The iO Quartet concert is a series of scenes for string quartet that all challenged the genre at each respective time of publication. That all of these pieces were coming from a decidedly avant-garde slant is a testament to the idea that experimentation with musical form and content can lead to new and wonderful places. Each of these pieces switches gears in novel ways throughout the unfolding of the material. The iO’s tell me that this programming was suggested to them by the composer Helmut Lachenmann ,which speaks to my favorite kind of programming wherein the living composer helps to “curate” the concert; this adds a healthy dose of context, if not influence, to the proceedings.
The context comes from the history of different composers in different times choosing to experiment with the “normal” ways of composing music. Beethoven was already musing on unconventional structures and surprising harmonic shifts for his day. Schubert’s approach was to cast a single voice over layers of shifting texture and gesture, resulting in rapid changes in a “story” we’re being told without words, an excellent entre-act to what unfolds in the first half. I’ve often thought of Webern’s music as a privileged peek into another kind of communication at once very expressive and intimate. His ideas flow in a way that makes perfect sense within itself but comes across to the audience as a private game observed through a kaleidoscope. Lachenmann’s titanic Grido is an essay in ever-shifting textures that hang together with signposts of pulsing and twittering machines that enter briefly to then change the entire landscape again.
Programming thematically allows the audience in on several levels, giving them entre into the composer’s thoughts about the writing of the piece. It’s all dialogue in good music of any stripe, so to hear how these dialogues are set up and then dealt with is the key to becoming a good listener of art music, or any other for that matter. Very often the music that appeals first to our senses is that which is familiar to our ears either because of its popularity or because it’s made up of recognizable rhythms, harmonic progressions and melodies.
In the first half of the program on February 10 we begin with work in the realm of familiarity that then stretches into more experimentation, fragmentation and poetic license with form. The string quartet is put through its paces making sounds in the usual way but with unusual forms. With these ideas thoroughly worked out in the first half, we then have the privilege of hearing the Beethoven with fresh ears. He begins with a muscular opening figure, then shifts gears many times as if to show as many facets of the jewel as possible before giving us a fog-lifting ending accomplished through a surprising shift to F Major, which ends the concert in the tonal way that it began. The beauty and impetuosity of Beethoven’s writing in this short, potent masterpiece cannot be understated; it is a sly work of organizational genius. To have been written when it was took the conviction of a master artist at work with the raw materials of a chamber ensemble that has gone on to reign supreme in the art of chamber music.
Thursday, February 5, 2009
Monday, January 26, 2009
The More You Know
I've found throughout my life that I'm the guy who has to know everything possible about whatever it is I'm doing. When I was a kid it was an obsession with the cars that my dad liked. We would go to car shows and collect any information possible about makes, models, etc. I would then go home and research everything I could about the cars and spit it back to Dad until he wanted to strangle me. There's a kid in my neighborhood who does the same thing with sports stats. This behavior is not uncommon with pop culture. Witness the several points of access to pop music stars for example with their own webpage, myspace, facebook, fan sites, etc. People in the Kiss Army wouldn't be caught dead not knowing everything about releases, lyrics, and other trivia regarding them.
We really haven't seen much of this go on in the music world of late with the possible exception of Pavarotti and his ilk but you have to back to Liszt and Paganini to find the iconic status and encyclopedic knowledge of a "classical" artist. So, being an afficionado of new music (after learning all of the brass instruments as a youth; all I could about swimming; cooking) seemed very natural to me after developing my car obsession. Maybe it's just the type of person I am but wouldn't it be nice if we could cultivate this kind of acquisitiveness amongst the youth today. They certainly have more information at their fingertips than I ever did. Imagine my parents deep discussion about me after asking for The Grove Dictionary as a senior in high school!
Perhaps the problem is the glut of information that can be found online that has lead to the demise of the poor travelling encyclopedia salesmen-or any other for that matter-that my mom would patiently listen to before sending away (we bought our encyclopediae from the super market because it came with cheap china or something. I fear that younger people today are so overloaded with media that it's difficult for them to even find things that might really enhance their lives in meaningful ways. OK, that's pretty dramatic but there's a lot to be said for exposing young people to art before their openness to the world around them gets closed off by habits formed at a young age.
