"This is a remarkable collection of his work, really a set of signposts over a wide and twisting career arc, that... helps clarify his originality and contribution.... Tudor almost invented out of whole cloth a practice of live interactive electronic music, something that now is prevalent worldwide and across a vast stylistic platform."
New Music Box
"I would highly recommend purchasing the physical box, as it is beautifully presented, with each disc in its own photo-laden sleeve, packaged with a substantial book of liner notes (including some sketches and diagrams of Tudor's various setups) written by electronic musician/performer/educator Matt Rogalsky. Despite the fact that most of these works cannot be recreated, they are nevertheless of great importance to the development of electronic music and its performance history."
"What emerges from this detailed retrospective is the portrait of a scrupulous and thorough performer pushing the compositional process beyond traditional notions of musicianship and into the terrain of live electronics, where his technical innovations using hardwired tabletop devices are yet to be fully appreciated."
By James Chute
From the Friday, April 8, 2011 San Diego Union-Tribune (full article)
Composer Lei Liang has never forgotten the soldiers’ eyes, the blood on the street, his anguished friends.
“My school was not far from Tiananmen Square,” he said. “And I was there (protesting) every day for almost two months, my classmates and myself. It was a life-changing experience. I feel like everything I do today is motivated by that experience, by those two months.”
As it turned out, after literally wrestling with soldiers who were trying to enter the square, Liang had gone home the evening of June 3, 1989, exhausted, only a few hours before the shooting started in one of the pivotal events in modern Chinese history. To keep him from going back, his parents locked him in his room. But he returned in the morning and saw the residue of the violence.
“I saw the blood, the bullets, smoke everywhere …” recalled Liang, who was 16 at the time.
“When something you so passionately believed in is taken away overnight by violence, you start to think about what is the thing that guns cannot take away?”
Liang realized that one inviolate thing was his thoughts, and the way he extends his thoughts into the world — his music.
“Your way of thinking, your fantasies, your culture, your imagination, the things in your mind — those things cannot be taken away by violence,” Liang said. “So the best way to defeat violence is to cultivate that world, is to make that world so independent, so free, that it has the power to counter (violence). And that’s how I started on my path.”
That path soon took him from Beijing to Austin to Boston, and in 2007, to La Jolla, where Liang teaches composition in the University of California San Diego’s music department. A new compilation CD of his music on New World Records, “Milou,” was released last week, and his ever-growing stature as a composer is reflected by the dozens of ensembles that have performed his work, from the New York Philharmonic to the Shanghai Quartet.
“I’ve been greatly enriched by the UCSD environment,” said Liang. “I’ve felt like this is a place where I’m developing a lot and able to maintain my independence.”
Independence continues to be one of Liang’s core concerns, reflected in his extraordinary (or as The Washington Post put it, “far, far out of the ordinary”) music that in its inventiveness and originality confounds categorization.
“It’s true; I’m not a poster child for anything, for any type of music,” Liang said. “I love to learn from different things, so I have a lot of admiration for all kinds of music, all different kinds of orientations.” But Liang said his “motto” has been to say no to overt, readily identifiable influences in his music.
His music is most often located in the context of other contemporary Chinese composers (including Chen Yi, Bright Sheng and Tan Dun), but his music doesn’t sound Chinese. And it doesn’t necessarily sound Western either.
“I don’t even see myself only as an experimental composer, or a new music composer,” he said. “I’m just writing music. Because all these labels are kind of badges of laziness, at least for me.”
Playing with sounds
Liang, whose parents were musicologists, started piano lessons when he was 4; by the time he was 6, he was already composing, in part as a way to avoid practicing.
“My parents knew I was very bored by practicing,” he said. “But if I was making sound, it was OK. So I started making up pieces that sounded like the pieces I was supposed to practice. I didn’t know I was composing. It was like a playground where I could play with sounds.”
At one of his recitals, his pieces (which are still played in China) caught the attention of Rose Garrott, an American teaching English in Beijing. With her help, and assistance of family members already in the U.S. (greatuncle and greataunt David and Lillian Wong), Liang left China in 1990 to finish high school in Austin, Texas (where Garrott was doing graduate work).
“The first thing I did as soon as I left China and arrived in America was go to the library (at the University of Texas Austin),” Liang said. “I wanted to check as much as I could about what was not taught by the government. There’s the mainland China version of its history; I wanted to find out what the Taiwanese had to say, what the Tibetans had to say. And then I realized there was a lot more they didn’t teach me.”
As his education progressed, first at the New England Conservatory of Music and then at Harvard, he continued to explore the library, studying Chinese music, art, literature and philosophy, even hand-copying certain manuscripts.
“You can be born Chinese, but it doesn’t mean real membership in that cultural community,” he said. “I was born in a cultural and spiritual ‘ground zero’ (during the Cultural Revolution) after the worst political, social and cultural self-destruction in China’s long history. I grew up uprooted; I want to be re-rooted.”
At the same time, he distinguished himself as a composition student, examining, incorporating, and then often rejecting every new — and some old — musical trend and technique until he found his own voice.
“I was very inspired by a lot of new music I was hearing, but for me, something I still find very attractive is human warmth,” he said. “And I don’t encounter that very often in new music. I identify with (16th-century composer) Monteverdi’s idea about music: It’s the full expression of human passions.”
But it may be passion in its most subtle, refined form. In Kyoto, Japan, where he and his wife (Japanese harpsichordist Takae Ohnishi) occasionally visit, there’s a shop where all the items are made of bamboo, each crafted with uncommon care and attention.
“I’m holding this little cup made of bamboo, and it’s moving in my fingers a little bit because its so fragile,” he said. “And I can just really feel the person who made this. I’m almost holding their hand. It’s that kind of quality that I’m most vulnerable to.”
Listen carefully, and you can feel Liang in his music.
“I’m looking for music that seems to unfold memories in time, in the shadows, sort of like the moss on the ground of the temples in Kyoto,” he said. “That is the art of time. For me that is very, very important — to feel the thickness of time, to feel history is alive, it’s breathing underneath.”
Liang continues to study Chinese, and especially Mongolian, music, and write pieces that reflect those interests. But given his history, it’s inevitable that he also continues to write music that addresses what he saw and felt in China, where his parents continue to live and he occasionally visits.
“I’m still driven by that because I think it is even more pertinent today in China,” he said. “We might be a much richer country, but culturally and spiritually, where is our richness and our freedom? And that doesn’t always come with material wealth; it is harder to acquire.
“I think it’s very urgent for us to look at that. Basically, that’s what I’m doing.”
JOHN LUTHER ADAMS WINS $100,000 2010 NEMMERS COMPOSITION PRIZE
In addition to cash award, Adams work to be performed by the Chicago Symphony Orchestra
EVANSTON, Ill. --- American composer John Luther Adams has been named the 2010 winner of the $100,000 Michael Ludwig Nemmers Prize in Music Composition. The announcement was made today (April 29) by the Northwestern University Henry and Leigh Bienen School of Music.
Adams’ music is influenced by nature, especially the landscapes of Alaska where he has resided for more than 30 years. He is currently composing an extended work for Glenn Kotche (the drummer/percussionist of the band Wilco) and writing a new book titled “True Places: An Atlas of Memory.” His latest CD for the Cold Blue label, “Four Thousand Holes,” will be released in September 2010.
The biennial award honors classical music composers of outstanding achievement who had a significant impact on the field of composition. Past winners include John Adams (2004), Oliver Knussen (2006) and Kaija Saariaho (2008).
“John Luther Adams was cited by the selection committee ‘for melding the physical and musical worlds into a unique artistic vision that transcends stylistic boundaries,’” said Bienen School of Music Dean Toni-Marie Montgomery. The Nemmers Prize committee that selected Adams is comprised of three anonymous individuals of widely recognized stature in the international music community.
As the recipient of the 2010 Nemmers Prize, Adams will receive a cash award of $100,000. In addition to the cash award, Nemmers Prize recipients have one of their works performed at a later date by the Chicago Symphony Orchestra. However, Adams’ work for orchestra and electronic sounds, “Dark Waves,” was previously scheduled by the Chicago Symphony and will be performed Oct. 28 and 29 at Symphony Center in downtown Chicago. Adams also will be in residence at Northwestern’s Bienen School of Music during the 2010-11 and 2011-12 academic years. His first two residency dates are scheduled for Oct. 25 to 28 of this year and Feb. 22 to 25, 2011.
“When I learned I’d been chosen to receive the 2010 Nemmers Prize, I was stunned,” said Adams, who lives in the hills northwest of Fairbanks. “For most of my creative life I’ve worked in relative isolation. It’s deeply gratifying to know that my music resonates in the larger world. And since few things make me happier than working with young musicians, I’m especially looking forward to my residencies at the Bienen School of Music.”
The Michael Ludwig Nemmers Prize in Musical Composition is made possible through a generous gift from the late Erwin E. Nemmers and Frederic E. Nemmers, who in 1994 enabled the creation of the Erwin Plein Nemmers Prize in Economics and the Frederic Esser Nemmers Prize in Mathematics, leading awards in those fields.
John Luther Adams
John Luther Adams (b. 1953) came to music as a rock drummer. Through a youthful passion for the music of Frank Zappa he became acquainted with the works of Edgar Varese and Morton Feldman. Adams went on to study composition at the California Institute of the Arts, where he received a bachelor of fine arts in 1973. Two years later he made his first trip to Alaska, where he has lived since 1978. Adams has served as timpanist and principal percussionist with the Fairbanks Symphony Orchestra and the Arctic Chamber Orchestra. From 1994 to 1997 he was composer-in-residence with the Anchorage Symphony Orchestra, Anchorage Opera and Alaska Public Radio Network. He has served as president of the American Music Center, a New York-based national information and support center for new American music.
