STAFF PICKS: Friday Faves

Second Inversion hosts share a favorite selection from this Friday’s playlist. Tune in during the indicated hours below on Friday, June 3 to hear these pieces. In the meantime, you’ll hear other great new and unusual music from all corners of the classical genre 24/7!

Tyondai Braxton: Casino Trem; Bang on a Can All-Stars (Cantaloupe Music)

coverThe composer Tyondai Braxton has been busy with some interesting projects. We hear of a lot improvised electronic music  performances in Brooklyn, and a 2013 installation piece at the Guggenheim Museum that featured a quintet of musicians sitting cross-legged on sci-fi ovular pods – some interesting stuff. His Casino Trem from Bang on a Can All-Stars’ Field Recordings is a rich tapestry of every electronic color of the rainbow, and makes me feel like I’m in the middle of an installation just listening to it. – Geoffrey Larson

Tune in to Second Inversion in the 11am hour today to hear this piece.


Stephen Sondheim: Johanna in Space (arr. Duncan Sheik); Anthony de Mare, piano (ECM Records)

1444893095_coverThis arrangement is born from Sondheim’s epic horror musical Sweeney Todd: The Demon Barber of Fleet Street.  In the musical, a handsome sailor spies a young woman (Johanna) at her window and in song he declares his love, learns her name, and promises to come back for her.  Later, Sweeney Todd (Johanna’s father) sings his own version of “Johanna” as he imagines what she’s like as a grown woman.  In Sheik’s arrangement the two versions combine and take on an unearthly vibe created by the layering of dozens of guitar improvisations via a tape echo.  It’s within this echo that Anthony de Mare’s delicate and sleek piano deftly drifts. – Rachele Hales

Tune in to Second Inversion in the 1pm hour today to hear this piece.


Nick Brooke: Chokoloskee (Innova)

826coverI absolutely love it when music conjures specific images. Nick Brooke’s Chokoloskee is one such piece. Written as a an alternate-reality “tableaux” on the town of Chokoloskee, Florida as part of the album Border Towns, the composer describes this work as “surreal Americana.” For me, this music is the sound of the memory of a legendary summertime party; not the objective sounds of the party in real-time, but what my recollection of the party sounds like, as experienced as an aural memory.

This piece incorporates radio samples, historical and field recordings, as well as “live” performance into a lively and pleasantly strange mashup. Aside from being riotously fun, this piece accomplishes the composer’s goal of “blurring the line between recording and live performance.”

All in all, Chokoloskee is a refreshing listen. I suggest using it to assist the planning of your next outdoor party. – Seth Tompkins

Tune in to Second Inversion in the 5pm hour today to hear this piece.


John Cage: Dream; Bruce Brubaker, piano (Arabesque Recordings)

51cEChNX7tLWhen you hear the name John Cage, you probably think of prepared pianos or philosophical musings, complete and utter sonic chaos, or maybe just 4’33” of silence. But Cage was actually a very thoughtful, introspective composer and thinker—and in few works is that made clearer than in his solo (unprepared) piano piece “Dream.”

Composed on a single treble clef staff (which is extremely unusual for piano), “Dream” features hardly any left-hand accompaniment at all. Instead, the utterly translucent melodic line drifts slowly and freely from one sustained note to the next, with pedal blurring all of it into a beautifully simple and ethereal dreamscape.

The piece was originally written as a piano accompaniment for a dance by choreographer Merce Cunningham, Cage’s life partner and frequent collaborator. Like so many of their cherished collaborations, “Dream” has since become a quiet, hidden Cagean gem—a soft and gentle reminder to immerse ourselves in the sounds around us, both in waking and in dreaming life. – Maggie Molloy

Tune in to Second Inversion in the 6pm hour today to hear this piece.

New Music Grammy Nominees 2016

We are thrilled that seven of our Albums of the Week received 2016 Grammy nominations!  Here’s a recap of these awesome new music releases:

Seattle Symphony’s Dutilleux: Métaboles; L’Arbre Des Songes; Symphony No. 2, ‘Le Double’  (Best Orchestral Performance, Best Classical Instrumental Solo, & Engineered Album, Classical)

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“The Seattle Symphony dances with precision and grace through the dense textures and intertwined solos of the first movement, the delicately colored timbres and haunting lyricism of the second, and finally the convulsive rhythms and fascinating orchestration of the third.” – Maggie Molloy (on Symphony No.2)

 

 

 

Roomful of Teeth’s Render (Best Chamber Music/Small Ensemble Performance)

