NEW MUSIC CONNOISSEUR JOHN ADAMS AT 70 ODYSSEUS’ WOMEN AND ANAIS NIN CD REVIEWS: Pasatieri, Partch, Poulenc and others

Volume 22, No. 2 Vol 22, No. 2–Spring 2017

New Music Connoisseur is a semi– annual periodical focusing on the work of 20th and 21st century .

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CONTRIBUTORS...... 4

ON THE COVER ...... 4

LIVE REVIEWS Andriessen Operas at National Sawdust by Daniel Felsenfeld ...... 7 Crossing the Musical Waters by Anne Eisenberg ...... 8 African-American Composers by Barry O’Neal ...... 9 John Adams at 70 by Barry O’Neal...... 11 The Triangle Fire by Mark Zuckerman ...... 15 Eric Salzman and Friends by Matthew Harris ...... 16

CD REVIEWS by Andrew Violette Thomas Pasatieri: Three Symphonies Roger Sessions: Music for and Piano Lewis Spratlan Vespers Cantata: ...... 18 Hesperus Is Phosphorus (2012) Max Reger: Music for and Piano Harry Partch: Plectra and Percussion Dances ...... 19 New Music For Clarinet, Another Look, F. Gerard Errante, clarinet Steve Horowitz: Entertainment Tonight, Child of Amerika, Vivo For Mr. Powell Francis Poulenc Music for Piano (1918-1959) ...... 20 Charles Wuorinen: Eighth Symphony and Fourth Piano Concerto American Tapestry: Duos for Flute and Piano, Susan Rotholz, flute, Margaret Kampmeier, piano Transformations: Aaron Tindall, Tuba ...... 21 Composing America: The Lark Quartet ...... 22

CADENZAS Music Switched Around by Mauro Meli ...... 23 The Music of Edward Albee by Barry Cohen ...... 25

LETTERS ...... 27

NEW MUSIC CONNOISSEUR | 3 CONTRIBUTORS

BARRY L. COHEN is a devotee of con- Ravello Festival. He is currently Artistic Direc- temporary music in all its various manifesta- tor of the Teatro Lirico in Cagliari, Sardinia, tions. After a career in publishing (Fairchild, and is on the faculty of the University of Ferr- Hearst, Curtis, Forbes), Barry founded New ara, where he teaches the economics of arts Music Connoisseur 18 years ago, and organizations. He was also a noted classical until 2010 served as its Publisher and Edi- guitarist. tor-in-chief. He studied music privately with BARRY O’NEAL continues to be involved in Eric Ewazen and Adrian Carr and created the music program at St. Michael’s Church on original and realized music in his own MIDI the Upper West Side of Manhattan. He is still studio. writing music (mostly songs) and poetry. He recently finished LEO QUARTET, a piece for ANNE EISENBERG was a long-time report- flute, english horn, and piano, written in er for The New York Times, where she wrote honor of a friend's 60th birthday more than 300 columns on science and tech- nology, first for theCircuits section and, when WILLIAM SANGER (1873-1961) it closed, for the Sunday Business section. (cover), architect and painter, had several solo exhibitions in New York in the 1920s DANIEL FELSENFELD is a . He and 1930s and in 2016 at the Tides Muse- lives in Brooklyn. um in Eastport, Maine. He was jailed in the MATTHEW HARRIS had two works pre- Tombs for 30 days in 1915 for distributing miered in New York City last spring: Flowing one of his wife’s, Margaret Sanger’s, birth Light, which was commissioned through the control pamphlets. National Endowment for the Arts for The ANDREW VIOLETTE is a composer. Western Wind Vocal Ensemble, and Shake- He lives in NYC. speare Songs, Book VII, which was commis- sioned and performed by the New Amster- Composer MARK ZUCKERMAN dam Singers. www.mazicmusic.com lives in Roosevelt, NJ. MAURO MELI was named a “Commander of the Italian Republic” in 2008 for his con- tribution to Italian cultural life. He has held numerous appointments, including General Manager and Artistic Director of La Scala in Milan, the Verdi Festival at Parma, and the

ABOUT THE COVER: HARMONIELEHRE BY WILLIAM SANGER Watercolor

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5 | NEW MUSIC CONNOISSEUR LIVEreviews ANAIS NIN AND ODYSSEUS' WOMEN

Center for Contemporary Opera, National Sawdust, Oct. 15, 2016 | by Daniel Felsenfeld

FOR DECADES NOW Dutch composer Dutch director Jorinde Keesmaat's production. . . was one of Louis Andriessen has been redefining those ought-not-to-have-worked-but-sure-as-hell-did evenings. opera for the larger—and enlarging— world. From his massive non-linear plenty in the way of bestiality in Rosa), expertly singing taut harmonies, them- thump that is De Materie to Rosa and these stripped-down pieces, scored for a selves in various stages of deshabille, Writing to Vermeer, the two operas he small cast of singers (five in this especial creating an eerie and emotionally com- wrote with auteur Peter Greenaway, the iteration) and either a piano/keyboard plex atmosphere. The was ably shopworn cliché of “pushing the bound- sampler or modest chamber forces, conducted by Neil Goren, and while they aries” has been, in a very real way, his address these matters with appropriate were not, musically, in the same league to cherish. And while the two pieces terrifying intensity. as those on stage, the overall effect was presented by New York’s Center for Con- Dutch director Jorinde Keesmaat’s readily abetted, especially in the second temporary Opera—Odysseus’ Women production—offered to New York in stage of this intermission-free evening. and Anais Nin—are, as separate ani- Brooklyn’s new, pliable space that is The evening’s hero was mezzo-so- mals, calmer cousins of these pan-stylistic the resplendent National Sawdust—was prano Augusta Caso, who absolutely roars, the idea of eliding them together is one of those ought-not-to-have-worked- sold the latter-portion Anais Nin. The truly in the Andriessen spirit. but-sure-as-hell-did evenings. For starters, piece itself is difficult going—she spent The pieces themselves are daring concatenating two such disparate pieces most of it nude, lounging in a sunken, and daunting and beautiful, the for- was a gamble, one that paid off. From the center-stage tub, recounting the horrors mer being a setting of Homer and the opening moments, entering to find one of sexual abuse at the hands of her own latter being a setting of some of the the of the performers barely dressed (about father, all set to oddly charming music darker, incest-depicting passages from whom more later) and contorted into a (a postmodern trick invented by Kurt Ms. Nin’s diary. But sewn together, they plastic box, eventually, as the proceed- Weill and seized brilliantly by Andries- occupy a certain philosophical space, ings advanced, speaking text (culled from sen: tell the worst tales with the catchiest dealing both obliquely and directly with Nin’s diaries) while, for the first portion, tunes)—but Caso used her spectacular the things women endure at the hands four astonishing, dimly lit singers— instrument and extensive theatrical range of men. The pictures painted ain't pretty, Sharin Apostolou, Maggie Finnegan, to carry off a next-to-impossible stage and while Andriessen tends not to stray Nicole Mitchell, and Hilary Ginther, all performance that was in equal measure from extreme subject matter (there is of whom were dazzling—paced around, horrifying, delicate, sexy, and enraged. It is also a cliché to call a woman “brave” or “fearless” for the simple act of removing her clothes onstage, but these words absolutely apply—though even more nude was her singing, the intent behind the singing, and her immediacy that carried the day. It would be hard to imagine another singer so inhabiting this role, and it would be safe to say this is a young talent at the start of what prom- ises to be a vast, varied, and interesting career. In one of the more beautiful moments I have seen on stage, all the singers joined Ms. Caso at the end, all equally nude, all equally committed, for a moment that was both startling and sweet, appropri- ately so. A lot had happened in a short evening, and this was an ideal end to a thrilling piece of theatre. eEf

7 | NEW MUSIC CONNOISSEUR LIVE reviews CROSSING THE MUSICAL WATERS TO ITALY by Anne Eisenberg | Da Capo Chamber Players, Merkin Hall, May 1, 2017