Adams’ music is deeply rooted in the geography and cultures of Alaska. While the influence of Feldman can be heard in the scale and contemplative spirit of expansive, slow-moving orchestral works such as “Clouds of Forgetting, Clouds of Unknowing” (1991-95) and “In the White Silence” (1998). Adams combines this with an almost physical embodiment of the natural world. His experience as a percussionist and his study of Alaska Native drumming can be heard in the rhythmic intricacy of his music.
Adams’ work includes pieces for orchestra, chamber ensembles, radio, film, television, theater and opera. His pieces have been performed by the Chicago Symphony Orchestra, the Radio Netherlands Philharmonic, the California E.A.R. Unit chamber ensemble, Bang on a Can, Percussion Group-Cincinnati, New Music America, and Arena Stage in Washington.
He has earned awards and fellowships from Meet the Composer, the National Endowment for the Arts, the Rockefeller Foundation, the Rasmuson Foundation, Opera America, the Foundation for Contemporary Arts and the Alaska State Council on the Arts. In 2006, Adams was named one of the first United States Artists Fellows.
Adams’ music can be heard on the Cold Blue, New World Music, Cantaloupe Music, Mode Records and New Albion labels. He is the author of “Winter Music” and “The Place Where You Go to Listen” (Wesleyan University Press) and has written about music and nature in numerous periodicals and anthologies. Adams has served on the faculties of the Oberlin Conservatory, Bennington College and the University of Alaska, Fairbanks.
For more information on Adams, visit www.johnlutheradams.com or contact Ellen Schantz at the Bienen School of Music at firstname.lastname@example.org.
NORTHWESTERN UNIVERSITY BIENEN SCHOOL OF MUSIC
MEDIA CONTACT: Judy Moore at (847) 491-4819 or email@example.com
FOR RELEASE: April 29, 2010
NORTHWESTERN NEWS: www.northwestern.edu/newscenter/
Reviewed by François Couture for All Music Guide
Samuel is the follow-up to the Scott Fields Ensemble's 2007 release Beckett on the Clean Feed label. Both albums feature Scott Fields' compositions based on plays by Samuel Beckett. Not "inspired by," but "based on"; Fields derives his scores (pitches, chords, rhythms, etc.) from the author's words and narrative devices. At least, that is what the liner notes state. Clearly, Fields is not using these processes as the be-all and end-all of his music, which transcends such preparations. The listener hears little of that in the music itself and, if he or she chooses to bypass the liner notes, will not pick up on it. Fascinating as it may be, these processes don't get in the way of what turns out to be three highly complex compositions of avant-garde jazz, for lack of a better term. The composed aspect of the music is obvious, even though free improvisation plays a key part in the proceedings: unisons and stop-go cues abound, harmonic material is developed much too subtly and delicately to not have been planned ahead, heads pop up in unlikely places. We are somewhere between the large-scale compositions of U.K. bassist Simon H. Fell (mostly his Compilation series) and John Zorn's contemporary classical works. "Ghost Trio" has a slightly jazzier feel while "Eh Joe" is a bit more abstract at first, but all three pieces (the other one is titled "Not I") have one foot in free jazz, the other in non-idiomatic improvisation, and a third one (oh, it's unique enough to have grown a third foot) in a still little-charted territory of very serious non-classical modern composition -- akin to Fred Frith or Jean Derome's most ambitious works. Tenor saxophonist Matthias Schubert often assumes the lead melody, with Fields counterpointing on the electric guitar (his interventions sound random at first, but close listening quickly reveals an inner logic). Scott Roller shifts back and forth between a bassist's role and a soloist's role. Drummer John Hollenbeck is mostly playing in free improvisation mode, with short episodes of swing, and a noticeable rock-out passage toward the end of "Eh Joe" where he gets to use the kind of chops his Claudia Quintet is based on. Samuel is not an easy record, but the level of musicianship, composition, and ensemble playing commands respect, admiration, and an award. It is also quite addictive, as each listen reveals new details of the work's architecture.
Andrew Byrne (b. 1966) introduces the first three movements from White Bone Country, the nine movement work for piano and percussion which forms the crux of his first release on New World Records. He also talks his arrival in America and the influence of New York minimalists like Phill Niblock on his music.
By Frank Oteri
New Music Box
Initially putting on Let Others Name You, a new disc of compositions by Michael Tenzer, is somewhat disorienting and perhaps a great way to fool people at your next dinner party. Although born in New York City, this former Yale prof (now based at the University of British Columbia in Vancouver) writes music that is solidly grounded in Balinese gamelan traditions. If you don't listen carefully to that first track--Unstable Center (2003) which also sports a Balinese title Puser Belah--you might think that someone at a pressing plant mixed this disc up with one of those amazing volumes of Balinese field recordings from the Nonesuch Explorer Series. However, a deeper listen reveals weird twists that don't quite conform to the harmonic and structural details of a traditional gamelan piece. But, somehow like George Rochberg's later string quartets which revisit 19th-century chamber music on Rochberg's own late 20th-century terms, Tenzer creates a music that is steeped in the old in order to eke out something totally new. A musical response to the horrific terrorist attack that occurred in Bali on October 12, 2002, which claimed over 200 lives, Unstable Center uses an appropriately more chromatic and rhythmically erratic sonic palette. It reveals that the gamelan is as capable of contemporary expression as any other medium, and it's exciting to hear that it can be as adaptable as, say, a string quartet, without losing its spirit and essence.
In fact, Tenzer, like a whole host of North American composers--e.g. the Canadian Colin McPhee (who was the first), Lou Harrison, Barbara Benary, and Evan Ziporyn immediately come to mind--has found a way to make viable contemporary American music using a gamelan. Two earlier, even more traditional sounding gamelan works of Tenzer's--Banyuari and Situ Banda--have previously been issued by New World Records on their 1995 CD, American Works for Balinese Gamelan. When you think about it, it's not as much of a stretch as it might seem. After all, a gamelan is no less indigenous to our shores than a string quartet or a piano. Speaking of pianos, the subsequent track, Invention and Etude (2004) is a solo piano piece. While its sonority clearly returns us to the potential comfort zone of Western contemporary classical music, for lack of a better term, it is also something quite other, being inspired by the rhythmic structures of South Indian music. Resolution (Tabuh Gari) (2007) for small orchestra and Balinese drums is perhaps the most initially Western piece on the disc, but the presence of those drums, foregrounded as they are in gamelan music, adds a somewhat disorienting element to the proceedings.
But before that seeming possible rapprochement with Western hegemony in the early 21st century, there's the completely unmelted pot of Underleaf (Buk Katah) (2006)--a composition which, if you listen carefully, might totally blow your mind. It begins sounding like one of Philip Glass's manic early hardcore minimalist pieces, think Part Three of Music in Twelve Parts, but something is not quite right. Ah, it's a gamelan playing that stuff! But wait, there are all these other non-gamelan sounding instruments. Sounds somehow electronic and strangely out-of-tune, like one of the weirder tracks from Wendy Carlos's Beauty in the Beast or Easley Blackwood's Twelve Microtonal Etudes for Electronic Music Media. But it's actually all done live on acoustic instruments by musicians from Vancouver reading from a score playing brass, winds, and piano, alongside a Balinese gamelan which learned the parts the traditional way, by rote and ear. The two groups of instruments don't quite fit together and Tenzer continually creates tensions between the two which drive the point home. Call and responses with intervals that don't match up are just the tip of the iceberg. There's no doubt that this piece could belong to any other tradition than the tradition which simultaneously embraces and rejects all traditions--new music!
Reviewed by Steve Smith for Time Out New York
White Bone Country
Stephen Gosling, piano; David Shively, percussion (New World)
When a musician invokes a desert, the results are often predictable: sunbaked torpor, whispering winds, a wooden flute’s drooping sigh. Andrew Byrne, an Australian composer based in New York, doesn’t literally depict any specific landscape in White Bone Country, the 2006 suite that fills half of his new CD. But with his skitterings, rumblings and surrealistic sensations, Byrne more accurately conjures alien terrain than do any number of Bowles-besotted dune sketchers.
Insistent rhythms and percussive timbres, expertly handled by Stephen Gosling and David Shively, position Byrne within a lineage of experimenters inspired by non-Western styles, including John Cage, Lou Harrison, Peter Garland and John Luther Adams. In four of the work’s nine parts, piano and percussion fuse into a single, twitchy nervous system. Elsewhere, Gosling is kept busy inside and outside of his instrument’s casing; a section for crotales (antique cymbals) is less a solo for Shively than a duo also featuring the resonating bones in your inner ear—no exaggeration.
Of the remaining pieces on Byrne’s disc, Tracks is a sonorous exercise in complex polyrhythms and shifting densities, confidently negotiated by Gosling. And the four-part Fata Morgana, constructed from prepared-piano sounds, could be a dance remix of Cage’s prepared-piano sonatas—dance being the key word, since these jangly, hypnotic pinwheels cry out to be choreographed.
Piano Works of Gordon Mumma, Alvin Curran, & Contemporary Belgian Composers
Thursday, October 15, 2009
8PM at Roulette
20 Greene Street (between Canal and Grand)
"Daan Vandewalle brings a keen awareness of architecture and an incisive touch that enables him to express episodes of delicacy, buoyancy, lyrical flow, hard-edged abstraction, dancelike movement, and spirituality." --Art Lange, Fanfare
The 21st Season of Thomas Buckner's innovative series of new music continues on October 15, 2009, with dynamic Belgian pianist Daan Vandewalle performing selections from his recent recording of piano works by pioneering composer Gordon Mumma dating from 1960-2001 (New World Records 80686). Also featured are works by American composer Alvin Curran, and a handful of contemporary works by Belgian composers, including leading postwar Belgian composer Karel Goeyvaerts (1923-1993), emerging Flemish composer Thomas Smetryns, the extremely prolific and unusual composer Boudewijn Buckinx.
