AMN Celebrates Braxton 75: Part IV

Braxton_anthony_moers_260507Welcome to AMN Celebrates Braxton 75, a multipart series focused on the work of American composer and multi-instrumentalist Anthony Braxton. Braxton, who in 2020 will be celebrating his seventy-fifth birthday, is one of the most important and influential creative minds of the past fifty years. Each week this series will feature three to four links of live performances, interviews, and articles found on the web that should be of interest to both the curious and the longtime explorers of Braxton’s music.

The Sounds of Now, Part Three: Anthony Braxton and the Ethics of Improvisation by Chadwick Jenkins from 2007 is a very insightful essay that digs into Braxton’s musical philosophy. Jenkins very clearly explains his interpretation of some of the ideas found in Braxton’s Tri-Axium Writings. It is very well written and should be read carefully, and maybe more than once in order to digest Jenkin’s interpretation of Braxton’s writings.

This is a recent performance of Braxton’s Composition No. 1 (1968) for solo piano performed by Brett Carson.

A short interview from 2008 where Anthony Braxton discusses chess, math & music.

A set of the Anthony Braxton Quartet performing in East Berlin in 1985. The group for this concert is Anthony Braxton, Marilyn Crispell – piano, Gerry Hemingway – drums and Jens Saleh – bass. You can hear the magic that Hemingway, Crispell, and Braxton have together.

Join us again next week for another post as AMN Celebrates Braxton 75

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Chris De Chiara

AMN Celebrates Braxton 75: Part III

Braxton_anthony_moers_260507Welcome to AMN Celebrates Braxton 75, a multipart series focused on the work of American composer and multi-instrumentalist Anthony Braxton. Braxton, who in 2020 will be celebrating his seventy-fifth birthday, is one of the most important and influential creative minds of the past fifty years. Each week this series will feature three to four links of live performances, interviews, and articles found on the web that should be of interest to both the curious and the longtime explorers of Braxton’s music.

In 1973 Bill Smith interviewed Anthony Braxton for Coda Magazine.  Smith removed the questions from the interview so that it reads like an essay.  The interview offers some insight into Braxton’s development as a musician and his determination to be true to himself and his vision, despite the potential consequences. “Anthony Braxton Interview 1973” by Bill Smith.

This is a very good recording of the first set at The Kitchen in 1977 of three of the AACM’s titans – Roscoe Mitchell, Anthony Braxton, and Joseph Jarman.  There is no video but the performance is astounding! The second set is also floating around and worth checking out.

The Instant Composers Pool (ICP) is an independent Dutch jazz and improvised music label and orchestra founded in 1967.  In this short excerpt of a 2005 performance at the Bimhuis in Amsterdam, they are joined by Anthony Braxton.

Join us again next week for another post as AMN Celebrates Braxton 75

Previous Segments

Chris De Chiara

AMN Celebrates Braxton 75: Part II

Braxton_anthony_moers_260507Welcome to AMN Celebrates Braxton 75, a multipart series focused on the work of American composer and multi-instrumentalist Anthony Braxton. Braxton, who in 2020 will be celebrating his seventy-fifth birthday, is one of the most important and influential creative minds of the past fifty years. Each week this series will feature three to four links of live performances, interviews, and articles found on the web that should be of interest to both the curious and the longtime explorers of Braxton’s music

This is a short promotional video from 2006 of the Anthony Braxton 12+1tet for the release of a 9-CD + DVD box set. The video mixes a Braxton lecture on his Ghost Trance Music with live performances of the ensemble illustrating his words. The clip reveals how interactive the ensemble can be in the direction the piece takes and how much this ensemble really enjoys performing Braxton’s music.

“A Renewed Spotlight on Anthony Braxton” by Robert Ham is a recent interview from 2019 in which Braxton talks a little bit about his spiritual beliefs and his approach to composition.

Circle was Anthony Braxton – reeds, Chick Corea – piano, Dave Holland – Bass and Barry Altschul – drums. The group was active from 1970 -71. They released two studio albums and three live albums. This is a live recording (no video) of Circle from 1971. Despite the roughness of this recording, the music is quite powerful and well worth the listen.

Join us again next week for another post as AMN Celebrates Braxton 75

Previous Segment

Chris De Chiara

AMN Celebrates Braxton 75: Part I

Braxton_anthony_moers_260507Welcome to AMN Celebrates Braxton 75, a multipart series focused on the work of American composer and multi-instrumentalist Anthony Braxton. Braxton, who in 2020 will be celebrating his seventy-fifth birthday, is one of the most important and influential creative minds of the past fifty years. Each week this series will feature three to four links of live performances, interviews, and articles found on the web that should be of interest to both the curious and the longtime explorers of Braxton’s music.