The idea of educating yourself on something that's supposed to be entertaining is often a sticking point with those not familiar with it. It's analagous to having a painting that isn't figurative turning off someone with no exposure to it. We humans are not big fans of surprise. But if this appetite can be developed by gently leading people to information that they might use to educate themselves just a little bit before showing up to a program that has other pieces that point to elements shared, there can be success for the lay listener. I've done my level best to encourage artists I present to show their music in context alongside other composer's works that have something in common with each other. I then write about it myself and try to give links to books, cds, etc. so that people may be able to know something about what they are going to hear in my hall. If they're leaving the house for one piece on the program, they might as well learn as much about the rest......if they feel like it.
I'm just getting together all of these resources for our new website at Merkin Concert Hall . Hopefully we will attract some adventurous people we can turn into adventurous listeners.
We really haven't seen much of this go on in the music world of late with the possible exception of Pavarotti and his ilk but you have to back to Liszt and Paganini to find the iconic status and encyclopedic knowledge of a "classical" artist. So, being an afficionado of new music (after learning all of the brass instruments as a youth; all I could about swimming; cooking) seemed very natural to me after developing my car obsession. Maybe it's just the type of person I am but wouldn't it be nice if we could cultivate this kind of acquisitiveness amongst the youth today. They certainly have more information at their fingertips than I ever did. Imagine my parents deep discussion about me after asking for The Grove Dictionary as a senior in high school!
Perhaps the problem is the glut of information that can be found online that has lead to the demise of the poor travelling encyclopedia salesmen-or any other for that matter-that my mom would patiently listen to before sending away (we bought our encyclopediae from the super market because it came with cheap china or something. I fear that younger people today are so overloaded with media that it's difficult for them to even find things that might really enhance their lives in meaningful ways. OK, that's pretty dramatic but there's a lot to be said for exposing young people to art before their openness to the world around them gets closed off by habits formed at a young age.
The idea of educating yourself on something that's supposed to be entertaining is often a sticking point with those not familiar with it. It's analagous to having a painting that isn't figurative turning off someone with no exposure to it. We humans are not big fans of surprise. But if this appetite can be developed by gently leading people to information that they might use to educate themselves just a little bit before showing up to a program that has other pieces that point to elements shared, there can be success for the lay listener. I've done my level best to encourage artists I present to show their music in context alongside other composer's works that have something in common with each other. I then write about it myself and try to give links to books, cds, etc. so that people may be able to know something about what they are going to hear in my hall. If they're leaving the house for one piece on the program, they might as well learn as much about the rest......if they feel like it.
I'm just getting together all of these resources for our new website at Merkin Concert Hall . Hopefully we will attract some adventurous people we can turn into adventurous listeners.
Musically Speaking Blog: What’s Shakin’ in January?
What’s shakin’ in January? Plenty! Merkin Concert Hall’s Musically Speaking series continues with Chamber Jazz offering us yet another in a season of premieres by composers at work in the many diverse areas of musical utterance available to us here in the Big Apple. Midwest meets Mideast on January 10th when Ryan Cohan hits town from Chicago with his award-winning band, featuring music from his latest effort, One Sky, while Omer Avital takes the stage with his Omer Avital Ensemble. He’ll give us the world premiere of Song of a Land: Middle Eastern Afro-Jewish Music written for his hybrid ensemble of 12 musicians ranging from a string quartet to an Israeli pianist, Turkish clarinetist, Israeli saxophone, trumpet players and the maestro on the bass. Omer has been a guest at Merkin these past two seasons with appearances in the trios of Aaron Goldberg and Omer Klein in September of this year, a performance that included another world premiere.