Daan Vandewalle enjoys an international reputation as new music specialist,with a strong focus on 20th and 21th century american piano music. He studied at the Conservatory of Ghent, Belgium, with Claude Coppens, and at Mills College, California, with Alvin Curran. His programs are often highly unusual both on a technical or intellectual level, often combining the classical repertoire such as Mussorgski and Chopin with premieres of new works written especially for him by composers including Fred Frith, Alvin Curran, and Fredrick Rzewski.
Reviewed by Frank Oteri for New Music Box
With Restless, Endless, Tactless, New World Records has once again unearthed a treasure trove of previously unrecorded major American repertoire, this time a remarkable collection of percussion music created by seven different people in the 1930s, much of which was originally published in the now long out-of-print New Music Orchestra Series No. 18, edited by Henry Cowell.
When thinking of percussion music from that era, two names immediately spring to mind: Edgard Varèse for his landmark all-percussion Ionisation composed in 1931 and premiered in 1933, and John Cage, who probably more than any composer established the percussion ensemble as a viable and quintessentially contemporary chamber music medium through a series of iconic works beginning with the 1936 Quartet (which foreshadowed Cage's absorption with indeterminacy), followed by the still radical Imaginary Landscape 1 and the now almost standard repertoire First Construction (in Metal). But as the New World disc reveals, there was a whole range of music being created for percussion ensemble in the years in between Ionisation and Cage's first effort.
It should be pointed out that another now mostly forgotten major percussion composer of this era, William Russell (1905-1992), has been purposely excluded from the present collection since his complete oeuvre has been previously collected on an extraordinary disc released in 1994 on Mode records, in performances led by John Kennedy who, coincidentally, has provided the extremely detailed booklet notes for Restless, Endless, Tactless. Similarly, the contemporaneous output of Varèse and Cage—which has been frequently recorded—does not need to be reprised here and therefore is not. (New World has nevertheless made up for anyone who might feel inadvertently slighted by Cage's omission by featuring numerous heretofore unrecorded Cage works as part of its massive 10-CD collection Music for Merce, an Everest of listening that I still have only gotten through about half of.) All of the music that is included on this disc, however, equally deserves a present-day hearing, and the works of the most widely represented composer here, the once forgotten but now slowly re-emerging Johanna Magdalena Beyer (188-1944), are worthy of standing alongside Ionisation and the percussion music of Cage as cornerstones of the repertoire.
Yet before going into greater details about what makes Beyer's material so vital, the other music herein is also worthy of comment. Gerald Strang (1908-1983), a student of Arnold Schoenberg who is principally remembered for editing his teacher's seminal Fundamentals of Music Composition, has been badly represented on recordings. Although his cello concerto was once released as the B-side of a CRI LP featuring the world premiere recording of John Corigliano's Violin Sonata, the present Percussion Music is, as far as I know, his only composition currently available on CD. Written in 1936 while Strang was still in graduate school (at UC Berkeley), it seems light years away from his subsequent music; in fact, its unapologetic proto-primitivism hints at the corporeality of Harry Partch, though Partch had most certainly never heard a note of Strang's music.
Harold G. Davidson (1893-1959)—who, as far as I can sleuth out, is making his recording debut here—might very well be the most forgotten composer of the whole lot. In fact, even Cowell who published Davidson's Auto Accident (1935) recorded here, only knew of this Ohio composer through correspondence. Cowell invited him to submit this piece to his New Music Edition after Davidson had sent him a score for pitched percussion called HELL'S BELLS (I wish that New World had recorded that one, too.) Auto Accident is a pranksterish bit of hokum in which pitched percussion dominates, definitely a period piece but nevertheless delightful.
Pitch is also never completely abandoned in the Three Inventories of Casey Jones, a 1936 work by Ray Green (1909-1997), who perhaps today is most remembered for running the American Music Center from 1948 to 1961, the second longest tenure in the history of the organization. A few symphonic works by Green appeared on CRI LPs decades ago, and are now available through burn-on-demand CDs from New World, but Casey Jones is the first digital recording of his music to be commercially released. Its three short movements reveal the same breezy Americana of Green's orchestral output, with the prominent unpitched percussion adding some additional spikiness.
Once upon a time, John J. Becker (1886-1961) was grouped alongside Ives, Cowell, Carl Ruggles, and Wallingford Riegger as the five leading American ultra-modernists. Although quite a few scores by him are in the archives of the American Composers Alliance, today if he's remembered at all, it's for a somewhat caricaturish yet still thrilling piece of exotica called The Abongo, also for percussion ensemble, which was recorded by New World back in 1979. Vigilante 1938 (from 1935), his only other percussion work, was written to accompany a dance by Diana Huebert for the Carleton Dance Group in Northfield, Minnesota. It begins ominously with a tam-tam thwack but soon emerges as something of a mini-concerto for piano and percussion, albeit a piano whose solo passages consist primarily of tone clusters.
The strangest inclusion on the current disc is probably Dance Rhythms (1935), a work by the important early 20th-century choreographer Doris Humphrey (1895-1958). Humphrey did not consider herself a composer and in fact could not read music. However, with one of her principal dancers, Charles Weidman, she worked out a sequence of rhythms typical of the movements she shaped in time. Wallingford Riegger translated it into music notation and the ever catholic Cowell embraced it as a piece of contemporary music. Experiencing it purely as music more than 75 years later, it retains sonic interest despite its relative spareness when compared with most of the other works featured here. Cowell's own Return, which he composed while incarcerated in San Quentin (on a trumped up morals charge), is at times even more sparse, perhaps a response to his isolation. The work ends quite disarmingly with a vocalized wail from one of the players.
Finally, we come to Johanna Magdalena Beyer, who, after William Russell, was the single most prolific composer of percussion music in the 1930s and perhaps even more than Russell, presaged the contemporary percussion music soundscape. The fact that the earliest composer of truly contemporary-sounding percussion music was a woman is an undeniable challenge to the assumptions that unfortunately all too many people, women included, continue to harbor about female composers. Elsewhere on this site, there has been an impassioned refutation (as well as some extremely articulate rejoinders to the same effect from our readers) to Fiona Maddocks's contention in the Guardian that we have yet to produce a credible "female answer to Beethoven." Someone needs to mail Maddock's a copy of this CD tout de suite.
Beyer not only has the requisite last name initial of B, but has a biography that in some ways matches Beethoven's as well. She was also born in Germany even though her life as a composer, at least what we now know of it, only began after she emigrated to the United States in 1923. Like Beethoven, she composed a series of progressively challenging string quartets and also had a turbulent personal life involving an "Immortal Beloved"—in Beyer's case, none other than Henry Cowell, for whom she harbored an obsessive infatuation which remained unrequited. While Beyer's surviving compositions which are slowly surfacing on disc reveal a remarkably original voice, it is her percussion music that offers the greatest testimony in support of her historical significance.
The abstractly titled IV from 1935, with its relentless, throbbing insistency, creates an all-encompassing exotic soundscape despite lasting a mere two minutes. Percussion, opus 14 (1939), which like Ionisation requires an ensemble of 11 players, is a portentous assemblage of competing rhythms. March from July of that year, calls for the largest instrumentation of any of these pieces—some 30 percussion instruments—although it is playable by as few as seven players. The composition's oddball rhythm (4½/4), broad dynamic range, and periodic silences make it a march like no other. Similarly, Beyer's Waltz, which was Beyer's final percussion composition, confounds listener expectations by frequently juxtaposing a cross-rhythm of four against the triple meter.
The Three Movements for Percussion, whose individual movement names provide the title of this disc—Restless, Endless, Tactless—was dedicated to Cage and is perhaps the most experimental of all of her percussion pieces. "Restless" is a stern and somewhat ascetic waltz that is discernibly palindromic, that is to say it is identical forward and backward. "Endless," which at ten minutes is longer than any other movement (or full work) included on this disc, is a study in endurance in which an almost metronomic tapping on the woodblock is interrupted irregularly by silences and groans from bass drum, suspended cymbal, and lion's roar. In "Tactless," a quintuple meter is made to sound even more off-balance by various counter-rhythms and metrical interruptions.
While the Three Movements for Percussion is her most fleshed out overall statement for percussion ensemble and might ultimately be her most important contribution to the repertoire, her earliest percussion work, the Percussion Suite from 1933, is also extremely worthy of canonization. Similarly parsed in three contrasting movements, the work opens austerely and quietly with overlapping layers of bass drum, Chinese blocks, triangle, tambourine, and cymbal. In the middle movement, a xylophone takes center stage, adding clearly melodic elements to Beyer's otherwise pitchless haze, although the tunes Beyer forms are uncompromisingly chromatic and seemingly directionless. The concluding movement returns to the sobriety of the opening, with some of the same material here rescored for different instruments (including a rattle, tam-tam and castanets) and cast in a different overall metric pattern. (To get a clearer idea of how this all works, you can examine Beyer's original unpublished manuscript for all three movements which Larry Polansky has posted as a PDF on his website.) The Percussion Suite is bursting with the feeling that a new land has been discovered, one which nearly eighty years later remains extremely fertile.