In the last fifty years or so Anthony Braxton has composed hundreds of pieces and recorded well over one hundred albums. Navigating this vast amount of material can be a little bit intimidating. Seth Colter Walls’s article “Anthony Braxton: Ghost Trance Music” is a great place for all to start. This article is an excellent guide that provides a nice overview of Braxton’s work with clear high-level explanations of some of Braxton’s most prominent musical concepts and structures. It also includes links to suggested listening examples.

Among Braxton’s many innovations is his extensive work for solo saxophone such as his landmark 1969 LP “For Alto”.  Here is a short but excellent example of Braxton’s solo saxophone music. The clip is from Hamburg in 1981.

This thirty-minute clip features a 1973 performance from one of Braxton’s many quartets. This may be the first live performances of his compositions 23B and 23D. The quartet is Kenny Wheeler – trumpet and flugelhorn, Jean-François Jenny-Clark on Bass, Charles “Bobo” Shaw on drums and of course Anthony Braxton – flute, contrabass clarinet, and alto saxophone.

Join us again next week for another post as AMN Celebrates Braxton 75.

Chris De Chiara

AMN Reviews: exclusiveOr / Architeuthis Walks on Land / International Contemporary Ensemble – “modules” [Carrier 044]

Jeff Snyder and Sam Pluta have been working together since 2006 as the duo exclusiveOR.  With Snyder performing on analog synthesizer and Pluta on live electronics. Their work explores the intersection of composition and improvisation with live electronics. For “modules” the duo is joined by some of today’s leading creative musicians: Architeuthis Walks on Land (AWOL) which is Amy Cimini – viola and Katherine Young – bassoon, and members of ICEPeter Evans, Nate Wooley – trumpets, Ryan Muncy – saxophones, Weston Olencki – trombone and Ross Karre – percussion.

“modules” was commissioned in 2014 by the International Contemporary Ensemble (ICE) as part of their ICELab Series. It is a concert length work that utilizes both improvisation and strictly notated material. The piece covers a lot of ground as it flows through its fifteen modules in which seemingly opposing materials (pitch, sound and noise) and methodologies (composition, improvisation and live electronics) seamlessly interact with one another to create a unified whole. 

 

The fifteen “modules” are comprised of five composed by Pluta, five by Snyder and five improvisations from various small groupings of the ensemble. Each of these tracks or modules has its own distinct character, color and instrumentation. Pluta’s modules tend to be more aggressive and noisier, while Snyder’s are often more harmonically focused. The improvised sections are all sonically oriented and very original. Despite the contrasts within each module they really seem connected and many segments flow into one another in a conversational like manner.

Here is an earlier performance with brass quartet, analog synthesizer, live electronics, and percussion.  It’s interesting to hear both of these versions because it makes clear the significant contributions that improvisers can bring to pieces like “modules”.

For those that need some kind of categorization I would put “modules” under the banner of “creative music”; in that the sound worlds that the composers and improvisers create, freely explore many different contemporary and historical musical ideas without any allegiance or deference to any of the “school’s” associated with these ideas. This is a trend that has been growing for quite some time and I think the composers and improvisers on “modules” are among the best of a new generation of musicians continuing this exploration.

Highly recommended!

Chris De Chiara

 

 

AMN Reviews: Renaud Bajeux – Magnetic Voices From The Unseen [NAHAL007]

NAHAL_07_12inch_V3.indd“Magnetic Voices From The Unseen” is the first album from Renaud Bajeux. It is available as an LP or as a digital download. The digital edition contains an additional live track. Renaud Bajeux is a sound engineer and cinema sound designer based in Paris. Bajeux has been regularly collaborating with the INA-GRM for the last ten years and has a GRM commission receiving its world premiere at the GRM’s Akousma Festival in Paris this week.

For “Magnetic Voices From The Unseen” Bajeux primarily works with sound material he discovered in the magnetic fields of various electronic devices. Armed with magnetic coils he explores the sounds of things found on most people’s desks like hard drives, computers, cell phones and monitor screens. While the sound sources may be novel, it is Bajeux’s imaginative way of transforming these sounds into a series of noise-laden soundscapes that makes this debut album so interesting.