We’ll end the month of January with Joel Harrison, featuring the great Oliver Lake and super-cellist Wendy Sutter among others. Wendy will give us the world premiere of Joel’s Sonata for Solo Cello, which is part of her amassing of solo cello literature kicked off most recently by her premiere and recording of Philip Glass’s Songs and Poems for Solo Cello.
Oliver Lake will join Joel’s ensemble for his award-winning commission from the Doris Duke Foundation of Vox Americana with another ensemble firmly rooted in the chamber jazz begun by the likes of Gil Evans, Gunther Schuller, Jimmy Giuffre, Andrew Hill and many others who followed. This medium gets taken one step further with our own Special Music School Chorus taking part in this multi-movement work exploring extended composition in an improvisational setting. Joel has also made a very special set of arrangements of the music of Paul Motian that will also feature Oliver’s inimitable sax artistry along with guitarist Liberty Ellman and an all-star cast of string greats.
We’ll end the month of January with Joel Harrison, featuring the great Oliver Lake and super-cellist Wendy Sutter among others. Wendy will give us the world premiere of Joel’s Sonata for Solo Cello, which is part of her amassing of solo cello literature kicked off most recently by her premiere and recording of Philip Glass’s Songs and Poems for Solo Cello.
Oliver Lake will join Joel’s ensemble for his award-winning commission from the Doris Duke Foundation of Vox Americana with another ensemble firmly rooted in the chamber jazz begun by the likes of Gil Evans, Gunther Schuller, Jimmy Giuffre, Andrew Hill and many others who followed. This medium gets taken one step further with our own Special Music School Chorus taking part in this multi-movement work exploring extended composition in an improvisational setting. Joel has also made a very special set of arrangements of the music of Paul Motian that will also feature Oliver’s inimitable sax artistry along with guitarist Liberty Ellman and an all-star cast of string greats.
Musically Speaking Blog: Jazz Crossing Cultures - Ryan Cohan & Omer Avital
What holds together the music in the first concert Merkin Concert Hall produces in 2009? Togetherness, camaraderie and working together multi-culturally to make the world a better place through music—specifically jazz music. While jazz is most often referred to as America’s art form, many of today’s very exciting interpreters and composers are from other cultures and bring their talents and ethnic music from home to bear on the forms inherent in jazz music.
Pianist/composer Ryan Cohan takes a philosophical approach in his suite One Sky and casts it for a straight-ahead combo playing music with some of the tightest piano playing you’re going to hear coming out of Chicago. While Ryan draws inspiration from a metaphysical realm, Omer’s music is produced by life in a metaphysical realm with a hybrid approach in his Song of a Land, subtitled A Middle Eastern Afro-Jewish Musical Suite. What I’m trying to say here is that they both take the same approach vis a vis “tradition”; it’s simply that they cut their material from a different cloth. Omer uses Israeli folk music, North African Andalusian music, Arabic music, etc., and Ryan writes music from a decidedly swing aesthetic.
What holds all this together? We have certainly had elements brought to bear on the musical language since the beginnings of jazz, but more and more we are finding direct references to other cultures coming from the musicians’ personal experience. This isn’t Philip Glass or the Beatles discovering Ravi Shankar and putting some of it in their songs; it’s someone who grew up within the tradition using folk music that is a part of their identity. This is not me claiming that Omer and Ryan have written music that trots out pieces recognizable by title. Rather, it’s me reveling in the fact that the music they produce is informed by personal experience, which is the spark that gives improvised music the hope of direct connection to an audience.
Ryan’s music captures the imagination through the door of philosophy offering us his personal view of just being in this world. Omer uses music from his past to show us where he’s been and where he’s headed at the same time. Both of them are leading jazz music to a new tomorrow.
Pianist/composer Ryan Cohan takes a philosophical approach in his suite One Sky and casts it for a straight-ahead combo playing music with some of the tightest piano playing you’re going to hear coming out of Chicago. While Ryan draws inspiration from a metaphysical realm, Omer’s music is produced by life in a metaphysical realm with a hybrid approach in his Song of a Land, subtitled A Middle Eastern Afro-Jewish Musical Suite. What I’m trying to say here is that they both take the same approach vis a vis “tradition”; it’s simply that they cut their material from a different cloth. Omer uses Israeli folk music, North African Andalusian music, Arabic music, etc., and Ryan writes music from a decidedly swing aesthetic.