ITALY HAS LONG CAST A SPELL over and Salvatore Sciarrino, juxtaposing plays piano and celesta in Da Capo. musicians—Handel, who toured there as their works with pieces by contemporary “Most of the American composers on the a young man, was so strongly influenced American musicians who have fallen program have cited Berio and Sciarrino by the country’s composers that under the Italian influence, including as influential,” Beck said. “Not that their he soon began writing his operas in their Judith Shatin, Chester Biscardi, Steven music necessarily sounds like Sciarrino Italian style. Those operas, starting with Albert, Arlene Zallman, David Rakowski and Berio. But there was an influence.” Agrippina, became huge hits not only in and Harvey Sollberger. That general influence is summarized England, but also in Italy, where he was The Da Capo ensemble — many of in one word by another composer on the fondly known as il caro Sassone, the whom had studied formerly in Italy — program, Judith Shatin. “Italy = inspira- dear Saxon. were up to the challenge of the unusual tion!” she wrote in the program notes. Enchantment with Italian music extends program, offering a varied, lyrical com- A seminal quintet by the 70-year-old to some of today’s composers, too, who bination of solos, duets, trios, quartets Italian composer Salvatore Sciarrino, Lo have been deeply inspired by it—as and quintets in the opening half of the spazio inverso, opened the program with smitten as Handel was centuries ago. evening. They were joined in the second its mixture of extremely soft notes of the To celebrate and update this enduring half by the seasoned soprano Lucy Shel- flute and violin, played respectively by musical spell cast by Italy, the skilled ton, who sang the Rilke Song by Stephen Patricia Spencer and Curtis Macomber, Da Capo Chamber Players offered an Albert, Harvey Sollberger’s To the Spirit punctuated by crashing attacks from Ste- inventive and varied program at Merkin Unappeased and Peregine, and Luciano ven Beck at the celesta. Secret Ground, Concert Hall in New York City on May Berio’s tribute to Martin Luther King, O a quartet by Judith Shatin quickly fol- 1, Crossing the Musical Waters to Italy. King. lowed. The instruments — flute, clarinet, The program showcased influential Violinist Curtis Macomber created the cello and violin — broke into duos and modern Italian composers Luciano Berio novel program, said Steven Beck, who solos, including a striking, plangent

LIVE reviews NEW MUSIC CONNOISSEUR | 8 CROSSING THE MUSICAL WATERS TO ITALY

violin solo by Mr. Macomber. Professor jazzy, syncopated rhythms, provided an Shatin, who teaches at the University of energetic end to the program of unusual Virginia, where she directs the Virginia contemporary works, many composed Center for Computer Music, was in the specifically for Da Capo, with its mixture audience and rose afterwards to take a of keyboard (piano and celesta), violin, bow. cello, flute (or piccolo) and clarinet. Italian-American composer Chester The group played briskly and ele- Biscardi also took a bow to the enthu- gantly, not unusual given its long and siastic audience at Merkin after his Di distinguished career, but they had a new Vivere was performed. The piece was clarinetist, Meighan Stoops, who seam- commissioned by Da Capo. lessly joined in, performing the complex David Rakowski’s 3-movement quartet music. Thickly Settled closed the concert. Rakow- The program was dedicated to the ski, who studied under Berio when the memory of Laura Flax, who for many composer taught at Juilliard, wrote in the years until her death was the group’s program notes that the quartet title refers clarinetist. to a popular road sign in rural Massa- chusetts that announces an up-coming hamlet. In this case, it also describes, he eEf wrote, “the opening thicket of notes from which the piece emerges.” The quartet, with its smashing, abrupt changes, and

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9 | NEW MUSIC CONNOISSEUR AFRICAN-AMERICAN CONCERT MUSIC TODAY

Da Capo Chamber Players at Merkin Concert Hall—Music by Kenneth Amis, Carman Moore, Jeff Scott, Jonathan Bailey Holland and David Sanford, Tuesday Feb. 13, 2017 | by Barry O´Neal

THE PROGRAM PRESENTED on Feb- right. Since some aspect of improvisa- guitar), Mr. Moore saved a statement ruary 13, 2017 by the Da Capo tion was involved in the original set, of the source theme, the minuet from Chamber Players honoring Afri- one assumes there were improvisatory the opera Berenice, for the end of his can-American Composers during elements in this version as well. No. I piece. The sixteen-minute piece begins Black History month was full of musical had some nice jazz harmonies in the with seven variations that are varied delights. It was devoted to composers piano into and out of which the other in style and instrumentation and kept born in the 1960s and 70s, with one instruments wandered and No. II was up a high degree of interest, as hints significant exception: Carman Moore. distinctly impressionistic in harmony of the theme flit in and out. The fifth Mr. Moore (b. 1936), representing and style. No. IV (which followed Car- variation was particularly memorable, an older generation, was well served man Moore’s piece in the first half) a soulful solo for cello joined only at by the Da Capo choice, a piece from featured piano scales with pointillistic the end by a colorfully voiced chord 1984, and the oldest item on the commentary by the other instruments from the rest of the ensemble. The final program. The program is part of the that gradually became more lyrical. variation begins with a tense medita- multi-venue 2017 Composers Now No. III (which opened the second half tion on aspects of Handel’s theme by Festival, founded by Tania Leon, a fact of the concert) again had the piano in the piano, gradually joined by the oddly omitted from the Merkin Con- a Debussian mood with jazz touches, others as the pace quickens, becom- cert Hall program. and contrapuntal instrumental riffs ing rather wild. The violin and piano Da Capo’s Curtis Macomber (violin and No. V featured the piano in a restore a modicum of order by intro- and viola), Chris Gross(cello), Patricia descending two note ostinato pattern ducing the original minuet, and the Spencer (flute), Meighan Stoops (clar- with flute trilling and the other two other two players ( and inet) and Steven Beck players going their cello) after initially continuing their (piano), were joined by Following an idea own way with charac- pulsating figures, join in for a firmly guest artist Lois Martin teristic violin and bass consonant end. It was a lovely finish to used by a number of on viola in one of the clarinet licks. Whether a well thought-out and engaging piece selections (by Jonathan composers, notably the dispersal of the from a master composer. Bailey Holland). Vincent D'Indy and five interludes aided After another Amis Interlude (No. The program began their effect or not is IV), the first half of the concert con- , with the first two of Ken- difficult to say. The cluded with Un Abrazzo Para Sharon, neth Amis’ Interludes I-V Mr. Moore saved a music had charm and written in 2005 by Queens native and (1990), the remainder statement of the clear familiarity with Imani Winds member Jeff Scott (horn) of which became actual source theme for the how to write for these in honor and appreciation of French interludes between the four excellent play- horn icon, Sharon Moe. The title other pieces on the end of his piece. ers, but did not seem derives from Thiago de Mello’s prac- program but did not fol- to add up to much or tice of dedicating compositions as low the original numerical order. The relate significantly to the other works hugs (“Un Abrazzo para…). Scored pieces were originally presented in a on the program. for violin, clarinet and piano, the piece concert devoted to solo works for trum- Carman Moore’s contribution to had an appropriately Latin flavor, à la pet and tuba, as part of a joint recital the program, which followed the first Astor Piazzola, with infectious rhythms in Boston University’s Marsh Chapel two Interludes, was Berenice (Fan- and some jazzy licks from the clarinet. and were scored for two flutes, trum- tasia on a Theme of G.F. Handel), It is an entertaining and well-made pet and tuba, all offstage (Mr. Amis written in 1984 for clarinet/bass piece, and was greatly enjoyed by the is a noted tuba player as well as a clarinet, violin, cello and piano. Fol- small but enthusiastic audience. composer). The version presented lowing an idea used by a number of After the intermission, another of here was for onstage piano, flute (at composers, notably Vincent d’Indy Kenneth Amis’ interludes (No. III) the back of the audience), violin off- (Istar, Variations Symphoniques) and was followed by a short (6 minutes) stage left and bass clarinet offstage Benjamin Britten (Nocturnal, for solo but intriguing work by Jonathan Bai-