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“The last piece on the album is the title track, also composed by Brad Wells, which was inspired by David Eagleman’s short story ‘Search.’ The ensemble’s voices ebb and flow in soft waves, gracefully gliding in and out of near-silence to create a serene and mystical sound world.” – Maggie Molloy

 

 

 

eighth blackbird’s Filament (Best Chamber Music/Small Ensemble Performance)

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“It goes without saying that the performance quality on this disc is top-notch, no less fine than any of eighth blackbird’s past albums. You’re luxuriously free to focus solely on the compositions themselves, all of which are worth contemplating at length. In an age when most albums’ connecting filaments are somewhere between ultrathin and nonexistent, it’s a pleasure to listen to a set of pieces with such close ties.” – Jill Kimball

Julia Wolfe’s Anthracite Fields (Best Contemporary Classical Composition)

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“Anthracite Fields is not an easy listen, but I don’t think Julia Wolfe wanted it to be. We Americans tend to gloss over unpleasant parts of our history when, in order to make peace with our past, we’d do better to confront it. In telling these miners’ stories through vivid music, Wolfe has brought an important but often ignored chapter of our country’s story to the forefront…. You’ll learn a little about life in late-1800s Pennsylvania, you’ll contemplate energy usage and workers’ rights, and if you’re like me, you’ll have a good cry.” – Jill Kimball

 

Anna Thorvaldsdottir’s In the Light of Air (Producer of the Year, Classical – Dan Merceruio)

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“As a composer, Thorvaldsdottir is known for creating large sonic structures that reveal a vast variety of sustained sound materials—and both of these pieces are a perfect example of her visionary style. Throughout the album, her subtle timbral nuances, poetic textures, and lyrical gestures immerse the listener in austere, somber, and utterly spellbinding soundscapes.” – Maggie Molloy

 

 

ZOFO’s ZOFO Plays Terry Riley (Producer of the Year, Classical – Dan Merceruio)

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“‘ZOFO Plays Terry Riley’ proves that the musical magic of piano extends far beyond a pianist’s 10 fingers. Through their exploration of Riley’s works, Zimmermann and Nakagoshi paint a vivid and colorful picture of the immense textural, timbral, and stylistic possibilities of piano duets. After all, it’s amazing what a pianist can do with an extra hand or two.” – Maggie Molloy

 

 

Anythony de Mare’s Liaisons – Reimagining Sondheim from the Piano (Producer of the Year, Classical – Judith Sherman)

1444893095_cover“Having just a vision’s no solution, everything depends on execution.  Anthony de Mare’s work on this project has, bit by bit and piece by piece, amounted to a thoroughly enjoyable collection that sounds like thirty-six composers having a musical conversation with America’s preeminent composer of musical theatre.  Liaisons offers up something familiar, something peculiar, something for everyone.” – Rachele Hales

ALBUM REVIEW: Liaisons: Re-Imagining Sondheim from the Piano

by Rachele Hales

I was excited – well, excited and scared – to be given the opportunity to review Anthony de Mare’s latest album of Stephen Sondheim “re-imaginings.”  Excited because Sondheim’s impact on me was very strong as I was one of many children who listened; scared because I didn’t want to find flaws in the interpretations that might underscore my devotion to the originals.  After listening to Liaisons: Re-imagining Sondheim From the Piano several times, I can calm similar worries other listeners may have by entreating you to remember that “the way is clear, the light is good/ I have no fear, nor no one should.”

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Thirty-six composers from a wide variety of backgrounds were commissioned by Anthony de Mare to re-imagine a Sondheim song of their choice as a solo piano piece.  The result proves that things change – but they don’t, when you make something that lasts.  Mark Eden Horowitz, author of Sondheim on Music: Minor Details and Major Decisions, puts it this way: “One of the reasons Liaisons succeeds so brilliantly is because Sondheim’s music is such a rich source for sounds, ideas, and approaches.”  Too true.  The pleasure of Liaisons is hearing how thirty-six other Sondheim fans engage with his music in their own ways.  There are thirty-seven selections in the 3-CD collection.  So many worth exploring, just one would be so boring.  Alas, it’s impossible to review them all here but you can listen to samples of each glorious one at the Liaisons Project website.  With that said…  Curtain up!  Light the lights!  Play it, boys!

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Once upon a time, all your favorite fairytales were combined into one story about loss and confusion.  Oh yeah, and nearly everyone dies.  Sondheim’s original prologue to Into the Woods acts as both exposition by introducing us to each character and also provides a path through the show.  Andy Akiho’s version takes us into the woods, where witches, ghosts and wolves appear, by maintaining the driving rhythm of the original but allowing each character’s narrative/personality to speak with the clever use of a prepared piano.  Dimes were used on the strings for the cow scenes, door knocks and narration utilized poster tack, and the witch is portrayed by clusters of credit cards.  Akiho’s use of these found objects to alter the timbre is just as effective and innovative as Sondheim’s witty spoken narrative.