What holds all this together? We have certainly had elements brought to bear on the musical language since the beginnings of jazz, but more and more we are finding direct references to other cultures coming from the musicians’ personal experience. This isn’t Philip Glass or the Beatles discovering Ravi Shankar and putting some of it in their songs; it’s someone who grew up within the tradition using folk music that is a part of their identity. This is not me claiming that Omer and Ryan have written music that trots out pieces recognizable by title. Rather, it’s me reveling in the fact that the music they produce is informed by personal experience, which is the spark that gives improvised music the hope of direct connection to an audience.
Ryan’s music captures the imagination through the door of philosophy offering us his personal view of just being in this world. Omer uses music from his past to show us where he’s been and where he’s headed at the same time. Both of them are leading jazz music to a new tomorrow.
Tuesday, November 18, 2008
Eliott Carter's First Hundred Years
I particularly like the title above because at 99 Elliott Carter doesn’t seem to be slowing down. In fact, he has written more and varied works (an opera, more symphonic works, etc.). There is an embarrassment of riches in his output for winds. His chamber music has been where most all of his watershed works have come from and the opportunity for Elliott’s orchestration to really shine comes from the unusual combinations of wind music to be heard throughout his career. From the charming and slightly challenging Quintet for Winds (1948) we hear a young voice aligning himself with what’s come before by marrying elements of both American and European sensibilities. This was de rigeur for much of the new American composers; especially those who studied abroad in Nadia Boulanger’s Paris studio (Carter, Copland, Thomson, and many others). The forms are classical for the most part with a nod to American popular dance music in the rondo that is the last movement.
From there he seems to move into new territory almost immediately by tackling the exact problem that every composer faces when writing for the wind quintet, how to orchestrate it so that it doesn’t sound like the hot mess that many wind quintets turn out to be. Elliott deftly uses the character of each instrument to play not just a dramatic role but also a defining characteristic of the texture. Indeed the Eight Etudes and a Fantasy (1950) written just two years later goes off in search of novel combinations in an almost experimental (yet thoroughly enjoyable) piece that stand up as a dramatic statement leading to the fantasy which sums up all that has come before it. As you will see below, in a five year period three composers with very singular voices brought their first wind quintets to light using elements from the past but definitely looking toward the future. In each case the composer traveled much further afield in the second work adopting what was the beginning of their signature styles. Berio is the exception to this; he was translating a larger element of his music to a smaller ensemble to great effect.
It’s interesting to note that Gyorgy Ligeti who also defined his style well early on with nods to his own country’s music took up the same experiment as his second wind quintet Zehn Stucke (1968). This opus also came after a setting of some of his serial tinged but folk inspired piano experiments for quintet entitled Six Bagatelles (1953). While stylistically on different sides of the aisle these two composers were obviously wise enough to reach into the wind quintets bag of tricks. Luciano Berio is worth mentioning here as well given his two enormous accomplishments in the quintet literature again kick started by the use of folk elements and novel scoring. Berio’s first work for wind quintet entitled Opus Number Zoo (1951)also reworks earlier music of the composer’s modified from some popular and folk elements as well; while the music is more clear cut, the dramatic role used by Berio was to give different players part of a spoken text that passes through the ensemble. He then moved on to something completely novel for the wind quintet, but all his own compositionally, with Ricorrenze (1987).
Each of the three composers then went on to explore their own peculiar approaches to harmony, each with fascinating and rich careers. Never quite far enough away from a pitch center, Elliott’s music tickles the ear with a variety of texture immediately thrown into relief by the use of near misses in the rhythmic layout of each piece. This creates a tension that draws the listener into a microcosm of sounds held together by an interlocking but off-kilter forward motion. Another comparison to Ligeti is the pervasive use of melody as a sort of “cantus firmus” that slowly makes its presence felt steadily throughout his works. This is demonstrated well in his several works for solo instruments. Even in the very recent Catenaires (2006) what looks like and etude with a steady stream of fast notes belies a melody made up of the accents and various attacks that stick out of the continuous onslaught of information.
