ground relationships; it frequently features instrumental combinations of novel colors, such as when piano and percussion fuse to mimic the sound of a toy piano. The final track, We See Things Are Not There for piano, vibraphone, and crotale, is in mood a fitting complement to the opening track and serves to bookend the collection nicely.

https://cantaloupemusic.com/

https://scottwollschleger.com/

Daniel Barbiero