10 | NEW MUSIC CONNOISSEUR LIVE reviews AFRICAN-AMERICAN CONCERT MUSIC TODAY

ley Holland, His House Is Not of This (2002) by David Sanford, scored quasi-fugal intensity of contrapuntal Land (2015). Scored for alto flute, for the basic Da Capo instrumenta- energy. Dogma74 is a very likeable bass clarinet, violin, viola and cello, tion. Commissioned by the Empyrean piece, but I found the last move- this was the only item on the program Ensemble at the University of Califor- ment a bit long for the material. As that did not include the piano. The title nia-Davis, the work purports to have with everything on the program, Da suggests a hymn tune, but the com- a tenuous connection to the Dogma95 Capo’s playing was exemplary, with poser insists in his program note that film director’s manifesto and is ded- the often intricately intertwined lines no specific hymn is involved, though icated to the composer’s brother, neatly phrased. The group can always the music derives from African-Amer- Joseph. Each of the three movements be counted on to offer well-prepared ican vocal church music idioms. It (“Brick Alley Coke”, “Turner’s Market” and thoughtful programs of worth- begins with each instrument going its and “20th Street Cafeteria”) records while music, and this evening was no own way, like voices praying out loud, an inspirational moment the brothers exception. each in its own time and rhythm. The shared from 1974-75 in Pittsburgh effect was rather like the storm-chorus and Colorado Springs. Each section from Porgy and Bess, but for instru- had its own character, the first fea- ments. Often the music seemed to strive turing slow string and wind writing for a unison statement but the voices gradually spurred to tenser instrumen- go in and out of phase, in an almost tal exchanges by the livelier piano Reichian way, avoiding concord. The ripples. In the second part, the slower end was especially haunting as out of instrumental lines are interrupted by phase scales flow upward, reminiscent prismatic piano commentary, the other of the scene of Wozzeck’s drowning. instruments becoming lively except Notwithstanding these influences, the for the stubbornly introspective vio- eEf piece was unusual and affecting. lin. The final section was vivacious After, the fifth and final AmisInter - and pulsating with much back and lude, this rich but relatively brief forth exchanging of ideas among the program concluded with Dogma74 ensemble members, and an angular,

David Sanford (composer), Chris Gross (cellist), Jonathan Bailey Holland (composer), Curtis Macomber (violinist), Steven Beck (pianist), Patricia Spencer (flutist), Carman Moore (composer), Meighan Stoops (clarinetist). Not shown are composers Jeff Scott and Kenneth Amis, both also featured on the program.

LIVE reviews NEW MUSIC CONNOISSEUR | 11 JOHN ADAMS AT SEVENTY

Alan Gilbert conducting the New York Philharmonic in music of

John Adams, David Geffen Hall, Friday, March 10, 2017 |by Barry O´Neal

JOHN ADAMS, never really a full side of the equation, since it is largely going on the whole time. The Ivesian scaled enfant terrible, but certainly an based on the music of Beethoven. In a reference to the end of “The Housatonic occasional provocateur, has always helpful demonstration before the per- at Stockbridge” is clear to anyone who seemed to me too fresh and youthful in formance, Adams had the members of is familiar with Adams’ career, and his approach to music to ever become the newly constituted New York Philhar- Alan Gilbert seemed to being having a a grand old master. Yet here he is being monic String Quartet, Frank Huang and great time conducting it. At 25 minutes feted in the wake of his 70th birthday in Sheryl Staples,violin, Cynthia Phelps, it seemed a tad too long for these ears, February. The New York Philharmonic viola and Carter Brey, cello, all lead- especially in the long hard charging joined the celebrations (which also ers of the Philharmonic’s stellar string coda, but the lovely ending redeemed included the New York Premiere of The section play some of the source mate- it. Question for Mr. Adams: is the title Gospel According to the Other Mary rial for the piece in the string quartets meant to recall John Foster Wallace’s by the St. Louis Symphony et al. later of Beethoven, especially Op. 131 (the extraordinary novel Infinite Jest? in March), with a stunning program fugal opening and scherzo) and Op. After the intermission, Alan Gilbert of his music that consisted of the New 135 (scherzo). Adams also references returned to conduct Harmonielehre, a York Philharmonic premiere of Absolute several symphonies. In fact, the opening piece the Philharmonic has performed Jest, for String Quartet and Orchestra is an atmospheric take-off on the open- several times, most recently in 2010, and Harmonielehre (1985), Adams’ ing of the Beethoven Ninth, and soon also with Gilbert as conductor. It is an first major work for autonomous large enough the distinctive dotted rhythm astonishing and powerful work that orchestra, a symphony in all but name. of that symphony’s scherzo makes an shows Adams fully breaking free of There are, it seems to me, sev- obsessive appearance. Though Adams the limits of his early minimalism, while eral strains of music in John Adams’ insists that the title isn’t simply a joke, he incorporating the propulsive energy catalogue, the serious, big-boned “sym- tells us “jest” comes from the Latin gestus, of the style into the large frame of a phonic” works, of which Harmonielehre which means deeds, doings, exploits. I more or less traditional Symphony. is a classic example (Harmonium, Naïve take this to also mean “play” in the high- True, there is little trace of sonata form and Sentimental Music, The Dharma at est sense, since Absolute Jest brilliantly here, but the scope and power of the Big Sur, El Dorado, City Noir et al.), the weaves the fragments of Beethoven into orchestra are fully in play and the hints somewhat “lighter” parodistic pieces, a highly original and engaging tapes- of early Schoenberg, Berg, Mahler, which borrowing a term from Beetho- try of counterpoint. The slow section, Sibelius and even Elgar are evident. ven, I think of as “unbuttoned” (Grand a moving interlude into the breakneck The title of the work is that of Arnold Pianola Music, Fearful Symmetries, The finale, brings bits of the Grosse Fuge Schoenberg’s celebrated 1911 trea- Chairman Dances, Short Ride in a Fast into counterpoint with the material from tise on harmony, which touches on the Machine, et. al.) and the theater works, Op. 135. In the finale, the quartet, dis- danger of codifying the harmonic prac- including the operas and oratorios cretely amplified, races ahead over an tice of master composers (subversively (Nixon in China, The Death of Kling- animated orchestral texture based on the a treatise against treatises). As a sec- hoffer, Doctor Atomic, El Nino, et al.) famous Waldstein Sonata harmonic pro- ond-generation minimalist, Adams had For me, the theater works seem to medi- gression. The ending is magical: the fast begun to move away from the style as early as Harmonium (1981), his cho- After the intermission, Alan Gilbert returned to conduct Har- rus and orchestra setting of Donne and Emily Dickinson, with its hints of Holst monielehre, . . . an astonishing and powerful work that shows and Sibelius, and with Harmonielehre Adams fully breaking free of the limits of his early minimalism. he stretches his harmonic pallet to include the chromaticism of Wagner ate between the serious and satirical perpetual motion coda vanishes into thin and the Second Viennese School. Har- genes of Adams’ musical personality. air, leaving the harp and piano (both monielehre begins with a singularly Though these are not hard and fast mean tuned) and 15 differently pitched arresting gesture: the orchestra pounds categories (as we shall see), Absolute cowbells to briefly continue an intimate out a fortissimo E minor chord 40 times Jest clearly belongs to the unbuttoned conversation that seems to have been in a gradual and irregular accele-

12 | NEW MUSIC CONNOISSEUR LIVE reviews JOHN ADAMS AT SEVENTY

Photo by Chris Lee

rando. What is odd is that the chord a searing reminiscence of the Sibelius between chromatic thinking and dia- consists of just the tonic and third, no 4th Symphony’s dark opening for cel- tonicism. fifth, making it harmonically ambigu- los and basses. Adams’ exploration The final part ofHarmonielehre, ous from the start (but for the insistent of early twentieth century musical Meister Eckhardt and Quackie, begins E in the bass we could be in C Major). styles is more fully and powerfully as another dreamscape, with Adams’ Finally the din subsides, but the E and exposed in this wonderful slow move- imagining his baby daughter (briefly G continue as an ocillation. Adams ment. After a long, simple, high-lying dubbed “Quackie”) born aloft by the ascribes the opening to his attempt to trumpet solo (beautifully performed by medieval mystic Meister Eckhardt. Here render in music a dream he had of a new first trumpeter Christopher Mar- the mysterious music suggests flying tanker taking off from San Francisco tin) floating above an ever-changing and floating above the suffering world bay like a rocket. The steady eighth texture of minor chords, the movement of the previous section, in a gentle note motion continues to wander from moves toward a series of climaxes of minimalist lapping of typical arpeg- one key to another until an achingly enormous power, the last of which ref- gios. Eventually the music descends to lovely horn and cello theme launches a erences the climax of the first movement earth, gaining heft and richness, as the more chromatic and sensual harmonic of Mahler’s last symphony with a sim- orchestra drives toward a clamorous exploration before the music works its ilar nine-note chord of stacked thirds, climax of pealing brass and percus- way back to the opening gesture with from which all the emerge with sion in Eb Major. Despite Beethoven’s the same incomplete E minor chord in a descending cry of pain. The end of heroic key, which the Philharmonic its clamorous, brassy original manner. the movement is an exhausted attempt made luminously radiant, the piece The second movement, entitled The to establish a key for a movement that remains haunted by Adams’ audible, Anfortas Wound (after C.G. Jung’s despite its wandering tonality, seems to loving struggle with the vast panoply study of the wounded King, whose be in Sibelius’ key of A minor, though of early twentieth century music and wound never heals — prototype of the final chord in the strings has the expanded tonality. Wagner’s character in the opera Par- notes of an F Major chord. The wound sifal), expands the musical palette with that will not heal may be the struggle eEf