 

The four pieces on this album have a cinematic feel, filled with subtle to surprising developments as they progress. Bajeux’s compositions straddle elements like noise, harmonicity, glitch, experimental, electronics, minimalism, and ambient sound without ever really succumbing to any of those elements in terms of overall style.  “Magnetic Voices From The Unseen” is a wonderful debut album!

Chris De Chiara

AMN Reviews: “aus Licht”- K. Stockhausen [2019 Holland Festival, Amsterdam]

This year’s Holland Festival   presented what may have been its most ambitious undertaking ever – a marathon performance of selections from Karlheinz Stockhausen’s   magnum opus “Licht”.  “Licht” is a cycle of seven operas, one for each day of the week, that Stockhausen wrote over a twenty-five-year period. While individual operas and scenes from this cycle have been and continue to be performed, a staging of the entire cycle which runs over twenty-nine hours in a single place is generally considered to be impossible. The Holland Festival presented the first ever staging of more than half of “Licht” in a single place. Fifteen hours of music was selected from the cycle and performed over three days at the Gashouder in Amsterdam. Several additional hours of electronic music from “Licht” was also presented for “dedicated” listeners before and after each day’s performances. This three-day cycle was presented three times from May 31 to June 10. I never thought I would ever be able to hear so much of Stockhausen’s work performed in one single event and I was lucky enough to attend the June 4-6 performances. It was an absolutely spectacular concert event.

Karlheinz Stockhausen was one of the major innovators of the twentieth century. In many ways his vision of a dramatic musical work greatly differs from opera. “Licht” does not adhere to a linear plot, it is modular, with no definite beginning or end. Each piece of music, in each of the individual operas within the cycle is autonomous and therefore can be performed by itself.  Stockhausen wrote his own libretto and while it is based on familiar mythology the main characters are archetypes that represent universal forces – Michael as love, Lucifer as light and Eve as life itself.  Stockhausen portrays these universal forces with both singers and instrumentalists. The work asks the instrumentalists to not only play what is often very difficult music, but to be in costume, move, sing and perform various gestures as they play his virtuosic score.

The entire work is based on a structure of three musical layers with each layer representing one of the major characters. This structure or “super formula” as Stockhausen calls it, serves as the sonic foundation for all of the pieces in the entire cycle. The scores also specify a great deal of detail for each dimension of the performance and specifically defines many of the production parameters – costumes, scenery, lighting, imagery, colors, symbols, sound projection, gestures, movement, dances, and so much more.

The experience Stockhausen creates is a kind of ritual theater that has been influenced by much of our planetary culture. But this work is not a completely somber affair. It explores all of the facets of life from love to war to humor. Among the humorous characters in this work is “Synthi-Fou”, an Elton John like figure whose synthesizer solo feature is a bit like Sun Ra channeling the phantom of the opera and then there is the “swallow pair”, a clarinet duo that are decked out in tails with antics not unlike the classic Marx brothers.

While the “Licht” cycle frames eternal questions, Stockhausen does not attempt to answer these questions for us, instead he illustrates them in his own unique way and invites us to experience his reflections on the eternal. All of this is to create his personal vision of a musical theater filled with magic and ritual that can appeal and be understood by everyone on this planet. The result is a timeless masterpiece.

In my opinion the Holland Festival’s production of “aus Licht” succeeded in bringing to life much of Stockhausen’s vision.  It was an incredible music theater experience. I found the elegance and subtlety of the staging, video, lighting and costumes highlighted the ritual aspects of the performance while creating a beautiful open atmosphere. While live performance always reveals aspects of a work that are just not captured by recordings, hearing many of these pieces live was a revelation.

Each day began with optional electronic music for dedicated listeners. The electronic music was beautifully diffused around the circular room in the Gashouder  through a twenty-four channel system with one hundred loudspeakers carefully surrounding the room. Hearing Stockhausen’s electronic music in this space diffused by a specially trained team revealed dimensions that just aren’t audible on the recordings. It was a wonderful way to begin the day. This was followed by films of grade school children explaining the story and drawing pictures of the characters. Despite my not speaking Dutch it was clear that the children understood the story and it was a nice light hearted way to set the stage for each performance.

Most of the performers were conservatory students and many were children. Each of the main characters, Michael, Eve and Lucifer were portrayed by several different performers and there were so many musicians (about 300) that were part of these performances rather than singling out any of them I would rather just say that all of the musicians played and or sang beautifully and performed with real passion, power, presence and conviction. They were all incredible. There was nothing about this production that was “student” or “amateur”. From end to end “aus Licht” was a world class professional performance and production.