Music and Language
Composer and guitarist Scott Fields (b. 1956), alongside his work with mobile-like formal structures and rigorous, often guided, improvisations for large ensemble, has worked extensively on the creative use of text for composition. Most recently, he released Samuel on New World Records. The three compositions are based on a short monologue and two late pantomimes of Samuel Beckett. In his first New World podcast, he talks from his home in Cologne, Germany about the winding path from his youth in Chicago to his present work in Germany as an expatriate. He also provides some insight into the â€œsongs without wordsâ€? that make up his New World release.
By Frank J. Oteri
New Music Box
It has often been said that the United States in the 20th (and now the 21st) century produced a greater number of composers than at any other time or place in human history. With so much material out thereâ€”not only from the standpoint of geography and media, but also style and pedigreeâ€”it is well-nigh impossible to hear it all. As a result, tons of neglected repertoire is still awaiting discovery. Although valiant efforts have been made by many independent record labels to shine light on (or rather amplify the sound of) music by otherwise overlooked American composers, few have done so as broadly and as consistently as New World Records, so the arrival of a new release from them is always something to stop and listen to. And while everything they release is notable, about once a year they issue something which is truly astounding, begging for the history of American music to be rewritten. A couple of years ago it was the three-CD set of music by African American minimalist/post-minimalist Julius Eastman (1940-1990) whose works for multiples of the same instrument throb with power and majesty. Last year it was the first-ever recording devoted exclusively to the music of Johanna M. Beyer (1888-1944), who seemed to be writing Elliott Carter's string quartets twenty years before he did. This year it's the first CD of music by James Mulcro Drew (b. 1929), who luckily is still alive to hear his music treated so devotedly by the Amsterdam-based Barton Workshop, led by expatriate American trombonist James Fulkerson.
Drew certainly has the pedigreeâ€”a one-time student of pioneering American serialist Wallingford Riegger, he was awarded a Guggenheim Fellowship in the '70s and his music was championed by Gunther Schuller at Tanglewood. And yet a cursory listen to the six works featured here on Animating Degree Zero, five of which were composed this decade, reveals a composer whose inclinations are more akin to the uncategorizable experiments of the American maverick strain. Equally inspired by modernism, conceptualism, and a wide range of vernacular traditions, Drew has forged a compositional language that is completely his own and which is difficult to make generalizations about.
The composition which gives the disc its title, Animating Degree Zero (2003), is a subdued jazz-tinged ten-piece ensemble work for an expanded Pierrot configuration featuring a pair of wah-wah trombones. But for Bonaroo Breaks (Street Funeral Music) from 2003, the sound world of New Orleans funeral processions is the starting point for a raucous modular composition for two trombones and percussion. On the other hand, 12 Centers Breathing (2001) for viola and percussion, and Solemn Acts in Rain (2002), the one work here scored for a standard instrumental combination (violin and piano), seem more akin to the spare and ambiguous sonic landscapes of Morton Feldman.
The one older Drew piece included in this collection, The Lute in the Attic (1963) presents yet another compositional persona. And considering the importance of theatre in Drew's output, it is also surprisingly the only texted work on this disc. A surreal setting of a poem by Kenneth Patchen which requires the vocalist to speak, sing, shout, and everything in between, Lute in the Attic, whose graphic score was featured by John Cage in his famous anthology Notations, is simultaneously surreal and folksy. While it was performed at its premiere by a soprano, it is presented here in a commanding performance by baritone Charles van Tassel. The most recent composition included here, In Memoriam J.C. Higginbottom (2005), is a tribute to the great Dixieland jazz trombonist whose signature gutbucket sonorities James Fulkerson hauntingly conjures here in performance through use of a 90 second digital reverberation.
All in all, New World offers a wonderful introduction to James Mulcro Drew, one that has been long overdue and continues their track record of annual mind-blower. In the personal wish list department, it would be amazing if their next rediscovery were either Hans Barth, a one-time piano duet partner of Charles Ives whose 1/4-tone piano concerto was championed by Stokowski, or Vera N. Preobrajenska, a forgotten Bay Area iconoclast who seems to have attempted a synthesis of Partch's corporeality and serial procedures independently of Ben Johnston. But whatever it may be, more opportunities to expand the canon of great American composers are sure to come from New World. Stay tuned.
James Mulcro Drew, Chamber Music at Extreme Temperatures
Chamber Music Today
In thermodynamics, an adiabatic process is any thermodynamic process in which no heat is transferred to or from the surrounding space. The term 'adiabatic' literally means impassable, coming from the Greek roots ἀ- (‘not’), διὰ- (‘through’), and βαῖνειν ("to pass"). It means a total absence of heat transfer.
At temperatures near 0°K, nearly all molecular motion ceases and the entropy change ΔS = 0 for any adiabatic process. Pure substances can (ideally) form perfect crystals as T→0.
* * * * * * * * * * * * * * * * * * * * * * * *
In this wonderful recording we have members of the Barton Workshop performing several works that James Drew composed between 2001 and 2005.
At very low temperatures in the vicinity of absolute zero, matter exhibits many unusual properties including superconductivity, superfluidity, and Bose-Einstein condensates.
At [musical] temperatures close to absolute zero, quantum [musical] particles begin taking on new 'collective' properties. Delinquent waves begin to act in concert. At low temperatures where everything occurs in slow-motion, the true nature of the most basic constituents of the ensemble are revealed. I wonder whether it could be measured... wonder whether quantum phenomena like the 'observer effect' occurs outside the subatomic world, in the world of macroscopic processes like human beings playing and listening to music. According to the second law of thermodynamics, all physical processes in the Universe can naturally flow only from a state of greater energy to lesser energy.
Throw a stone into a lake, and the ripples it makes eventually die out. My cup of hot coffee can [left by itself in a setting where the ambient temperature is lower than the coffee] only get cooler, not hotter.
But near absolute zero the particles comprising an object behave differently. Although the ensemble 'atoms' are still part of a 'gas', they behave more like atoms of a metal--like one smeared-out single entity, similar to experiments with rubidium gas by Eric Cornell and Carl Wieman at the University of Colorado Boulder in 1995, for which they won the Nobel Prize for Physics in 2001. The James Drew expressions form what I think is a musical equivalent to a Bose-Einstein condensate--a peculiar property of atoms slowing down so much that they are zen-like, almost at rest.
The sonic attributes that I'm referring to can be heard in each of the compositions on this disc... the 'direct sound duration' of each note, as contrasted with indirect sounds and their durations and decay. Listen to the sympathetic resonance between notes and the quadratic effect, especially in the piano part [when applicable].
In the piano, a very high soundboard Q-factor shortens high frequencies' durations. The piano's soundboard mechanical impedance affects the global sound duration of the instrument, and, for the instrument performed and recorded on this disc, the high impedance yields longer-duration sounds, slower decays. The tones blossom after the initial attack, and sympathetic resonances bring the ensemble of waves in-line. Electron-cloud-like, metallic.
On hard [piano key; viola; etc.] attacks, the nonlinear part of the string response increases, producing frequencies with twice the values of the normal ones. The quadratic effect influences the loudness of this nonlinear response, and, when the score has such low entropy [close to musical absolute zero], the nonlinearities are very prominent--and are probably related to the superfluid Bose-Einstein condensate-like quality of the collective, coalescing, long-range musical effects that are created here. Similarities to quantum software algorithms (see writings by Matt Hastings at LANL, and others), in terms of process and in terms of how you go about measuring statistical physics properties of music like this...
Drew was born in 1929 and studied with Wallingford Riegger and Edgard Varèse. He taught at Northwestern University, Yale University, UCLA, Cal State, and other institutions. He has performed with and co-founded several musical groups, including the Crossfire Mission Orchestra in the late 1960s in New Haven (radical performances, often behind barbed wire), the Mysterious Traveling Cabaret, the American Music Theater in California, the Blast Opera Theater. In his quasi-retirement he has undertaken concerts and arts education work with the Grey Wolf Project. Barton 'Zero' disk is simply excellent.
By Christian Carey
On io, Flutist Margaret Lancaster performs a program that spans nearly three quarters of a century. Despite this, most take the 1930s Ultramodernist tradition in American music as a point of referral.
Written in 1936, Johanna Beyerâ€™s â€œHave Faithâ€? is a brief, angular piece that presents the nightingaleâ€™s song in a fetching, somewhat spiky, costume; it is sung with pure tone and detailed care by Beth Griffith. This segues directly into the title piece, by Lois V. Vierk. Lancaster is joined here by Larry Polansky (playing electric guitar) and Matthew Gold (playing marimba). The material encompasses many of the slides and inflections of Gagaku, a subject of extensive research by the composer. Lancaster thrives with Eastern flair in the subtleties and characterizations demanded by the score. Meanwhile, Polansky and Gold articulate vibrant ostinati and pulsating drones. Thus, the piece supplies an East-meets-West, traditional music plus Downtown amalgam that is simultaneously distinctive and appealing.
Premiered in 2008, the most recent work on the CD is Joan La Barbaraâ€™s Atmos. Although written for multiple instruments and â€œsonic atmosphereâ€? as a theatre piece, it still shows off Lancasterâ€™s considerable dramatic flair as an audio-only presentation. La Barbara revels in the sounds of breath, manipulating both live performer and recordings to create a wide range of â€œwind shadings.â€? Other effects include percussive attacks, key clicks, and all manner of vocal utterances. La Barbaraâ€™s piece may be more directly influenced by Cage than Cowell or Seeger, but it is welcome for its inclusion as a stunning showcase for Lancaster regardless.