The Quintet for Piano and Winds (1991) is as serene a statement of continuous motion as I have ever heard. The piece moves forward with a controlled urgency and grace that rarely seems harried in its movement to the inevitable finish. There is a sense that you have walked in on the middle of a conversation that’s been going on for quite some time. Like his friend Milton Babbitt, Elliott pursues every possible combination of the ensemble while keeping each instrument in its rhythmic and intervallic role. These two definitions of each character makes them placeholders in the continuum and stakes out a piece of your hearing whether you are aware of the theory behind what’s going on or not. The horn just keeps coming at you with minor thirds and seconds in values of five and it serves only to further underline the rightness of that part in the flow. The piano serves as both catalyst and commentator in the proceedings prodding the poets forward and underlining their vehemence while also providing support in repose, etc..
The wind quintet is alive and well in the hands of the New York Woodwind Quintet. Perhaps it’s an ensemble that will continue to inspire composers with its many combinations of sounds to be explored. In the current trend of making big statements with small means it certainly has much to offer.
From there he seems to move into new territory almost immediately by tackling the exact problem that every composer faces when writing for the wind quintet, how to orchestrate it so that it doesn’t sound like the hot mess that many wind quintets turn out to be. Elliott deftly uses the character of each instrument to play not just a dramatic role but also a defining characteristic of the texture. Indeed the Eight Etudes and a Fantasy (1950) written just two years later goes off in search of novel combinations in an almost experimental (yet thoroughly enjoyable) piece that stand up as a dramatic statement leading to the fantasy which sums up all that has come before it. As you will see below, in a five year period three composers with very singular voices brought their first wind quintets to light using elements from the past but definitely looking toward the future. In each case the composer traveled much further afield in the second work adopting what was the beginning of their signature styles. Berio is the exception to this; he was translating a larger element of his music to a smaller ensemble to great effect.
It’s interesting to note that Gyorgy Ligeti who also defined his style well early on with nods to his own country’s music took up the same experiment as his second wind quintet Zehn Stucke (1968). This opus also came after a setting of some of his serial tinged but folk inspired piano experiments for quintet entitled Six Bagatelles (1953). While stylistically on different sides of the aisle these two composers were obviously wise enough to reach into the wind quintets bag of tricks. Luciano Berio is worth mentioning here as well given his two enormous accomplishments in the quintet literature again kick started by the use of folk elements and novel scoring. Berio’s first work for wind quintet entitled Opus Number Zoo (1951)also reworks earlier music of the composer’s modified from some popular and folk elements as well; while the music is more clear cut, the dramatic role used by Berio was to give different players part of a spoken text that passes through the ensemble. He then moved on to something completely novel for the wind quintet, but all his own compositionally, with Ricorrenze (1987).
Each of the three composers then went on to explore their own peculiar approaches to harmony, each with fascinating and rich careers. Never quite far enough away from a pitch center, Elliott’s music tickles the ear with a variety of texture immediately thrown into relief by the use of near misses in the rhythmic layout of each piece. This creates a tension that draws the listener into a microcosm of sounds held together by an interlocking but off-kilter forward motion. Another comparison to Ligeti is the pervasive use of melody as a sort of “cantus firmus” that slowly makes its presence felt steadily throughout his works. This is demonstrated well in his several works for solo instruments. Even in the very recent Catenaires (2006) what looks like and etude with a steady stream of fast notes belies a melody made up of the accents and various attacks that stick out of the continuous onslaught of information.