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NEW MUSIC CONNOISSEUR | 14 THE TRIANGLE FIRE

Chamber Opera in one act with libretto by Ellen Frankel and music by Leonard Lehrman. Community Church of New York City, March 12, 2017| by Mark Zuckerman

AROUND QUITTING TIME on Satur- gender and age of the victims but also tion and involvement of some of New day afternoon on March 25, 1911, a because of the apparent callousness York’s society women. This helped fuel fire broke out in the Triangle Shirtwaist that led to the tragedy, both by the public outrage over the fire, stoked Factory on the ninth floor of the Asch Triangle owners in their treacherous even more after the two Triangle fac- Building, near Washington Square in method to stop pilfering and by the tory owners, tried for manslaughter, New York City. The owners had locked absence of adequate safety precau- were acquitted. the exit doors to prevent petty thiev- tions. The Asch Building (now a part The Triangle Fire provided the impe- ery by employees, with the cruel side of New York University) was then one tus for New York State establishing a effect of also preventing their escape. of a group of modern “skyscrapers” Factory Investigating Commission that Although fire fighters quickly arrived erected in lower Manhattan. Part of drafted a set of labor standards, many at the scene, their ladders and hoses a trend of engineering advances that of which were adopted by a number were too short to reach the fire, so it outdistanced safety regulations, it was of state legislatures and, eventually, by burned unabated for about 45 minutes supposedly fireproof (indeed the struc- the federal government during the New until it ran out of fuel. This left those ture itself was unharmed by the fire); Deal. The Commission’s co-chairs were inside — mostly young Jewish and Ital- but building codes at the time did not Al Smith, who as Assembly Speaker ian immigrant women, many in their require robust fire escapes or sprinkler and Governor achieved the passage teens — with a gruesome choice: to systems, either of which would have of these measures in New York, and remain and be roasted alive or to jump saved many lives. Robert Wagner, who as a U. S. Sena- from a window — the only available The Triangle Fire came barely a year tor drafted much of the key New Deal exit — to die on the pavement nine sto- after a strike by shirtwaist makers for labor legislation. ries below. When it was all over, 146 better conditions resulted in token con- The Triangle Fire story presents sev- lives were lost. cessions by the factory owners. The eral paths for dramatic exploration: The Triangle Fire captured the pub- strike had received a fair amount of lic imagination in part because of the publicity and had attracted the atten-

15 | NEW MUSIC CONNOISSEUR LIVE reviews THE TRIANGLE FIRE

• a human tragedy, with so many who was an eyewitness to the tragedy and it would take very imaginative promising lives meeting a horrible and serves sporadically throughout direction to add a dimension the end the opera as a narra- music doesn’t already The Triangle Fire • a window into New York society tor. The opera’s one provide while not getting of the time, with alliances forged act takes place in captured the public in its way. the courtroom where The creators made a between classes to effect social imagination in part change, and the Triangle own- concerted effort to hew ers were on trial for because of the closely to the actual • a call to political action, with the manslaughter, except gender and age of record of events. Tak- Triangle Fire as a key milestone in for one brief scene the victims but also ing the opposite tack to the ongoing struggles of the labor that flashes back to that of John Adams and movement and the ensuing trial as the fire during the because of the Alice Goodman with The an indictment of the justice system. testimony of the pros- apparent callousness Death of Klinghoffer, The Triangle Fire, an ambitious ecution’s star witness. that led to the they took pains to make and earnest chamber opera by com- The first epilogue sure their telling of the tragedy. poser Leonard Lehrman and librettist briefly recounts the story met the approval Ellen Frankel, takes the third path subsequent enactment of the fire’s surviving as its principal dramatic focus. This of labor protection measures and the relatives; they even eliminated an was underscored at the March 12 people involved in their promulgation; invented romance because it proved performance in the basement of the the second relates the Triangle Fire offensive. Nevertheless, they proved Community Church of New York by to modern-day industrial disasters, there was a more than adequate the Solidarity Singers of the New in particular the 2013 Rana Plaza supply of dramatic material while Jersey Industrial Union Council, building collapse in Bangladesh that remaining authentic. who introduced the opera with a claimed the lives of more than 1,100 This project was obviously a labor of program of traditional labor songs. garment workers and injured 2,500 love for Lehrman and the performers. These included The Internationale (in more. He composed the music specifically multiple languages) and Solidarity Accompanying the singing was a for the people he knew would sing it Forever, the hymns of the Communist slide show with evocative images— and he coached all the singers indi- Party and the Industrial Workers of printed matter and pictures—about vidually. All that work paid off. the World (IWW), respectively, set- the fire and the trial and from the The production of The Triangle Fire ting the political orientation for the period around 1911. These were at the Community Church of New entire presentation. interspersed among slides of the York should serve as a reminder that The Metropolitan Philharmonic libretto. The latter were largely unnec- much worthwhile new music happens Chorus, a choir Lehrman founded essary, owing to Lehrman’s adroit in humble places like church base- and conducts, and the Bronx Opera setting of the text and the superb dic- ments. Company presented the opera itself tion of the singers, making the words in concert form conducted by the easy to apprehend aurally. Lehrman composer from the piano. Lasting a and Frankel were able to condense bit over an hour, the opera consists the rather lengthy trial by focusing eEf of one act, comprising four scenes, on emblematic moments and by the bracketed by a prologue and two epi- shrewd deployment of ensembles. logues. The combination of all this made for All of the action takes place after the a convincing presentation, begging fire. The prologue takes place in the the question of whether The Triangle makeshift morgue toured by victims’ Fire might be equally effective (not to relatives to identify and claim the bod- mention more practical) as a cantata. ies. It also introduces the Journalist, Staging it could prove challenging;