When asked about his intent with the Into the Woods’ climactic ballad “No One is Alone,” Sondheim replied, “What I truly mean is that no action is isolated.”  One action you can take is to write a musical, only to find its score the subject of a landmark commissioning twenty-nine years later.  Fred Hersch drew from his jazz background to make subtle changes to the piece.  In doing so, he’s maintained the purity and simplicity of the original but plumped it up to create a lusher sound.  It feels less like an arrangement and more like a fantasia.

With Kenji Bunch’s selection we attend the tale of Sweeney Todd, the demon barber of fleet street.  Sweeney Todd is based on an urban legend (though some claim the story is true) from Victorian London about a barber who seeks revenge upon the corrupt judge who sentenced him to unjust incarceration, raped his wife and caused her insanity, and eventually kept Todd’s daughter Joanna as his ward for lustful reasons.  Todd’s revenge of choice?  Slitting the throat of the judge (and other clients) and partnering with his amoral landlady to grind the flesh, use it as fillings for her meat pies, and turn a handsome profit.  It’s a musical thriller that wonderfully sustains fear and anxiety throughout, which Bunch amplifies to horror-show levels with “low register rumblings, shrieking high clusters, and insistent rhythmic ostinato patterns.”

Venezuelan composer Ricardo Lorenz turns those meat pies into spicy empanadas with his “Worst Pies In London”/”A Little Priest” combo.  Mrs. Lovett’s cheeriness shines through here with help from a range of Latin American styles including tango, salsa, and merengue.  But is it any good?  Sir, it’s too good, at least.

“Green Finch and Linnet Bird” is Joanna’s song to the caged birds she identifies with while sequestered in the judge’s home.  Toward the end of the original number there’s a trill notated for the singer and Jason Robert Brown found his way into the arrangement through that trill.  Rather than focusing on Joanna, he’s chosen instead to paint pianistic portraits of the birds.  A charming notion, but the aviary became too complex.  He thought one was enough; it’s not true.  It takes two to play his “Birds of Victorian England.”

Hopping across the pond to a bit of American history now, we get a couple arrangements from Assassins, a show that’s about exactly what it says on the tin.  “The inverse of the American Dream is the American Nightmare, which confuses the right to pursue happiness with the right to be happy,” writes Horowitz.  In Sondheim’s opening song, “Everybody’s Got the Right,” our presidential assassinators/assassination attempters sing out this misguided philosophy (aim for what you want a lot/everybody gets a shot/everybody’s got a right to their dreams…) as they purchase their weapons from the gun proprietor.   Michael Daugherty inserts snippets of “Hail to the Chief” as reminders of the show’s subject and ends the piece by spinning out the opening chords until they “explode like a volley of gunfire.”

Sondheim turned the poem Charles Guiteau wrote the morning of his execution (“I Am Going to the Lordy”) into a cakewalk march to the gallows in “The Ballad of Guiteau.”  Guiteau’s trial was famous not just because he assassinated President Garfield, but also because he was, as one doctor testified, a “morbid egoist” who delighted in the attention he received during the trial.  A media sensation, he smiled and waved at spectators throughout the trial (and even as he walked up to the gallows, where he stopped to read said poem, going so far as to request that an orchestra play behind him while he read).  Right up until his conviction he thought he’d have a good chance of becoming president himself and considered running.  Why am I writing about history instead of music?  Because the way Jherek Bischoff plays Sondheim’s original histrionic promenade against moments of emptiness perfectly suits the sad, ridiculous insanity of Guiteau’s mindset.

Having just a vision’s no solution, everything depends on execution.  Anthony de Mare’s work on this project has, bit by bit and piece by piece, amounted to a thoroughly enjoyable collection that sounds like thirty-six composers having a musical conversation with America’s preeminent composer of musical theatre.  Liaisons offers up something familiar, something peculiar, something for everyone.

In this 2013 image released by ECM Records, Anthony de Mare, left, and Stephen Sondheim pose in New York. Pianist Anthony de Mare and three dozen composers had put their own imprints on songs Sondheim wrote over the past half-century, a tribute to the man who redefined Broadway. "Liaisons: Re-Imagining Sondheim From the Piano" was released last month as a three-disc set by ECM. It features 37 original compositions by an All-Star team of composers. (Nan Melville/ECM Records via AP)

Anthony de Mare, left, and Stephen Sondheim pose in New York. (Nan Melville/ECM Records via AP)