The Quintet for Piano and Winds (1991) is as serene a statement of continuous motion as I have ever heard. The piece moves forward with a controlled urgency and grace that rarely seems harried in its movement to the inevitable finish. There is a sense that you have walked in on the middle of a conversation that’s been going on for quite some time. Like his friend Milton Babbitt, Elliott pursues every possible combination of the ensemble while keeping each instrument in its rhythmic and intervallic role. These two definitions of each character makes them placeholders in the continuum and stakes out a piece of your hearing whether you are aware of the theory behind what’s going on or not. The horn just keeps coming at you with minor thirds and seconds in values of five and it serves only to further underline the rightness of that part in the flow. The piano serves as both catalyst and commentator in the proceedings prodding the poets forward and underlining their vehemence while also providing support in repose, etc..
The wind quintet is alive and well in the hands of the New York Woodwind Quintet. Perhaps it’s an ensemble that will continue to inspire composers with its many combinations of sounds to be explored. In the current trend of making big statements with small means it certainly has much to offer.
Friday, September 19, 2008
Within Worlds with Omer Klein and Friends
Omer Klein gave us a new piece last night that really went beyond my expectations of what a young composer might come up with for jazz combo plus string quartet. It was a wonderful mixture of instruments but not a huge glut of styles as many
“crossover” pieces often become. Nor was it an extension of either his keyboard or the rhythm section. Rather, it was an engaging, very tightly composed work of about ten minutes that featured a lively dance-like theme with some nice improvised solo passages for piano and bass most prominently.
While listening to it I was reminded of something that Omer said earlier in the concert while commenting on a tune he titled ¾ Mantra. He something along the lines of: “sometimes my ideas for pieces come to me in very small packages yet end up being the ones that become the longest ones in concert.” What reminded me of this was precisely the tightness of the composition of Septet, which firmly established its presence from the first measures—a swingy little triplet passage that left me thirsting for its return. Omer’s use of a bit of middle eastern tang also put me in mind of Chick Corea’s Temple of Isfahan, which I’ve tried—in vain—to secure for performance later this season in a series entitled Writing Jazz where we have a concert of composed responses to jazz ending in a new work by David Rakowski (that I just got and looks fantastic). We will also have a concert with another jazz pianist, Jonathan Batiste, entitled Rag’s Riches, where he will explore ragtime in his own way while sharing the concert with Imani Winds, who will play arrangements and originals by jazz composers.
The gift of this piece commissioned by the America-Israel Cultural Foundation is one of true value and astonishing prescient given the fact that I solicited it in no way from anyone. There is definitely something in the air with our young jazz greats branching out into just—well—music without label or other baggage as they freely write what they want to with the instruments that spark their imaginations. Other lagniappes this season will be when Omer Avital (the bass player last night) graces the stage with new works for an expanded ensemble alongside the recently commissioned work from Ryan Cohan and his expanded ensemble in a series of concerts supported by Chamber Music America that highlight their jazz members’ composition projects. They will be the one mentioned above as well as an evening with Joel Harrison, Oliver Lake and Wendy Sutter; and Jamie Baum’s Ives Suite will be featured alongside Polish trumpeter Tomasz Stanko’s explorations in free jazz.
The direction we are taking at Merkin is to shed light on what’s happening on the ground in New York’s creative music scene through surveys of artists, composers and genres to give our audience the most comprehensive look at music today. See you at the concert!
“crossover” pieces often become. Nor was it an extension of either his keyboard or the rhythm section. Rather, it was an engaging, very tightly composed work of about ten minutes that featured a lively dance-like theme with some nice improvised solo passages for piano and bass most prominently.
While listening to it I was reminded of something that Omer said earlier in the concert while commenting on a tune he titled ¾ Mantra. He something along the lines of: “sometimes my ideas for pieces come to me in very small packages yet end up being the ones that become the longest ones in concert.” What reminded me of this was precisely the tightness of the composition of Septet, which firmly established its presence from the first measures—a swingy little triplet passage that left me thirsting for its return. Omer’s use of a bit of middle eastern tang also put me in mind of Chick Corea’s Temple of Isfahan, which I’ve tried—in vain—to secure for performance later this season in a series entitled Writing Jazz where we have a concert of composed responses to jazz ending in a new work by David Rakowski (that I just got and looks fantastic). We will also have a concert with another jazz pianist, Jonathan Batiste, entitled Rag’s Riches, where he will explore ragtime in his own way while sharing the concert with Imani Winds, who will play arrangements and originals by jazz composers.