Another echo of the Ultramodernist school is James Tenneyâ€™s Seegersong #2 (1999). Tenney (1934-2006) used Ruth Crawford Seegerâ€™s Piano Study in Mixed Accents as a basis for the piece, extending Seegerâ€™s ideas about tempo flexibility (perpetuo mobile) to encompass some of the investigations into large-scale rhythmic design that engaged him during his late career. While all of this precompositional conceptualizing may be fascinating to insiders, the aural result is widely appealing: a skillfully written, artfully shaped solo flute piece. Lancaster affords it the precision its tricky rhythmic shifts require, all the while maintaining a sumptuous tone.
The CD closes with Larry Polanskyâ€™s five-movement work for solo piccolo entitled Piker. Taken from a reference in a 1935 letter by Marion Bauer to Ruth Crawford Seeger (â€œYouâ€™re no piker! But please drop me a card from somewhere!â€?). Generally, one might think that five movements of solo piccolo is four too many, but Polansky varies the part enough to keep things quite interesting, including microtones, devilishly difficult polymetric twists and turns, distressed Shaker tunes, and percussive foot stomps. Truth be told, Lancaster is joined by Polansky and Gold on the final movement of the piece, so itâ€™s not strictly a solo work. But for many, it takes an artist of Lancasterâ€™s caliber to make piccolo diverting for twenty minutes; a task she accomplishes handily here.
By Jack Rummel
Ragtime Music Reviews by Jack Rummel
This is the third â€œconceptâ€? recording that Rick Benjamin has tackled along with his Paragon Ragtime Orchestra, the first two being â€œBlack Manhattanâ€? (music of early Black musicals) and â€œFrom Barrelhouse to Broadwayâ€? (music of Joe Jordan), and each one has been not only a musical treat but also a wonderful slice of history. This tribute to the music of George M. Cohan contains 33 pages of carefully researched material, which could pose an interesting question: Is this a CD of great music accompanied by extensive liner notes, or is this a mini historical treatise complete with musical examples? Both aspects are so well done, one would be hard pressed to choose.
Benjamin stresses that, while there have been numerous tributes to Cohanâ€™s music over the decades, this is the first-ever to utilize the period arrangements of an â€œEleven & Pianoâ€? orchestra, the standard theater orchestra of the day. For ragtime fans who have been used to hearing ragtime orchestras ranging in size from 5-15 players, this will be a very familiar sound; for those encountering Cohan played by Eleven & Piano for the first time, it will be an educational but rewarding experience.
The PRO is a highly disciplined unit, thoroughly skilled at performing with verve and sparkle. Benjamin listened carefully to early recordings by Cohan, conducted extensive auditions and settled on baritone Colin Pritchard as having the voice and delivery that most emulated Cohan. He also recruited soprano Bernadette Boerckel, with whom he had previously collaborated. The result is as close as Benjamin believes possible to a re-creation of what the song and dance man must have presented in his musicals to audiences during the early twentieth century.
The PROâ€™s mastery of tempos and dynamics has become a well-established tradition and itâ€™s all captured in pristine recorded sound. Much of Cohanâ€™s music is still known and loved today (who among us cannot hum parts of Give My Regards to Broadway, Youâ€™re a Grand Old Flag or Over There), but much needs rediscovery and this deserving tribute by Rick Benjamin and The Paragon Ragtime Orchestra is deserving of a place in your library.
By Jay Batzner
Here is what I think: I think that every teenager who walks into a music store and wants to buy their first electric guitar should instead be given a copy of this disc. They are to listen to the disc every day for two weeks. When the time is up, if that youngster doesnâ€™t want to play any/all of the pieces on it, they should not be allowed to buy a guitar.
Seth Josel has programmed tremendous music and played it with conviction, power, and subtlety. Until It Blazes is slow paced and hypnotic. I never knew I could be so enthralled by â€œsol-me-re-doâ€? but the gentle delay and growing distortion kept me captivated. The three Strum City pieces are just that: continuous strumming over changing amounts of harmony and distortion. My only complaint is that the most energetic work comes first, making the other two less satisfying from a dramatic trajectory perspective. A minor quibble, if you even consider it valid.
Slapback, my favorite work on the disc, is raw and muscular. The improvisatory style walks you through the structure of the piece. It sounds like a King Crimson lick at first but the motive builds, grows, and evolves in extremely satisfying ways. David Drammâ€™s The Stroke That Kills is an electric adaptation of a guitar trio (all played by Josel) and channels the propulsive nature of Flamenco rhythms.
Gustavo Matamoros wins the prize for the weirdest piece. Stoned Guitar/TIG Welder lives up to the â€œstonedâ€? moniker (the work requires the guitarist to â€œWith a stone, trace the strings of the guitar slowly from bridge to nutâ€?). Spacey and ambient, the work doesnâ€™t sound much like an electric guitar (which is the point). If Segovia says that the guitar is like an entire orchestra, then Matamoros and Josel show that the electric guitar contains the entire electronic sonic experience. You could hear Genesis P-Orridge singing â€œHamburger Ladyâ€? over this piece.
Tom Johnsonâ€™s Canon is quirky, chunky, and highly segmented. The form of the piece feels the same way as Fidayâ€™s work: the careful working out of material. Johnsonâ€™s music, here and elsewhere, is incredibly conscious of craft and fortspinnung. This work is rigorous and stimulating without being pedantic or professorial.
This disc does make me want to instill that â€œJosel Billâ€? waiting period on electric guitar purchases. We need more music like this and more performers like Seth Josel.
By Dan Warburton
Those of you who know Gordon Mumma only for his pioneering 1960s work with electronics â€“ from the earwax-melting Dresden Interleaf 13 February 1945 and Megaton For Wm. Burroughs to the raw cybersonics of Hornpipe â€“ ought to know that, prior to his groundbreaking work with the Sonic Arts Union he did in fact study "traditional" composition and performance in the 1950s with Ross Lee Finney in Ann Arbor and George Exon at Interlochen. A talented pianist, he's well versed not only in the contemporary repertoire â€“ performing much of it in a duo with Robert Ashley back in the 60s â€“ but also in Bach, Scarlatti, Haydn, Schoenberg, Webern and BartÃ³k. This fine twofer from New World, beautifully produced and complete as ever with informative liner notes, may be entitled Music For Solo Piano 1960 â€“ 2001, but only two of the works it contains date from the early 60s â€“ the Suite for Piano (1960) and Large Size Mograph (1962) â€“ even if seeds of the later piano music, notably 1997's Jardin, were planted back in the composer's formative years. The music is intimate, introspective and condensed â€“ which could, once more, come as something as a surprise to those who only know of Mumma's work from the period of the ONCE Festival and the Sonic Arts Union â€“ and reveals a remarkable ear for pitch and fondness for time-honoured contrapuntal techniques. But this is no exercise in neoclassical nostalgia: Mumma's take on serialism is as fresh in the Eleven Note Pieces & Decimal Passacaglia (1978) as it is in the thorny Suite, and when he chooses an extant work as a model â€“ the Minuet from Haydn's Symphony No. 47 in the second piece of 1996's Threesome â€“ there's not an inkling of postmodern irony. There's enough set theory in the Sushihorizontals (1986 â€“ 96) to keep a graduate class busy for several months, and, best of all, you can really hear how it works. Dean Vandewalle's performances are terrific, at one and the same time meticulous in their exploration of dynamics and timbre and touchingly lyrical. Now there are two words I bet you never thought of using to describe the music of Gordon Mummaâ€¦ get yourself a copy of this posthaste and think again.
By Dan Warburton
Dreamers of Pearl is a 53-minute work for solo piano in three movements, individually entitled "Enchanting the Stars", "A Bird Revealing the Unknown to the Sky" and "It is the Night and Dawn of Constellations Irradiated". If those titles tempt you to load up the convertible with plastic pyramids and gaudy crystals and drive out to Pahrump Nevada to await the arrival of the Martians (don't take any doves along), think again. Michael Byron might be associated with the second wave of California minimalism â€“ moving away from strict process-based music towards what I once described elsewhere as "solid state" â€“ and much of his earlier work was luminously tonal, but Dreamers of Pearl is about as close to New Age ear candy as those "funny looking little critters" in Mars Attacks were to being ambassadors of interplanetary peace and love. The work's roots in minimalism are evident enough though, especially in the second movement, which moves through its clearly defined harmonic fields as patiently as Reich's Music for 18 Musicians, but the actual surface of the music is constantly changing, rhythmically irregular, and often tough and angular. Byron's music is fully notated, and the handsome 20-page booklet contains numerous extracts from the score which reveal its considerable metrical and harmonic intricacies (particularly in the first movement, in which the pianist has to negotiate a different key signature for each hand!), but sounds fresh enough to have been created in real time â€“ one wonders at times whether he's hit upon a way of getting his music software to transcribe and print out a recording of an improvisation, so naturally do the notes lie under the fingers. As such, Scelsi's solo piano music comes to mind, as does La Monte Young's Well Tuned Piano, a transcribed score of which wouldn't look all that different from Dreamers of Pearl in places. One wonders also whether Joseph Kubera, whose performance of the work is absolutely stunning, has learnt the piece by heart â€“ which would be quite a feat â€“ as it seems well nigh impossible to commit any of its myriad local details to long-term memory. But you could probably say that of the Ligeti Etudes too, come to think of it â€“ and Byron's music, like Ligeti's, is instantly recognisable, perceptually challenging, beautifully proportioned and deeply satisfying. Check it out.