LIVE reviews NEW MUSIC CONNOISSEUR | 16 ERIC SALZMAN AND FRIENDS

Center for Contemporary Opera, November 2, 2016, the cell | by Matthew Harris

ERIC SALZMAN, Composer-In-Res- the original in a timeless world cre- sical Meredith songs, nicely sung by idence of Center for Contemporary ated by librettist, poet and writer Eva Fishenfeld, made the best impression. Opera, presented his enigmatic and Salzman (the composer’s daughter). All three of these talented young per- engaging Cassandra Ground Zero at Cassandra complains about her lot in formers did a fine job but could have the cell on November 2nd as part of the life as well as the hot weather, and been freer with the music. Center for Contemporary Opera event, tells us little by little how she came to Between the two Salzman sets came “Eric Salzman and Friends.” Though he calls this 17-minute work “a mono- She‘s sometimes the hysterical Cassandra of lore and drama in the form of an opera,” it’s other times cool and flippant, with remarks like “I know also a good example of what Salzman what you’re going to say. No — I mean that literally!” is well known for both creating and chronicling: New Music Theater. be cursed as a clairvoyant no one will Connection Lost: The Tinder Opera, a On his website, Salzman says Music believe. She’s sometimes the hysterical 12-minute film directed by Adam Tay- Theater “is the equivalent of modern Cassandra of lore and other times cool lor about the perils of dating in today’s dance as opposed to ballet. The only and flippant, with remarks like, “I know cyber world. Scott Joiner (the tenor trouble is that it’s a still-evolving art what you’re going to say. No—I mean we had just heard) wrote the screen- form that is now about where modern that literally!” play and soundtrack, as well as acted dance was half a century ago.” Work- Salzman’s score can be cool and and sang the lead role. This dynamo ing in an art form that’s still evolving flippant as well: just when we think proved himself quite up to task across sounds exciting, but going through he’s going to get all avant-garde on the board in this charming and witty lit- a half century as the poor cousin of us, Cassandra tickles the ivories and tle piece. But what was it doing on this opera and Broadway does not. To sings a bluesy, 1930’s-style refrain program? I know the concert was titled paraphrase from the latter, how do you (“Everything I say is true…”). I espe- “Eric Salzman and Friends,” but friends solve a problem like Music Theater? I cially enjoyed hearing the playback don’t let friends water down their retro- don’t know but, in the meantime, let’s loops create an ever-thickening web of spectives. I’ll take my Salzman straight, review it. melodies, beautifully sung by Norder- no chaser. Still, it was a great night of Cassandra Ground Zero was written val, whose vocal agility was apparent music, theater, and Music Theater. (oddly enough, just before 9/11) for throughout. The cell’s Artistic Director, soprano-improviser-composer Kristin Kira Simring, stage-directed this one- Norderval, who took it around Europe woman show simply, tastefully and in 2001 and sang in this U.S. premiere effectively. (But next time, don’t let that eEf performance as well. open laptop obstruct a full view of Cas- Playing the role of Cassandra of sandra at the piano.) Greek myth, Norderval is the only On the first part of the concert, character on stage and the only live soprano Jessica Fishenfeld and tenor music-maker. She’s either speaking, Scott Joiner, accompanied by pianist singing a cappella, accompanying her- Eric Sedgwick, sang what was simply self at a grand piano, or singing over billed A Song Cycle by Eric Salzman, electronic music or playback loops of with poems by Walt Whitman, William her voice that she creates on the spot Meredith and e. e. cummings set in a with a laptop while fading them in and lyrical and consonant-leaning atonal- out with a handheld mixer. ity. When it comes to word painting, To the right of the piano is a blue cur- Salzman isn’t tempted by low-hanging tain with occasional projections, and fruit; he stays true to the poem’s gen- the program notes tell us, “Cassandra eral mood, created via the piano (e.g. is lounging by the side of a swimming undulating seconds, gentle filigree, a pool on an island resort.” But I wouldn’t walking bass) over which he lays long, call her an “updated” Cassandra; she’s flowing vocal lines. The jazzy, whim-

17 | NEW MUSIC CONNOISSEUR LIVE reviews reviews

CDby Andrew Violette THOMAS PASATIERI: ROGER SESSIONS: MUSIC FOR VIOLIN LEWIS SPRATLANVESPERS THREE SYMPHONIES TROY 1552 AND PIANO BRIDGE 9453 CANTATA: HESPERUS IS Thomas Pasatieri wrote his first sym- Sessions was never fashionable PHOSPHORUS (2012) INNOVA 894 phony at age 63. Me too. I haven’t when he was alive and he’s not fash- Not as sophisticated contrapuntally gotten mine played and don’t expect ionable now. But he’s worth listening as David Diamond but as harmon- to. But with the VSL I don’t need to use to because he taught John Adams, ically forthright as Roy Harris, live players. I’m convinced Mozart David Del Tredici, Milton Babbitt, Spratlan writes in the1950s Ameri- would be doing the same: doing it all John Harbison, Frederic Rzewski, cana style of Irving Fine and Walter electronically, bypassing those very Donald Martino and many others— Piston. The text is cloyingly politi- expensive players and those anxious as well as my Juilliard classmates Tod cally correct but the music is fresh board members with an eye to the Machover, George Tsontakis and and, if you like this style, go for it. bottom line. me. Of course he's won a Pulitzer. Still, lucky Pasatieri got the Univer- David Bowlin plays the seriously sity of Kentucky Symphony Orchestra difficult Sessions’Sonata for Violin: to give his three symphonies a go perfect intonation and rhythmic pre- and they play them very well. They cision as only digital can get. David probably lost money on the deal. Holzman plays Sessions’ Second are dead now. Boulez Piano Sonata: this version rivals both was right. They’re a living museum. the Helps and the Webster record- Well, why not? There are many beau- ings. Together they play Sessions’ tiful 18th and 19th century pieces Duo. people will pay money to hear. So The music is worth listening to if Pasatieri was lucky to get a good only once. Every Sessions thing is orchestra. He was also the first per- here: the long lines, the sober har- son at Juilliard to get a doctorate (at monies, rich little essays in form and 16!). Then he founded his own film technique. Sessions’ work puts the music company. Lucky guy! current fashions in perspective—and The music is neo-romantically col- to shame. He was a skilled composer ored. He knows how to drive home a and a great teacher. And he has a good tune. 20-something composers perspective that needs to be re-exam- should be as skillful with orchestration ined. and form as he. Aren’t we tired listen- ing to knotty Carter and slick Glass? I am.

19 | NEW MUSIC CONNOISSEUR CD reviews MAX REGER: MUSIC FOR CLARINET STEVE HOROWITZ: FRANCIS POULENC MUSIC FOR AND PIANO BRIDGE 9461 ENTERTAINMENT TONIGHT, PIANO (1918-1959) BRIDGE 9459 Fickle musical fashion! Max Reger CHILD OF AMERIKA, VIVO FOR Pianist Alec Karis delivers a properly was at one time as lionized as Rich- MR. POWELL FLUFF-TONE RECORDS deft interpretation that doesn’t get in the ard Strauss, now he’s hardly played. The composer with “my bad ass bay way. Karis notes that the “challenge is “With this recording we hope to area band” i.e. The Code Ensemble to project this highly expressive music advance the cause of these still rarely (harp, clarinet, trumpet, 2 guitars, 2 through color, tone and voicing while performed works and to encour- keyboards, trombone, bass and drums). avoiding exaggerated rubato.” Karis age young clarinetists to consider The soundfile/CD can be ordered charms with his understated, throw- making them a regular part of their online. Horowitz studied with Mel Pow- away technique. performance.” (Alan Kay, this CD’s ell and Morton Subotnick. He’s written I enjoyed this CD immensely. Theme clarinetist, in his program notes). everything from string quartets to Varie (1951) is a set of 11 variations Phil Salathe, in the CD program orchestra works. These three pieces for (Poulenc: it’s “a serious work which I notes, says , “Writing for clarinet his ensemble are from the late 1980s. hope is not annoying”). It was a pleasure seemed to bring out Reger’s most Scores are downloadable free from listening to the rarely-played-all-at-once lyrical side, and his penchant for dra- newmusicusa.org and worth a look Fifteen Improvisations (1933-59—that’s matic contrasts and tempo perfectly at. These are oddly original sound col- 26 years!). Trois Pieces (1918-1928) suits the instrument’s huge dynamic lages—eclectic, funny and smart. features Horowitz’ familiar encore range….The clarinetist in particular piece, the Toccata. Karis rattles it off: must have uncommonly fine breath dry, deadpan, chic. Also on the CD are control to navigate some of Reger’s Melancolie (1940), Badinage (1934) extremely long lines.” and Trois Mouvements Perpetuels (1918). The pianist writes, “Though not tempted to compose with the 12-tone system, [Poulenc] loved the music of Anton Webern, with whom he shared qualities of elegance and concision.”