While “aus Licht” was promoted as a marathon it never felt long to me. When each day ended I was excited and eager to hear more. When it was all over I found myself wishing that I had gotten tickets for all nine nights and experienced the three-day cycle three times.

This week Arte posted several clips from the Holland Festival production of “aus Licht”.  The five clips are short but are very well filmed and have high quality stereo sound. The first clip is of the “Girl’s Procession”. While this clip is just a few minutes from a thirty minute piece it should be enough to demonstrate the tremendous talents of the girls choir and the beauty of the overall production.

Clip two is a short excerpt from “Lucifer’s Dance”.  It features one of the larger ensembles on the second stage with the brilliant soloists engaged in a powerful dramatic performance. The staging made use of multiple stages plus various configurations of the room.

Clip three is a short excerpt from the very last piece “Angel Procession”. Notice that the configuration of the room in each clip is different and was often changed for each scene. This clip demonstrates the effectiveness of the lighting, staging and costume design when combined with the spectacular adult choirs. It was a somewhat solemn but powerful way to end the three days.

Clip four is a short excerpt from the infamous helicopter string quartet. Yes, it’s a string quartet where each of the strings are in their own helicopter and the performance is beamed back to earth. The sounds of the strings are mixed with the sounds of the helicopters and diffused around the room. Many reviewers portray this piece as nothing more than unnecessary excess but in doing so I think it misrepresents the piece. It is a serious work that is also a fun spectacle. You can hear Stockhausen’s own words on the piece in this video from the Holland Festival’s archives from when they first presented it in 1995.

The final clip is a short excerpt from “Michael’s Journey Around the World”. It features a very large ensemble with the trumpet soloist Michael and the clarinet duo “swallow pair”. That fades and then we hear a very short excerpt from “Thursday’s Greeting (Michael’s Greeting)”.

If you viewed all of the clips you get a sense of the variety and magnitude of both the musical and production forces required to perform “aus Licht”. You should also notice that the soloists and the choirs are not reading any music. Everything has been memorized and internalized. This kind of performance requires an enormous commitment from the musicians. As you can imagine presenting a work of this size and scope would have many challenges. So how did the Holland Festival pull this off? Well according to the program notes it started in the spring of 2015 when the head of the Royal Conservatory in The Hague, Henk van der Meulen and colleague Renee Jonker pitched the idea to the Holland Festival as a way of having students from the conservatory perform selected pieces from the cycle. Holland Festival Artistic Director Ruth Mackenzie and music programmer Jochem Valkenburg were interested and they proposed that the students perform all twenty-nine hours of the entire cycle! This was then handed off to the festival head of production Sigi Giesler.

As they explored what it would take to produce the entire cycle they realized they would need help and they enlisted Pierre Audi of the Dutch National Opera to be the projects director. This delegation then met with Kathinka Pasveer and Suzanne Stephens of the Stockhausen Foundation for Music to discuss the project. After many meetings, by September of 2016 they realized that their best shot was to produce selected pieces from the cycle. So, they worked to select pieces from the cycle from which they could construct a dramaturgically coherent collection of scenes. As that was happening the Royal Conservatory established an “aus Licht” Master’s program to train students with a solid Stockhausen foundation. Then Pierre Audi and the Dutch National Opera took responsibility for this massive project with the Holland Festival co-producing. Kathinka Pasveer then signed on as the music director.

With less than three years to go they kicked off fundraising and the project moved forward.  The project plan had more than four hundred and fifty rehearsals, with more than two hundred and fifty students and thirty-seven soloists, plus all of the various creative and production teams.  Nearly four years later in May 2019 the work of more than six hundred people had come to maturation and rehearsals for the final production began at the Gashouder and a slice of the impossible became very real!

“aus Licht” was an incredibly memorable experience. I am very grateful to all that contributed to bringing it to life. The Holland Festival showed its courage and commitment to contemporary music by investing the time and resources necessary in presenting this great work and by building partnerships with The Dutch National Opera, The Royal Conservatory, the Stockhausen Foundation for Music, and many others to ensure that the production of “aus Licht” would be a major success. And it absolutely was! My hope is that “aus Licht” was not a one-off. I hope that this partnership will come together again soon and perform “aus Licht” again. Maybe even add another day or present another collection of different selections from “Licht”. Perhaps this production will inspire someone to try and present an even bigger slice of the impossible!

Chris De Chiara