We are pleased to announce the availability of the entire New World Records catalog on eMusic. Critic and radio host John Schaefer has contributed a great feature on our recordings:
eMusic Dozens Contemporary Classical from New World Records
By Dan Warburton
As John Peel once memorably said after playing a track (I can't remember which one it was, sorry) in one of his Radio 1 shows early one January, "is it too early to name this Album of the Year?" The Malcolm Goldstein discography is far from enormous, but everything he's released, especially since the turn of the century, has been absolutely outstanding. If you only buy one CD this year, make sure it's this one. The word "organic" is bandied about much too glibly nowadays, and stuck on everything from washing powder to baked beans, but it's still the best adjective to describe Goldstein's work. When he uses a map of the rivers and streams of rural Vermont as a score for his The Seasons: Vermont, Malcolm Goldstein knows just what he's doing â€“ you will recall he bought a plot of land in the woods there in the mid-60s and built his own log cabin from scratch.
"At night in the darkness of his cabin, and the silence of the woods, when Malcolm brings out his violin and starts to play for you, you gain a deeper understanding of where his music comes from," writes Peter Garland, in a splendid essay accompanying the disc â€“ detailed and informative liner notes are a New World speciality, and this is one of the best booklets I've seen in a long time, also including an essay by WDR studio director Klaus SchÃ¶ning, Goldstein's notes on the works, extensive artist biographies, a bibliography, selected discography and reproductions of the composer's immaculately hand-written scores.
Garland writes with precision and passion on how Goldstein's music effortlessly blends composition and improvisation, but the music does it even better. Configurations in Darkness (1995), derived from Bela BartÃ³k's transcriptions of folksongs from Bosnia-Herzogovina, appears here in two beautifully recorded versions, one for Goldstein's solo violin from a concert in Boulder, Colorado, in 2002, the other for five-piece ensemble â€“ in which the composer is joined by flautist Philippe Racine, clarinettist Philippe Micol, cellist Beat Schneider and trombonist Radu Malfatti â€“ recorded in Berne, Switzerland, six years earlier. Both performances are exemplary, and it's especially wonderful to hear Malfatti actually playing the hell out of his trombone too, something we don't get to do much these days.
If composition and improvisation fuse perfectly in Goldstein's work, so do past and future; this isn't just great music, it's acoustic anthropology. In Ishi / timechangingspaces, a tape work originally broadcast by WDR Cologne in 1988, he plays along with scratchy loops of 1914 wax cylinder recordings of Ishi, the last surviving Yahi Indian who emerged from the woods of Northern California, in a truly moving "imaginary encounter" between two men separated in space and time. "Ishi has taught me something deeply about things in our human way and illuminated for me sensitivities within myself as well as in other people," Goldstein writes. "I am thankful to the sound of Ishi's voice. It taught me actually to hear qualities in his voice to affect the tuning of my violin, so that the violin began to sound in new ways I'd never heard before."
In Ishi / "man waxati" Soundings (1988), Goldstein explores some of those "new ways", particularly a retuning of the violin's A string up a quarter of a tone and its D string down just over a major third to sound an octave below the A string. This striking scordatura not only changes the timbre of the instrument considerably, but also allows him to play his characteristic inimitable figurations high on the second string with the open third string as an underpinning drone. From a purely technical point of view (take my word for it, I've spent more than half my life trying to learn how to play the violin) it's fuckin' mindblowing. Nobody else in the world sounds remotely like Malcolm Goldstein. What's more, this version of Ishi / "man waxati" Soundings was recorded in the naturally resonant acoustic of Europe's largest cave system, the Grotte de Lombrives in Ussat-les-Bains in the Pyrenees, and Goldstein's understanding and incorporation of the natural reverb of the space is simply stunning. It's as if the cave itself has become part and parcel of the work itself, and the composer, like the Zen monk in the famous tale, has painted a landscape so perfect that he's walked into it and disappeared. Get hold a copy of A Sounding of Sources at the earliest available opportunity, and disappear into it yourself.
By Art Lange
Point of Departure
Over the years New World Records has done yeomanâ€™s service in rescuing classic recordings of 20th century American music from defunct or disinterested labels and newly documenting neglected historic (and contemporary) scores â€“ this release being a remarkable example of the latter. The German-born Johanna Beyer came to the U.S. in 1924 at age 36, and quickly gravitated towards a group of unconventional Modernist composers including Henry Cowell, Charles and Ruth Crawford Seeger, and Dane Rudhyar. According to the extensive explanatory and revealingly analytical program notes by advocates John McCaughey (who also conducted the Australian-based Astra Chamber Music Society in these performances) and Larry Polansky, Beyerâ€™s most provocative music was constructed between 1930 and â€™37 â€“ the period from which all but one of these pieces was taken â€“ although she continued to compose, albeit in a simplified and accessible style, until her death in 1944. After that, her music was forgotten until the 1960s, when Charles Amirkhanian initiated some interest in her unusual scores, leading to isolated recordings of the exotic percussion piece â€œMusic of the Spheresâ€? and a few of her piano studies. Polansky introduced the Astra ensemble to Beyerâ€™s music, resulting in concerts in Melbourne and eventually this commission from New World. Tellingly, all of the music on these two discs are world premiere recordings.
I used the word â€œconstructedâ€? above because, as Polansky details, Beyer adopted an intricate mathematical process of composition, influenced by the â€œdissonant counterpointâ€? theories devised by Cowell and the Seegers, which determined many of the specific proportions of the musical material. Beyerâ€™s personal choices in combining and contrasting these components, however, were often stunningly imaginative, and gave the music its original character â€“ from the layered offbeat rhythms and extended, wandering, mysterious allure of the â€œString Quartet No. 1â€? to the winding chromatic pull and sprightly dance episodes of the two â€œSuites for Clarinet.â€? Despite its methodology, Beyerâ€™s music never sounds clinical or predictable. Although her writing for chorus is idiomatic and relatively conservative, the songs for soprano and clarinet offer pure melodies with lyrically abstracted counterpoint. Her most radical approach comes in the way she blends different degrees of activity â€“ including intense glissandi, surprising melodic contours, and â€œtusslingâ€? (the apt description is McCaugheyâ€™s) rhythmic shapes â€“ between instruments in the two string quartets; the second is half the length of the first, and alternates between contemplative, playfully Ivesian (featuring a quote from Mozart), and ethereal moods. These quartets present sound-forms as unusual and striking in their way as Brancusi sculptures. The program ends with an atypical solo piano â€œSonatinaâ€? from 1943, Haydnesque in its classical poise and moderate sturm-und-drang dissonance.
This valuable release raises Beyer from the status of an historical footnote to a position of significance in the early 20th century Modernist exploration that ultimately affected composers like Elliott Carter and James Tenney â€“ and makes one wonder what other equally fascinating music has fallen into the cracks of history, awaiting discovery. Carry on, New World.
By David "Uncle Dave" Lewis
Macrovision-All Music Guide
By rights, one should not traverse any reputable history of electronic music, particularly in respect to computers, without encountering mention of Lejaren Hiller; his ILLIAC Suite (1956) was the first original musical work created with the aid of one. Hiller was also instrumental in developing the first computerized systems used to create musical notation, back in the days of punched paper tape. Collaborations were common in early electronic music as there was so much work to do even to get one note onto a tape; working in teams was more efficient. One such collaboration, HPSCHD with composer John Cage, ultimately became the project Hiller was most readily associated with in many minds. That did more harm than good for Hiller, as HPSCHD, with its dense din of clattering harpsichords and electronic bleeps and bloops, represented to many the avant-garde of the 1960s at its most excessive and over-indulgent. As composer and critic, Cornelius Cardew wrote when a performance of HPSCHD was mounted in London, "It will be a wild, psychedelic, freaked-out experience, and I don't recommend that you go." While Cage more or less abandoned computer-aided composition afterward, Hiller continued in his line of research even though the popularity of synthesizers temporarily marginalized it, but became ill and died long before MIDI and easy-to-use computer notation software reached the desktops of composers worldwide.
New World's A Total Matrix of Possibilities is a labor of love for annotator James Bohn, who has written a book on Hiller and serves as his representative to posterity; the choice of title is a clever one, as the word "matrix" is now widely associated with all things edgy and technological; the phrase comes from Hiller's own writings. These recordings are culled from releases that originally appeared on CRI, though "Computer Cantata" (1963) originally appeared on Wergo's LP-era imprint Heliodor. This mÃ©lange of percussion, vocalists and computer-generated sound cannot help but sound a little dated, though the antique â€“ one hesitates to use the word "quaint" â€“ electronic sounds have a property of charm in their own right that will appeal strongly to many connoisseurs of vintage electronic music. "A Portfolio for Diverse Performers and Tape" (1974) essentially explores the same format and concept that drives the "Computer Cantata," but is far more assured and timeless in feeling. The multiplicity of speaking and singing voices in the Gregg Smith Singers meshing seamlessly with ominous, menacing electronic sounds Hiller generated at the studio at Polish National Radio results in a fabric that still packs a lot of punch.
"The Quartet No. 6 for Strings" (1973), which incidentally uses no electronics, is certainly the most arresting, immediate and forward looking music on this disc. Big and ugly enough to scare the bejeezus out of Helmut Lachenmann, this quartet is both the grandson of "Arguments" from Charles Ives' Second String Quartet and the grandfather of post-modern European works like Above by Michel van der Aa, lending weight to Bohn's rhetorical question "Does [Hiller's music] provide a link from the music of Ives to today's eclecticism?" Moreover, revisiting this quartet â€“ which employs unrepentant slapstick and is drenched in irreverence and irony â€“ reminds us that in the 1960s and 70s it was commonplace to listen to such music with serious ears, even if the intent wasn't necessarily serious. This was a considerable disadvantage to some composers; under such strictures, one could not help but think that Witold Lutoslawski's String Quartet (1964) was more serious â€“ and therefore more weighty â€“ than works like Hiller's, causing many of us to miss out on its merits; Hiller's "punk" attitude and his pioneering stance in respect to so-called "Totalism." New World's A Total Matrix of Possibilities succeeds in providing a new perspective on Lejaren Hiller, revealing that this nerdy guy in thick-rimmed glasses, seemingly married to a suit and tie in old photographs, was something of nut, like Harry Partch or Spike Jones. That makes Hiller even more endearing to us, and opens the door to a just reconsideration of both his contributions in a technological sense and his gifts as a composer.