CD reviews NEW MUSIC CONNOISSEUR | 20 CHARLES WUORINEN: EIGHTH LEON FLEISHER: ALL THE THINGS YOU HARRY PARTCH: PLECTRA AND SYMPHONY AND FOURTH PIANO ARE BRIDGE 9429 PERCUSSION DANCES BRIDGE 9432 CONCERTO BRIDGE 9474 Mr. Fleisher plays possibly the slowest Volume 2 of Bridge’s Harry Partch Just to regurgitate Robert Kirzinger´s (almost 18 minutes) non-flashy, intro- Project, this CD features an evening excellent program notes, and just for the spective interpretation of Bach’s famed of Dance Theatre: Castor and Pollux, symphony, “Each movement [of the 8th Chaconne (arranged by Brahms). Ring Around the Moon and Even Wild Symphony] is centered on a different Somehow it works, though it almost Horses. pitch. [There’s an] overall three-move- falls apart. The Partch Ensemble re-creates music ment fast-slow-fast structure. The first Leon Kirchner: L.H. for Leon Fleisher not heard since 1953. The Ensemble movement…details…a rising arpeggio (1995): big leaps, big dynamic was founded by John Schneider and in the strings [plus] sharply accented range, very virtuosic. 7 minutes, currently includes Erin Barnes (dia- chords in the brass. Phrases are cleanly played. mond , eroica, cymbals), Paul stretched or compressed. [There’s] solo Berkolds (voice), Alison Bjorkedahl turns for violin, , flute. The slower George Perle: Musical Offerings for (kithara), Matt Cook (canon, surrogate second movement isj…highly contrapun- Left Hand Alone (1998) was written kithara, eroica), David Johnson (cloud tal with solo instruments prevailing…the for Mr Fleisher’s 70th birthday. “My chamber bowls, chromelodeon), Ulrich tempo is flexible. The third movement [is] piano music is quirky and takes some Krieger (saxophone), Yumi Lee (per- pianissimo [throughout with] very active getting used to,” wrote George Perle cussion), Tom Peters (canon), John percussion [and a] heightened presence to the pianist. It’s vintage. Schneider (guitars, canon), Derek Stein of the piano. [The movement culminates Frederico Mompou (1893-1987) Pre- (adapted viola), Nick Terry (bowls, in] two alternating, massive chords.” lude No. 6 (1930): “The music of So what? The fact is you can hear these bass marimba, eroica, fight bell), things and you can hear these on first [Catalan composer/pianist] Mom- T.J.Troy (bass marimba, voice), Alex hearing. Sure, he’s using dodecaphonic pou is the music of evaporation,” Wand (guitar, canons). I mention each techniques but his music is concrete writes Stephen Hough. I found this member because they are a superb and the gestures are simple enough to work by a composer I was not at all group performing historic, significant be immediately heard by anyone who familiar with both intriguing and poi- music. makes the effort. gnant. There’s even a bonus track of a live I would recommend this CD to all Jerome Kern: All the Things You Are broadcast (1953) of Harry Partch those under-65 year old composers/aca- (arranged for LH by Stephen Pruts- introducing the music on this CD. It’s demics still writing in their grandfather’s man) (1987): come on, you know poignant and funny at the same time. dodecaphonic style. you want to hear this. Normally I listen to one-composer Don’t bother. Wuorinen is better than CDs. But sometimes there are interest- Mr. Fleisher, Artur Schnabel’s best you. You can’t get any better technically ing cuts on CDs recorded by particular student, is legendary. Great gift CD. and creatively. He’s polished, urbane, groups like: elegant and smart. He’s also the pre-em- inent tribal insider. He doesn’t need my encomium. He’s got Time’s.

21 | NEW MUSIC CONNOISSEUR CD reviews NEW MUSIC FOR CLARINET, AMERICAN TAPESTRY: DUOS TRANSFORMATIONS: AARON ANOTHER LOOK, F. GERARD FOR FLUTE AND PIANO, SUSAN TINDALL, TUBA BRIDGE 9471 ERRANTE, CLARINET RR 7941 ROTHOLZ, FLUTE, MARGARET Mr. Tindall plays the Fifth Hour of Karl- Vladimir Ussachevsky: Four Stud- KAMPMEIER, PIANO BRIDGE 9411 heinz Stockhausen’s last piece Klang ies for Clarinet and Evi (with Nyle Robert Muczynski (1929-2010): Sonata for (Sound)--The 24 Hours of the Day. He Steiner, Evi) (1980) interesting rar- Flute and Piano, Op. 14 (1961): a good plays the bass clarinet version of the duo performance of this Stravinskian vir- ity by one of the prime movers of piece (the two other versions are for tuosic rarity. Walter Simmons described electronics in the 50s. flute or trumpet respectively.) There’s Muczynski as a combination Bartok- Adolphus Hailstork: A Simple Bernstein-Barber. I wouldn’t disagree. Rot- something jaw-dropping when a tuba Caprice (with Lee Jordon-Anders, holz’s got a nice tone in the upper-middle player plays a clarinet part with all the piano) (1987): cute jazz licks register. Kampmeier is a good supporting clarinet’s big jumps and virtuosic lines. player and star when need be. Love that Sydney Hodkinson: The Dissolution light, swift, brilliant last movement. of the Serial (with William Albright, piano) (1967): starts off traditional elegant Babbitt pointillism ends in a clever pop rhapsody. Sometimes medicinal clarino play- ing by Mr. Errante---but these pieces are not your Bellini-esque chalameau arias. Good show.

22 | NEW MUSIC CONNOISSEURCD reviews NEW MUSIC CONNOISSEUR | 22 COMPOSING AMERICA: THE LARK QUARTET BRIDGE 9423 Paul Moravec (b. 1957): Piano Quin- tet (with Jeremy Denk, piano) (2008) Three movements, short at 25 minutes-- long, string lines reminiscent of Sessions and Copland; colorful high/low piano contrasts; interesting counterpoint. It’s the meatiest piece on the CD, and it bears repeat listening. The Lark and Mr Denk play it like it was written for them, which it was.

CALLING ALL EMERGING COMPOSERS! EARSHOT CALL FOR SCORES UNDERWOOD NEW MUSIC READINGS EarShot provides opportunities for ACO’s 2017 Underwood New Music emerging composers to work with an Readings will be held June 21-23 at orchestra in a short-term residency, the DiMenna Center in New York City. with professional development Sessions will take place under the baton opportunities, composer mentorship, of Music Director George Manahan. and time with an orchestra to read, The readings are free and open to the public; develop, and record one piece. registration is required. Travel, housing and copying expenses are provided by the program. EarShot is a partnership between the American Composers Orchestra, League of Call for Scores Deadline: American Orchestras, American Composers Forum, November 1, 2017 and New Music USA.

For info on upcoming readings & submission guidelines, visit www.americancomposers.org.

23 | NEW MUSIC CONNOISSEUR CD reviews The day before the concert, in the morn- “Me too!” ing, I go to help out at the rehearsal. There “The first?” Music are just a few people there, among whom “What do you mean, the first?” is the director of the Musikverein, Thomas “Well, there are two of them!” Switched Anghyan. “No, how are there two?” There’s some tension in the hall. The “Yes, one is for piano and small orchestra, Around concerto is very important, the program the other is for piano and orchestra…” is difficult, and there’s not much rehearsal “Sorry, Claudio, I’m mortified, maybe … by Mauro Meli time. They start right off with the Berio. there was a misunderstanding with the sec- The orchestra has tuned up, Abbado is on retary? Excerpted from La Musica the podium, and Canino is seated at the “What do you mean maybe? Dammit, al Rovescio, Ponte alle Grazie Press, 2016 piano. now what do we do? The orchestra begins and Canino comes “Hold on, give me a minute …” NOVEMBER 1990. VIENNA. Right after in right away, when Abbado raises his right “Certainly Bruno, take half an hour. I have the Peter and the Wolf concert (and record- shoulder, his signature gesture to stop. to continue the rehearsal with another piece ing) in Ferrara with Claudio Abbado and They’ll have to start over. and can’t keep the orchestra waiting. Go get Roberto Benigni. I was in Vienna often then. Almost automatically I get up and walk yourself the right part.” A couple of years earlier Claudio Abbado toward them. End of discussion. had been appointed Generalmusikdirektor Without looking at Canino, Abbado gives In just a few words Abbado tells the of the city of Vienna, where he’d created the downbeat to the orchestra, and Canino orchestra they’ll continue the rehearsal with Wien Modern, the huge and impressive again starts playing. Everybody holds their another piece. The two of us are on our own. festival-exhibition of music and contempo- own for a few seconds more than the first Canino picks up his part and Abbado’s rary art. That year a lot of space had been time but now it’s the musicians who stop, score. Together we go to Abbado’s office devoted to Luciano Berio. without waiting for the Maestro, who then and, while we’re walking, I hear him grum- Among the famous performers invited to turns to Canino without saying a word bling: Wien Modern to play with Abbado and the but with a look of “what the heck are you “This has never happened to me before … Vienna Philharmonic was Bruno Canino, doing?” on his face. The look on Canino’s what nonsense …. And yet it seems to me who was to perform a concerto for piano face shows a little embarrassment but also a …” and orchestra by Berio. It was one of the bit of “what the heck are you doing?” Canino is sweating, absorbed and over- highlights of the festival and would take Abbado understands Canino’s look and excited, with the look of a little kid in big place in the legendary Goldener Saal of the gazes deeply at the score. He glances again trouble. Every so often he glances at me and Musikverein, the very same place as the at Canino and then again at the score. shakes his head, as if to say “Wait a sec- famous New Year’s Eve concert, broadcast Another few seconds go by and the two of ond, let me think.” Having arrived in the worldwide. them, as if following an inaudible signal, office, he closes the lid of the piano and at without talking to each other, without look- the end arranges his part and Abbado’s score ing at each other, get up at the same time and one on top of the other. Then he starts leaf- start walking towards one other. In reality it ing through pages, first one, then the other. is only a few centimeters, but what’s import- Then he starts flipping pages back on one, ant is they seem to be thinking about doing and flips ahead on the other, faster and faster, the same thing at exactly the same time: then he does just the opposite… Abbado is trying to get a look at Canino’s They seem like sped-up images. I’m at his part, Canino is trying to get a look at Abba- side, hypnotized, as if I were watching a ten- do’s score. They are side by side, in front of nis match at three times the normal speed. the orchestra. I’m behind them. I manage to Only I don’t see the ball and I don’t under- hear because they’re not more than a half a stand the game. Only he sees the ball and meter away. believe me, he sees it really well. Five, ten “Bruno, show me what you’re playing …” minutes later: “Claudio, you’re playing something else “I knew it …” too.” Again he starts turning pages back with “Bruno, we’re playing the music that’s one score and does the opposite with the been scheduled on the program, the Con- other: certo for pianoforte and orchestra by Berio “I knew it …” Bruno Canino …. You?” And me: “What’s going on?”