The gift of this piece commissioned by the America-Israel Cultural Foundation is one of true value and astonishing prescient given the fact that I solicited it in no way from anyone. There is definitely something in the air with our young jazz greats branching out into just—well—music without label or other baggage as they freely write what they want to with the instruments that spark their imaginations. Other lagniappes this season will be when Omer Avital (the bass player last night) graces the stage with new works for an expanded ensemble alongside the recently commissioned work from Ryan Cohan and his expanded ensemble in a series of concerts supported by Chamber Music America that highlight their jazz members’ composition projects. They will be the one mentioned above as well as an evening with Joel Harrison, Oliver Lake and Wendy Sutter; and Jamie Baum’s Ives Suite will be featured alongside Polish trumpeter Tomasz Stanko’s explorations in free jazz.
The direction we are taking at Merkin is to shed light on what’s happening on the ground in New York’s creative music scene through surveys of artists, composers and genres to give our audience the most comprehensive look at music today. See you at the concert!
Friday, August 29, 2008
Towering Achievements
Towering Achievement
Joan Tower celebrates her 70th birthday at Merkin Concert Hall on the actual date. Her output after a successful career on the piano lead her to the heights of Grammy, Gravemeyer, etc. and she adds yet another feather to her cap with the American Music Center’s Letter of Distinction to be presented by their board president, Ed Yim. The concert features solo and chamber music from most of her career. Joan really can’t be subdivided into periods since the music that she writes is consistently solid, straightforward melodic constructions with a rhythmic drive that often make the music seem to take flight.
I hate to get too purple but the name Tower really is a fine description of Joan’s achievement as composer, performer, and teacher. Her music often evokes images for the listener and with titles like Big Sky, Copperwave, and Or Like a........an Engine you can imagine the kind of music that might bring you there. The ability to trigger such images and emotion through music is the finest example of the sophisticated communications we humans are capable of.
Making connections on the human experience through an abstract medium has been a feature of much of the American musical output. Joan achieves these states through original modes of thought filtered through a facile use of harmony, melody and rhythm that seems as fresh as it is familiar. Her music challenges the listener through its multi-faceted casting of places and emotional states. Even the impressions she takes from the concept of purple result in ear catching music that has the ability to transport and transform the listening experience into a magical trip for the imagination.
We will have the following pieces which I leak a bit of program notes on below. Also, some of the performers have written tribute pieces for the occasion. Oh, and Naxos cd’s will be on sale in the lobby for just $10. See you there
eighth blackbird
Big Sky for piano trio is a piece based on a memory of riding my horse "Aymara" around in the deep valley of La Paz, Bolivia. The valley was surrounded by the huge and high mountains of the Andes range; and as I rode I looked into a vast and enormous sky. It was very peaceful and extraordinarily beautiful. We never went over one of these mountains, but if we had, it might have felt like what I wrote in this piece.
Blair McMillen, piano
Or Like a ... an Engine is dedicated to the pianist Ursula Oppens who premiered it at Alice Tully Hall in New York City in celebration of the 50th anniversary of the radio station WNYC-FM, which commissioned the work. It is a motoric piece, somewhat like a virtuosic Chopin etude.
American Brass Quintet
Copperwave
My father was a geologist and mining engineer and I grew up loving everything to do with minerals and rocks. Copper is a heavy but flexible mineral that is used for many different purposes and most brass instruments are made of copper. The ideas in this piece move in waves, sometimes heavy ones and at other times lighter — also in circles, turning around on the same notes.
Paul Neubauer, viola
Simply Purple
This is my third piece for viola (and for Paul) which includes the word “purple.” The first was Wild Purple for solo viola and then came Purple Rhapsody for viola and orchestra. I have always thought of the viola (which I played briefly) as having this deep kind of rich purple sound, a beautiful timbre, quite distinct from other string instrument sounds.