By Alex Ross
The New Yorker (full article - May 12, 2008 issue)
By the nineteen-nineties, Adams had begun to carve out a singular body of work, which can be sampled on recordings on the New World, New Albion, Cold Blue, Mode, and Cantaloupe labels. First came a conceptual Alaskan opera entitled "Earth and the Great Weather,â€? much of which is given over to the chanting of place-names and descriptive phrases from the native Inupiaq and Gwichâ€™in languages, both in the original and in translation. One mesmerizing section describes various stages of the seasons: â€œThe time of new sunshine,â€? â€œThe time when polar bears bring out their young,â€? â€œ The time of the small wind,â€? â€œThe time of eagles.â€? The music runs from pure, ethereal sonorities for stringsâ€”tuned in a scheme similar to that of the Aurora Bells in â€œThe Placeâ€?â€”to viscerally pummelling movements for quartets of drums.
In the next decade, Adams further explored the sonic extremes that he had mapped out in his opera. â€œIn the White Silence,â€? a seventy-five-minute piece for harp, celesta, vibraphones, and strings, is derived from the seven notes of the C-major scale; in a striking feat of metaphor, the composer equates the consuming whiteness of midwinter Alaska with the white keys of the piano. â€œStrange and Sacred Noise,â€? another seventy-five-minute cycle, evokes the violence of changing seasons: four percussionists deploy drums, gongs, bells, sirens, and mallet percussion to summon up an alternately bewitching and frightening tableau of musical noises, most of which were inspired by a trip that Adams took up the Yukon River in spring, when the ice was collapsing. Whether unabashedly sweet or unremittingly harshâ€”"Clouds of Forgetting, Clouds of Unknowing,â€? a memorial to the composerâ€™s father, manages to be both at onceâ€”Adamsâ€™s major works have the appearance of being beyond style; they transcend the squabbles of contemporary classical music, the unending arguments over the relative value of Romantic and modernist languages.
By Anthony Tommasini
The New York Times (December 27, 2007)
In his later years the flinty American composer Ralph Shapey, who died in 2002 at 81, would rail against the conservatism of the mainstream classical music scene in America. In fist-shaking defiance he wrote formidable, complex and ingenious works. And if people resisted, that was their problem.
Yet for all his kvetching Shapey has had a roster of champions â€” major musicians like the violinist Robert Mann, the cellist Joel Krosnick, the pianist Gilbert Kalish and the Juilliard String Quartet â€” who are challenged and exhilarated by his uncompromising works.
As an admirer of Shapeyâ€™s audacious music, I feared that performances and recordings of his works would diminish after his death, when he was no longer around to agitate. Alas, with scant exceptions, his pieces have not noticeably figured on concert programs in recent years in New York.
But two recordings released this year suggest that Shapey is winning support among the new generation of performers, and that some committed foundations and recording companies continue to support important American music....
The other recording is a two-disc release titled â€œRalph Shapey: Radical Traditionalist,â€? from New World Records, an essential nonprofit label devoted to American music. This recording is evidence of a promise fulfilled. In 2003 CRI (Composers Recordings Inc.), a scrappy nonprofit label that maintained the widest-ranging catalog of contemporary music, went out of business after 48 years. This was a particular blow to the discography of American composers because CRI kept all releases in its catalog available, no matter the sales.
New World Records came to the rescue, pledging to digitize the master tapes of the complete CRI catalog and to make every recording available as a burned-to-order CD, complete with the original liner notes and cover art. New World also promised to reissue selected recordings and compilations. The Shapey album is one. The program includes performances of five major works originally recorded and released by CRI, mostly in the 1970s and â€™80s. There are two daunting piano pieces: 21 Variations (1978), performed by Wanda Maximilien; and â€œFromm Variationsâ€?(1966; 1972-73), a sprawling 52-minute work consisting of 31 variations on a chorale theme, performed by Robert Black.
Also included are the compact, intense 12-minute String Quartet No. 6 and the 35-minute, traditionally structured String Quartet No. 7, performed by quartets drawn from the contemporary chamber ensemble of the University of Chicago that Shapey established when he joined the faculty in 1964. His work with this adventurous ensemble gave him a secure home base. Having conducted student ensembles since he was 17, he was a skilled conductor and an inspiring teacher.
What comes through in this recent trove of recordings is that for all the gritty complexity of Shapeyâ€™s works, this authentic music has arresting qualities, including pugnacious rhythmic vitality and vibrant humor. Yes, like many curmudgeons, Shapey had a self-deprecating sense of humor, which came through in a 1996 interview with The New York Times when he turned 75. â€œNow itâ€™s official: Iâ€™m an old fish, as they say in Yiddish,â€? he said, laughing heartily.
Shapey described himself as structurally a classicist, emotionally a romanticist and harmonically a modernist. His musical language came from a free adaptation of the 12-tone technique that he called â€œthe mother lode,â€? in which aggregates of pitches around each note in his rows allowed him to shift from chord to chord through common tones, lending his harmony a grounded quality. In any case, during a good performance of a Shapey work, few listeners will fret about tone rows. The music is too ecstatic, thorny and elemental for that.
The â€œFromm Variations,â€? for example, abound in steely harmonies, jagged lines and leaping chords. The sheer size of the 52-minute work is overwhelming and impractical, which makes Mr. Blackâ€™s commanding performance the more impressive. But for all the unremittingly intensity and outbursts of aggressively dissonant cluster chords, there are stretches where the pace slackens and the music turns quizzical and tender.
The 21 Variations for Piano, at nearly 30 minutes, is more approachable. The initial theme is like some wild and jerky dance. Many of the variations hover on the divide between impishness and intimidation. Again there are those passages of ruminative, elegiac writing, all qualities compellingly conveyed in Ms. Maximilienâ€™s performance. Here is a work that could be a knockout among the right companion pieces on a recital program... Full Article
By Vivien Schweitzer
The New York Times (September 16, 2007)
Joshua Gordon, cellist; Randall Hodgkinson, pianist.
MOST composers yearn to have their music performed regularly, but for much of his life Leo Ornstein was blithely unconcerned with the limelight. â€œIf my music has any value, it will be picked up and played,â€? he told The New York Times in 1976.
On a fine new disc from New World Records the value of his powerful works for cello and piano is revealed by the pianist Randall Hodgkinson and the cellist Joshua Gordon, admirable chamber musicians who play with passion and sensitivity.
In the early 20th century crowds flocked to hear Ornstein, also a piano virtuoso, play his avant-garde pieces. But Ornstein, a Jewish immigrant from Ukraine (who died in 2002 at 108), abandoned glittering concert halls of London and New York for the anonymity of a trailer park in Texas.
His rhapsodic, chromatically lyrical cello works are a world apart from his futurist works like the dissonant â€œDanse Sauvage.â€? The gripping Six Preludes for Cello and Piano (1930) are mostly dark and moody, veering between violent outbursts and rhapsodic introspection. They include a jaunty Presto (a scherzo of Bartokian propulsion and frenzied rhythms), a contemplative Andante and an explosively colorful Allegro Agitato.
The tumultuous Sonata No. 1 for Cello and Piano encompasses chromatic harmonies, alluring cello melodies and dramatic Brahmsian piano writing.
The disc also includes premiere recordings of several works, including â€œComposition 1 for Cello and Piano,â€? a Jewish-sounding lament with a sobbing cello melody, and the more astringent Two Pieces for Cello and Piano (Op. 33).
These exemplary performances should ensure that Ornsteinâ€™s cello works will enjoy some of the limelight the composer shunned for so long.
From Barrelhouse to Broadway: The Music Odyssey of Joe Jordan
By Jack Rummel
This is an amazing CD, for it expands our knowledge and appreciation of the music of Joe Jordan exponentially! Jasen and Tichenorâ€™s book Rags and Ragtime, an indispensable source of ragtime information, devotes only ten lines to Jordan â€™s biography, while the booklet in this seminal recording by the Paragon Ragtime Orchestra contains thirty pages of carefully researched information including many pictures.
The PROâ€™s director, Rick Benjamin, has done yeoman work, for not only did he write all the liner notes but he also arranged the scores and even contributed three piano solos. The results are truly outstanding. More
Composers Recordings, Inc. Catalogue Officially
Acquired by New World Records
On-demand CD-Rs Now Available
The New York State Attorney General has formally approved the transfer of Composers Recordings, Inc. (CRI) to New World Records. CRI, a non-profit label devoted to works by American composers, shut its doors in 2003 due to mounting financial pressures, and its extensive back catalogue has since been largely unavailable. Founded in 1954 by composers Otto Luening and Douglas Moore, and Oliver Daniel of BMI, CRI issued nearly 800 recordings.
New World, also a non-profit specializing in American music, has begun preparing selected CRI back catalogue for re-release, and is now offering premium quality on-demand CD-Rs of the entire CRI CD catalogue.
In addition, the historic CRI catalogue of 400 LPs is being restored and transferred according to the highest preservation standards. One hundred titles will be available as on-demand CD-Rs by the end of 2007, and the balance by the end of 2008.