24 | NEW MUSIC CONNOISSEUR Cadenzas this evening …” other people’s music for another instrument Later that afternoon, a regular rehearsal. or for another instrumental ensemble), And what a rehearsal. orchestrate and finally to arrange. So yes, I don’t know why, but I never brought it Berio used all these things in the concerto up again, ever, with either Bruno or with played in Vienna by Abbado and Canino Claudio. with the Vienna Philharmonic, and he used A brief historical note (!). Canino thinks them with knowledge and unparalleled he has to play what is sequentially the first technique. concerto, but those at the festival meant In short, Berio was a composer of enor- Mauro Meli instead the first concerto (and the only one) mous talent, endowed with inexhaustible for grand orchestra, which is the second con- melodic and harmonic inspiration, and who And him: “It isn’t possible … I don’t certo. At practically the same moment he’s had a compositional technique that was believe it … but think about it..” realized he’s learned a different piece from simply formidable. Moreover, he knew I confess, “Bruno, I don’t understand any- the one programmed, he also realizes that, how to orchestrate and arrange (or re-ar- thing …” in a case more unique than rare, the two dif- range) his own compositions, and those of “It’s just switched around, I’m telling you! ferent concerti have in common the solo part others, like nobody else. He was, in short, It’s the same music but put together in a dif- but switched around, cut into pieces and put first and foremost, before being a brilliant ferent order. It seemed to me … I knew I was back together in a different order. In a few composer, a real “mostro di bravura.” To familiar with it ..” seconds, he sees everything and then copies, those who don’t know them, I would advise “The music’s switched around?” I repeat, cuts, glues and reassembles. A computer. listening to a few of his masterpieces: Folk still unable to understand. In my opinion, Steve Jobs Songs, 1964; Sequenza VII for oboe, 1969; “Exactly. The music is Canino is eavesdropped on all this with Points on the Curve to Find for piano and switched around.” a hidden camera while Bruno small orchestra, 1974; Requies for orches- “Meaning?” sweating, absorbed was playing, studying and tra, 1984; Echoing Curves for piano and “Berio has taken the piano and overexcited, analyzing Berio’s scores and orchestra, 1988. part of the other concerto parts, and then said to him- and without changing a note with the look of self: “Damn, we really have has disassembled, cut, cop- a little kid in big to make a machine that can [Translated from the Italian by Michael Dellaira] ied, and reassembled it all help us organize like this little …. And he wrote different trouble. great Italian pianist.” And so, music above it, for symphony orchestra! thanks to Bruno Canino, the first personal Understand? He’s a genius … Luciano is a computer was born. Surely it didn’t have genius!” Bruno’s ability or speed, but it could still be I stood there a few seconds stunned, and put to good use. I’m certain that it went that then said to him, way. “That’s crazy! And now?” It seems to me that Berio could have “Nothing, we’ll look for a photocopy acquired the rights to this small invention machine, then I’ll need a pair of scissors, because, bottom line, without his music and some glue and some big sheets of blank without the complicated exercises and stud- paper … And I’ll reconstruct the part …” ies needed to understand and interpret his “But Bruno, why don’t we just look for great ideas, the other small geniuses, like the right part?” Canino, might never have revealed them- “I’d rather reconstruct it myself. I’ll do selves to the rest of us. that while you or the Musikverein find me Anyway, we’ve used Abbado, Berio the original part; while I’m cutting and and Canino (another ABC of music), as an glueing, I’ll be going over it and studying excuse to talk about several things, includ- it, and most of all I’ll be saving my fin- ing a composition and its performance. The gerings, because it would take a week to terms reproduce, copy, assemble, decon- recopy those!” struct, process and reprocess are used all the “And what about Claudio?” time in music. And put into practice. Com- “We’ll ask Claudio if he’ll agree to posers of every epoch have also known reschedule our rehearsal this afternoon or how to quote, transcribe (that is, transcribe

Cadenzas NEW MUSIC CONNOISSEUR | 25 EDWARD ALBEE: It may not be considered into an extensive discussion with Journalism 101, but I have him. I was hopeful that a subse- A MUSICAL adopted this idea as a truism: quent interview with NMC could When you approach an inter- be arranged. It turns out Mr. Albee REMEMBRANCE viewee or some newsworthy was simply too difficult a subject By Barry L. Cohen person, don’t be shy or calculat- to catch outside of the theater. ing about the substance of your Although I did see him once again questions. Always remember after a performance of The Amer- that some of the dumbest ques- ican Dream years later, I totally tions have produced exceptional buried my questions and lost the journalistic moments. There are last opportunity to follow up when th lots of examples, but I’m always he died on September 16 last year reminded of the reporter who asked in Montauk, his final home. Mahatma Gandhi what he thought So let’s take a good look at that of Western civilization. It is said loaded comment. I have indeed (via various sources, as there were remained fascinated by the idea no witnesses to this) that the great that there is music in all of his Indian leader responded with, “I plays. Was he pulling my leg?. think it would be a good idea.” There have been many other crit- (It is generally recorded that this ical analyses of Albee’s plays, happened in 1970 and not at a time and in his obituary a comment by when the Brits were mowing down Terrence McNally, one of Albee’s unarmed civilian protesters, which lovers, caught my eye. He referred would have made such a comment to the playwright as a sculptor of anything but facetious.) words. So that might lead one sim- Several years ago I went to a live ply to the idea that art often crosses appearance by playwright Edward its own boundaries. It does not Albee at the uptown Y when he make him any more musical than, was still very much alive. In a mini say, Tennessee Williams or Arthur bio I found in the program I learned Miller. Perhaps Albee was simply that Albee had studied music early a composer free of octaves, chords in his career before switching to and musical contour. Many would theater art. I knew that he could be consider that idea a bunch of words rather flippant when facing clueless without context. However, there audience members. That evening is one other fact that has intrigued in response to the question, “What me. It is that Albee’s plays often is The Goat about?,” he remarked, appeared on the same program as “Oh, about two hours.” So how those of Samuel Beckett. Why, I would he respond to a question I ask? drew from his brief biography, ”I Well, I cite this because Beckett see you once studied music. Do himself can be seen as very much you consider yourself a frustrated a musical playwright. Interestingly, composer?” his pairings with Albee go back His reply was in no way smart-al- to 1960 when Krapp’s Last Tape ecky. With perfect conviction he was performed before Albee’s Zoo said he was not at all frustrated, Story at the Cherry Lane Theater in that there was music in all of his Greenwich Village. Beckett’s play, plays. Wow! I, for one, certainly a solo performance, impressed one didn’t know that! for its lyrical lines often in counter- I so much wanted to press him point with the character’s own past on this, but the line of questioners words preserved on a tape recorder. and well-wishers was long, and I One could almost see Krapp felt this was not the place to enter smoothly being replaced by a duo