Kalichstein-Laredo-Robinson Trio
For Daniel is dedicated to Joan Tower’s nephew, Daniel MacArthur, who passed away in 2003 after a long illness. The piece tries to convey the imagined struggles associated with someone who is facing a long-term terminal illness. The hopes, joys, depression, anger, deep turmoil and occasional serenity are in constant juxtaposition in this work, as they were throughout the last years of Daniel’s life.
Birthday Pieces Written for Joan:
Blair McMillen, John Rojak, James Tocco, Paul Neubauer, Yossi Kalishstein and
members of eighth blackbird
Joan Tower celebrates her 70th birthday at Merkin Concert Hall on the actual date. Her output after a successful career on the piano lead her to the heights of Grammy, Gravemeyer, etc. and she adds yet another feather to her cap with the American Music Center’s Letter of Distinction to be presented by their board president, Ed Yim. The concert features solo and chamber music from most of her career. Joan really can’t be subdivided into periods since the music that she writes is consistently solid, straightforward melodic constructions with a rhythmic drive that often make the music seem to take flight.
I hate to get too purple but the name Tower really is a fine description of Joan’s achievement as composer, performer, and teacher. Her music often evokes images for the listener and with titles like Big Sky, Copperwave, and Or Like a........an Engine you can imagine the kind of music that might bring you there. The ability to trigger such images and emotion through music is the finest example of the sophisticated communications we humans are capable of.
Making connections on the human experience through an abstract medium has been a feature of much of the American musical output. Joan achieves these states through original modes of thought filtered through a facile use of harmony, melody and rhythm that seems as fresh as it is familiar. Her music challenges the listener through its multi-faceted casting of places and emotional states. Even the impressions she takes from the concept of purple result in ear catching music that has the ability to transport and transform the listening experience into a magical trip for the imagination.
We will have the following pieces which I leak a bit of program notes on below. Also, some of the performers have written tribute pieces for the occasion. Oh, and Naxos cd’s will be on sale in the lobby for just $10. See you there
eighth blackbird
Big Sky for piano trio is a piece based on a memory of riding my horse "Aymara" around in the deep valley of La Paz, Bolivia. The valley was surrounded by the huge and high mountains of the Andes range; and as I rode I looked into a vast and enormous sky. It was very peaceful and extraordinarily beautiful. We never went over one of these mountains, but if we had, it might have felt like what I wrote in this piece.
Blair McMillen, piano
Or Like a ... an Engine is dedicated to the pianist Ursula Oppens who premiered it at Alice Tully Hall in New York City in celebration of the 50th anniversary of the radio station WNYC-FM, which commissioned the work. It is a motoric piece, somewhat like a virtuosic Chopin etude.
American Brass Quintet
Copperwave
My father was a geologist and mining engineer and I grew up loving everything to do with minerals and rocks. Copper is a heavy but flexible mineral that is used for many different purposes and most brass instruments are made of copper. The ideas in this piece move in waves, sometimes heavy ones and at other times lighter — also in circles, turning around on the same notes.
Paul Neubauer, viola
Simply Purple
This is my third piece for viola (and for Paul) which includes the word “purple.” The first was Wild Purple for solo viola and then came Purple Rhapsody for viola and orchestra. I have always thought of the viola (which I played briefly) as having this deep kind of rich purple sound, a beautiful timbre, quite distinct from other string instrument sounds.
Kalichstein-Laredo-Robinson Trio
For Daniel is dedicated to Joan Tower’s nephew, Daniel MacArthur, who passed away in 2003 after a long illness. The piece tries to convey the imagined struggles associated with someone who is facing a long-term terminal illness. The hopes, joys, depression, anger, deep turmoil and occasional serenity are in constant juxtaposition in this work, as they were throughout the last years of Daniel’s life.
Birthday Pieces Written for Joan:
Blair McMillen, John Rojak, James Tocco, Paul Neubauer, Yossi Kalishstein and
members of eighth blackbird
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