â€œCRI has a long and treasured history with American composers, and we are grateful to be able to include this wonderful catalogue alongside ours,â€? New World President Herman Krawitz said. â€œAlthough in some ways we were competitors, both companies remained dedicated to the cause of American music over the years, and specifically American composers. We are thrilled to be able to offer these recordings to the public once again.â€?
â€œNew World is the ideal home for CRIâ€™s priceless archive of American music,â€? CRI Chairman Frederick Jacobi said. â€œNew World will not only carry out CRIâ€™s unique mission of supporting innovative contemporary composers and making their records available in perpetuity. It will also insure this heritage by using the latest digital technology to preserve the masters of their works. The world of music owes a major debt of gratitude to New World.â€?
Thus far, New World Records has reissued four volumes Harry Partchâ€™s works, several electronic music collections, and discs of music by Charles Ives, Vladimir Ussachevsky, and Morton Feldman.
New World-CRI on-demand CD-Rs include the original liner notes and cover art.
For further information, please contact:Paul Tai, New World Records, 75 Broad Street, Suite 2400, New York, NY 10004. Tel. 646-442-7933. Fax 212-290-1685.
Leo Ornstein: Complete Works for Cello and Piano
By David Lewis
Composer and pianist Leo Ornstein is known best for two things; (a) being the first "futurist" pianist in the early modern period and (b) being about the longest lived composer in history of music, dying at 108 in 2002. Neither of these attributes have much to say about Ornstein's music, which has been recorded heretofore in a spotty fashion with the emphasis being on the "futurist" piano music that made his name, a style that he abandoned around 1920. Anyone familiar with his extraordinary Piano Quintet of 1927, however, will already know that Ornstein was an expert and deeply serious composer of chamber music, and will be predisposed to welcome the advent of New World's Leo Ornstein: Complete Works for Cello and Piano. Performed by cellist Joshua Gordon of the Lydian String Quartet and pianist Randall Hodgkinson, this is the first "complete" recorded survey of any aspect of Ornstein's output, and the five compositions represented span a period of roughly 1914 to about 1931...It sounds like major music, and these are major performersâ€”Gordon has studied this music closely and he and Hodgkinson have worked out the knotty problems relating to Ornstein's impatience in writing his music down. In some cases they have had to rely on their own reading of the pieces to get the fine details down in terms of dynamics, tempo and expression, as Ornstein's scores are silent on this point. All of New World's Leo Ornstein: Complete Works for Cello and Piano is absorbing and revelatory, and the recording, from Mechanics Hall in Worcester, Massachusetts, is just right. More
Watch this space over the next few months for current New World Records news items.
Christian Wolff: Ten Exercises
By David Lewis
New World Records's Christian Wolff: Ten Exercises takes an all-star cast through 12 performances derived from his open scores published as Exercises 1â€“14 (1973â€“74) and Exercises 15â€“18 (1974â€“75) works that, played end to end, might last a little over two hours...The group here is especially well suited to interpreting Wolff, and Rzewski is a particularly a strong participant, given his gorgeous solo reading of the Satie-esque Exercise 15 and his excellent liner notes for the disc, reprinted from the preface for Wolff's book Cues: Writings and Conversations...As Rzewski states it: "These scores do not de/prescribe the final resulting sound picture, but provide a map along which the players may travel." The result is vaguely jazzy, loose, unpretentious music that celebrates the little things in life, and the acoustic of the old barn suits Wolff's music to a "T." More
In 1990 New York Times critic John Rockwell called Ben Johnston "one of the best nonfamous composers this country has to offerâ€¦." For years Johnstonâ€™s music has proved fascinating to theorists and musicologists because of its use of advanced compositional techniques (serialism with just intonation, for example). Frank Oteri's superb interview with Ben Johnston on NewMusicBox.com offers new insight into this important composer's extraordinary mind. NMB also includes an excerpt from Johnston's recently-published book of essays "Maximum Clarity" and Other Writings on Music.
Released in January of 2006, New World Recordsâ€™s Ben Johnston: String Quartet Nos. 2, 3, 4, & 9 (NW 80637-2), features the Kepler Quartet and is the first of a series of three recordings, prepared with the composerâ€™s support and supervision. This CD includes the first recorded performance of his String Quartet No. 3, "Verging."
Zummo with an X
By David Lewis
Composer and trombonist Peter Zummo is one of the original residents of the New York "Downtown" loft scene and a contributor to many works mounted by his colleagues, which include Peter Gordon, The Downtown Ensemble, Rhys Chatham, David Behrman, Yasunao Tone, The Lounge Lizards, David First and a long list of others. Recordings under his own name are far more obscure and harder to come by; the main title on CD to date being Experimenting with Household Chemicals on the Experimental Intermedia imprint; a low profile outing indeed. In re-releasing Zummo with an X, New World Records returns a key Zummo effort to the catalogue that was only available before on an LP on Zummo's own Loris label. The New World re-release adds an attractive, previously unreleased alternate recording of "Song IV" from the dance score Lateral Pass, which features cellist Arthur Russell and arch avant-garde accordionist Guy Klucevsek. More
From The New Yorker:
In the January 15 issue of The New Yorker composer and contributor Russell Platt posts his Best of 2006 recording list. In the number three slot is New World 80634, Sebastian Currier, Quartetset/Quiet Time. "Currier is a subtle yet potent artist whose impeccable craft never overshadows his gifts for lyricism and surprise. The Cassatt Quartet plays these unexpectedly moving works with all the nimbleness and warmth that they demand."
From Time Out New York :
Time Out New York's Steve Smith includes Ben Johnston String Quartets Nos. 2, 3, 4 and 9 (New World 80637) on his list of the Best Recordings for 2006. "The Kepler Quartet presses this American maverick's cause with the initial volume of a commanding complete run."
Sequenza21 's Jerry Bowles featured three New World recordings in his 2006 roundup of Best Recordings of the Year. In addition to the Johnston and Currier discs, he also included Thomas/Druckman/Hartke.
Britain's The Wire magazine lists Christian Wolff: 10 Exercises and Julius Eastman: Unjust Malaise among its fifty Records of the Year.
Finally, the January 2007 issue of Gramophone Magazine highlighted Works for Violin by George Antheil, Johanna Beyer, Henry Cowell, Ruth P. Crawford, Charles Dodge, David Mahler, Larry Polansky, Stefan Wolpe in its North American review section.
From Barrelhouse to Broadway: The Music Odyssey of Joe Jordan
By David Lewis
Chances are, if you know anything at all about Ragtime, you have heard of Scott Joplin. Joplin was originally from Sedalia, Missouri and spent several years in St. Louis, the city where, at the turn of the century, Ragtime was king. Among a number of younger composers who, like Joplin, frequented St. Louis' Silver Dollar Saloon and admired it's resident "perfesser" Tom Turpin was pianist and composer Joe Jordan, who would go on to an international career that would take him from Chicago to Broadway, to England and, in his sixties, into the U.S. Military as a decorated officer. That we know the name of Joplin, and not that of Jordan, who lived right up until a couple of years before the Academy Award winning film The Sting was released, is just one of those vagaries of the way time sometimes affects the reputation of deserving people. Rick Benjamin and the Paragon Ragtime Orchestra have decided to redress this omission through an excellent career survey on Joe Jordan, From Barrelhouse to Broadway: The Music Odyssey of Joe Jordan on New World Records...The performances here are lively and spontaneous here when needed, yet restrained and demure when the music calls for it. The singing, mainly by tenor Trevor B. Smith and soprano Bernadette Boercke, happily avoids the kind of over-arch vocalizing one often hears in these kinds of re-creations. The dance numbers are delightfully toe-tapping as well, and the Paragon plays them with pepâ€”one would be hard pressed to find a reason to discourage anyone, particularly those inclined towards the pre-jazz popular music of the early twentieth-century, from checking out New World's generally excellent From Barrelhouse to Broadway: The Music Odyssey of Joe Jordan. More
Earle Brown: Selected Works 1952-1965
By David Lewis
The re-release of Earle Brown: Selected Works 1952-1965 on New World Records will seem like the return of an old friend to many listeners. Compiled out of CRI's tapes of Earle Brown's music, which were recorded between 1952 and 1994, for release as part of CRI's American Masters series in 1996, this disc represents almost a third of Brown's tiny, highly concentrated output...These kinds of historic performances are so rare and seldom seen on domestic CD issues that we will take them in any way they come to us...It's heartening to know that New World was willing to take the time to do it right, and Earle Brown: Selected Works 1952-1965 is certainly worth the wait. More
Julius Eastman: Unjust Malaise
By David Lewis
Julius Eastman (1940-1990) was a composer in good company around 1970. The booklet to New World Records's survey of Eastman's never before issued compositions contains a number of group shots showing Eastman in the presence of such luminaries as Lukas Foss, Lejaren Hiller, Pauline Oliveros, Jan Williams, Eberhard Blum, David Del Tredici, Morton Feldman and other first tier proponents of contemporary music of that time. The fact that Eastman's face is the only black one in these photos seems not to have impacted the attitude of his colleagues, any more than Oliveros or RenÃ©e Levine, then director of the University at Buffalo's Center of the Creative and Performing Arts, presence as the only women in these images might suggest. Eastman's blackness, combined with his uncompromising, difficult career choices, politically incorrect subject material and vulnerability in the age of Jesse Helms are all reasons why New World Records's Julius Eastman: Unjust Malaise marks the very first inkling we've had on disc of what an unbelievable talent Eastman was, and the nature of his singular contribution to American classical music... Kyle Gann's impassioned notes are well worth reading also, and set the stage for more installments of Eastman's recordings. More
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