NEW MUSIC CONNOISSEUR | 26 of pianists or violinists. Always remember say, stormy operatic What one might speculate about Yes, indeed Beckett’s love-hate contentious- Albee’s off-the cuff commentary is that absurdist plays were that some of the ness, husband George he subtly used the skill of leg-pulling very attractive to musical dumbest questions sings the title to Mar- to magnify the mysteries surrounding composers, and Krapp’s tha, and she replies his own art. I have come away with that Last Tape was adapted have produced softly, “I am, George, I thought in following some of the many musically by three Euro- exceptional am.” Those words are interviews he faced during his extensive pean composers, Marcel repeated once more. career. Oh, he could be quite forthcom- Mihalovici, Gyula Csapó journalistic One can with all prob- ing as to what his plays are about, such and Michael Parsons. moments. ability find the reasons as the ideas of social identity and char- I should also mention Albee chose this acter-drawing. Yes, I have done google that one of Beckett’s plays, entitled, Words ending, but that is for dramatic analysts. searches to determine if any of the fin- and Music, includes in the cast an orchestra If one studies the play long enough and est theater critics ever commented on performing music; to be specific an aptly often enough, perhaps one can find a orkw the “music” in his plays. I could find no contemporary musical score eventually of art divided into actual movements, such direct quotes nor citations. That, of composed by Morton Feldman. (Beckett’s with, in this case, the comment on the course, does not totally rule out the idea brother had first composed the music and title serving as a coda. But again this is that there was music in his plays. then withdrew it.) The music’s role here a major character study inspired perhaps is anything but frivolous. It serves as a by the painful life of Ms. Woolf and the kind of commentary on the identities of thorny relationship she had with her hus- the actors, and the play has been described band while she was being plagued with by several critics as “a composition about a terrible case of bipolar disorder. Very composition.” few think of “Who's Afraid of Virginia And at the special performance of Woolf ? as a sort of opera or musical Albee’s The American Dream mentioned composition. above, it was paired with Beckett’s absurd- ist one-woman drama, Rockaby. The single character is required to mouth her lines in NEW FROM OPEN SPACE a near ditty-like manner, almost childlike after the character’s opening static setting in a rocking chair. The play was performed by Marian Seldes in the special showing I attended. But how would one characterize The American Dream, which followed it? About as “unBeckettian” a play as any- thing ever invented for the theater. It’s very much a satire on American values.. Okay, for whatever reason Beckett-Albee pairings have somehow served audiences well, as they usually attract serious play- goers. Now what about his big stand-alone plays. Take Who’s Afraid of Virginia Woolf? This drama, named with obvious reference to the children’s ditty, “Who’s Afraid of the Big Bad Wolf?,” as well as perhaps to the Irene Coates book Who’s Afraid of Leonard Woolf (Virginia Woolf’s husband), does use the ditty often. At the very end when the two principal charac- www.the-open-space.org ters go to bed after a night of, shall we

27 | NEW MUSIC CONNOISSEUR TRACK CONTENTS Cadenzas and NOTES will listen to it several times, catching more words each time. Letters: He also will sing it with his friends and, on rare occasions, In the Spring 2016 issue of New Music Connoisseur, my read the lyrics on-line. So, by going first to the show and esteemed colleague Mark N. Grant offered a “different look” at then straight to the libretto, Mr. Grant has experienced this “the all-rap musical Hamilton,” which he criticizes as “merely a rap in a way that is culturally alien to others who enjoy rap. trending pop/rap oratorio shoe-horned into the theater.” He later We have all seen young people on subways, quietly rapping writes, “There is something scandalously wrong with a commu- along with whatever is playing on their headphones. nity of opinion that treats Hamilton’s lack of memorable melody 6. Since there obviously is melody in Hamilton, some final con- as unworthy of commentary… How can you have a great musical sideration of Mr. Grant’s complaint that the show didn’t leave without great music?” him with any that he could remember needs to be addressed. 1. Hamilton is in no way an “all-rap musical.” The opening Miranda’s use of melody is more similar to Wagner and to the number clearly introduces the audience to the three forms minimalist composers than to Sir Andrew. Sir Andrew puts of music that will be used throughout the show: rap, mel- one big tune in each of his shows, and then sprinkles the rest ody, and a third mode in-between that could alternatively be of his shows with more minor melodies, repeated endlessly described as pitched rap (rap sung, rather than spoken, on but with no dramatic intent. Wagner, to contrast, uses leit- a single note), although many times throughout the show it motif, where a sequence of notes has a particular meaning, resembles sung melodic recitative. The later descriptor, “pop/ and Miranda does the same, reserving several melodic motifs rap oratorio,” is much more accurate. Composer/ Librettist for specific references. Most of the melodies in the songs in Lin-Manual Miranda uses these three modes as character Hamilton are of the form AAAB – Mr. Grant may find this traits as well as for dramatic effect. repetition to be boring, but for others it is propulsive and certainly memorable. It should also be noted that most of the 2. Another complaint of Mr. Grant is that the words whizz by rap numbers have repeating melodies in the accompaniment. too fast for him to understand every word. I counted: in all, there are 3 instances of slow rap, 15 of medium-speed rap, Is Hamilton “merely” an oratorio? As a critic, not an adverb I and 24 of fast rap (one of which is very fast), while there are would use. Is rap not music (or not “great music”)? Oh, please. also 10 instances of medium-speed pitched recitative and 5 In New Music Connoisseur, are we to consider serial music, ale- instances of fast pitched recitative, and 31 instances of mel- atoric music, minimalism, electronic music, and any other forms ody. Considering how difficult it is for anyone to get tickets with a lack of “memorable (sic) melody” with similar disdain? to Hamilton, most of the public, including myself, experi- ence Hamilton as a “pop/rap oratorio,” and as such, it works Barry Drogin very well. I understood “most of it” the first time I sat down to listen, all the way through, to the OBC Recording I had purchased. 3. I can’t speak to the effectiveness of the sound design at the Richard Rodgers Theater. I have seen several videos of Ham- Mark Grant Responds: ilton – the most effective are the unstaged performances at the White House. The video clips from the show seem to Mr. Drogin seems hellbent on proving my own arguments. Yes, be distractingly cluttered with busy stage business and cho- the score is more audible and distinct on the CD, especially with reography that could easily distract an audience member repeated listenings– points that I made abundantly clear in my from hearing and understanding all of the words. I can easily article. But even after carefully studying the script and the score imagine Mr. Grant’s frustration at paying so much money after having seen the live performance in the theater, I came to to get excellent seats and then being unable to follow the the very same conclusion: that Hamilton’s unsuspenseful dra- characters and plot. Prior to the OBC recording’s release, maturgy, superficial characterizations, and lack of memorable Hamilton started at the more intimate Public Theater, which melody are patently obvious. may have fared better with its initial audiences. Mr. Drogin’s comparisons with Wagner are preposter- 4. I disagree strongly with Mr. Grant’s assertion that Hamil- ous. As far as there being different forms of melodic rap, let ton is “merely a trending pop/rap oratorio” (emphasis mine). me state what is self-evident: that all syllables in rap are Webber and Rice’s Jesus Christ Superstar, released first as of the same duration (that’s not the case for Gilbert and a record, was, similarly, an unstaged rock “opera” which, Sullivan patter songs or scat singing), which is intrinsically anti- in my subjective experience and opinion, did not make the musical, which works against, if not defeats, the potentialities transition to staged musical very successfully. Breuer and of melody. Telson’s The Gospel at Colonus is one of the rare instances of a staged oratorio working well as a piece of theater. 5. My teenage son has memorized the entire score; I asked him how he understands all of the words in a rap song. He told me that he will listen to a rap song once and, if he likes it, he

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