26 April, 2015
Last night I attended a memorable concert of new music. One work, a duet for violin and percussion by composer Linda Catlin Smith, titled Dirt Road, was performed by violinist Sandy Baron and percussionist Rick Sacks. Calgary born, Ms. Baron has played in the Canadian Opera Company Orchestra for 19 years. During the summer months she plays with the Santa Fe, New Mexico Opera Company and when not in the pit, she drives around New Mexico’s outback photographing desert landscapes intersected by the dirt roads she travels in her 1971 vintage Ford blue and white pick up. When Ms. Baron returns to Toronto, the pick up is left to winter in the south-west.
With Sandy to one side and Rick to the other, Dirt Road (2006-15) was performed in front of Array Music’s new, very large and very clear rear projection screen upon which Baron’s lonesome dirt road photographs appeared in and out in an approprately slow accompaniment to the music. Dirt Road was written in 15 movements, any number to be played in any order. It is one hour long and occasionally I began to fidgit. My lack of control aside, the work was mesmerizing. Linda’s Dirt Road is generally quiet and slow. It demands patience, nuanced control and a lyrical, expressive sound. [2.] All these were provided by Ms. Baron.
Rick Sacks played vibrphone, large gong, four cymbals, triangle, glockenspiel and bass drum. On the whole, these were played sparingly as accompaniments to the violin. The vibraphone part was difficult, frequently four mallets, closely voiced and not easily memorized. The solo percussion movement, placed about mid-way, was a highlight. Many non pitch percussion instruments produce short or unanalyzable sounds, or both. In order to bridge the inherent silences or distractions created by these anomalies, a listener must retain sounds in order to attach them to the next. Rick’s phrasing provided the necessary continuity and the movement hung in space. Ms. Baron’s solo violin movement was a melodic gift, elegant yet casually proffered. A judiciously rendered foil to the percussion sounds. For me, these two movements formed the works apex.
The concert was pretty well sold out and even with my poor peepers, I saw John Beckwith, Kathleen McMorrow, Henry Kucharzyk, Adele Armin, Beverley and Austin Clarkson.
[1.] “MOKEE (MOKI, MOQUI) DUGWAY, SAN JUAN COUNTY, UT. (southeast Utah)
The Mokee Dugway is located on Utah Route 261 just north of Mexican Hat, UT. It was constructed in 1958 by Texas Zinc, a mining company. The three miles of unpaved, switchbacks descend 1100 feet from the top of Cedar Mesa from where the photograph above was taken.
The term “mokee” is derived from the Spanish word moqui, which was a general term used by the 18th century Spanish explorers and settlers in this region to describe the Pueblo Indians they encountered and the vanished culture which had left behind the numerous ruins they discovered during their travels.
Today the standard term used to describe these prehistoric Native Americans, who lived in this region more than 1000 years ago, is “ancestral Puebloans”. It is based on present day Puebloan tribes and archaeologists believe these people were the ancestors of the today’s Hopi, Zuni, Acoma and Rio Grande region cultures. You may also see them commonly referred to as the “Anasazi”, a Navajo word meaning “enemy ancestors”. note by Sandy Baron, edited by R.E.
[2.] I hope one day a recording is made of Blue Sky (2006) a percussion quintet Linda wrote for Nexus. In my opinion, percussion repertoire would be enhanced by its inclusion. It is an aesthetic experience percussionists have for too long been deprived.
Concerts in Toronto – No. 2, October 27, 2015.
Some years ago a concert presented by New Music Concerts in Toronto’s Betty Oliphant Theatre featured the music of the German clarinettist Jörg Widmann. Hearing his music was a déja vu experience for me. Widmann’s compositions used many, if not all of the instrumental dtechniques my colleagues and I had struggled with in the 60s and 70s. Yet that night they were comfortably played and sounded fresh and natural. In a few rehearsals, Widmann had taught a group of Toronto ‘pickup’ musicians to play his works with authority. The techniques demanded by Widman had not been played regulalry in Toronto for nore than 50 years, but had been if you will in the air, allowing succeeding generations to absorb them as if by osmosis. Perhaps this transference defines Array Music’s programme title, Redefining the 20th Century.
ARRAY MUSIC Artistic Director Rick Sacks, stepped forward to welcome the audience and introduce the concert. He was dressed in slacks, dress shirt, tie and jacket, clothes which for him, seemed almost formal. This attire, however, proved to be appropriate given the gravitas of the evening, its music, its performers, guest artist violist Vincent Royer, cellist Émilie Gerard-Charest,* and Toronto’s perennial new music pianist, Stephen Clarke, and the acoustically superb venue of Saint Andrew’s Church, built in 1876 in the Romanesque Revival style, on the corner of King and Simcoe streets in downtown Toronto.
Royer began the concert with Canto del capricorno l and Il by Giacinto Scelsi (1905-88). Playing moderately loud and irregular strokes on a small gong, he entered from just off stage, that is to say, via an open door located mid chancel. After a brief procession, Royer put aside the gong and began a kind of sprechstimme consisting of multi syllabic nonsense constructions. I first experienced these ceremonial or ritualistic devices in the latter third of the 20th century, though at that time, the notation was sometimes of equal or more importance to composers than the effect. There were no programme notes attending, so I am not sure exactly what Royer was vocalizing.
However, I had recorded in Paris some of Scelsi’s songs with my former Nexus colleague, Russell Hartenberger and Japanese soprano, Michiko Hirayama. She had sung Scelsi’s “Capricorno” with 2 percussion, saxophone and electronics at Walter Hall, Toronto in 1981 and had asked us to record with her the next year after a lengthy NEXUS tour of England. As I recall, similar speech sounds dominated the Scelsi songs as sung by Michiko.
As a concert opener, Scelsi’s music and Royer’s rendition were moving and completely convincing. The sprechstimme, was delivered unselfconsciously and without undue labour.
Following were individual works by Royer – a solo titled O Souffle and the duet S’offrir by Gerard-Charest. Played without a pause between them and lasting about one half hour, they were similar in style and content. With the exception of col legno (wood of the bow), these works showcased many traditional bowing techniques.** The works also proved to be subtle tests in ear training. Within the sustainations were sometimes delicate and slow strisciata, up or down slides in pitch. These, among other devices, maintained one’s attention which might otherwise have drifted, so simple the works seemed to be.
During an extended cello ‘coda’ , Royer, who had been seated attentively and directly in front of Gerard-Charest, moved to a group of music stands in order to play the final work on the first half, Manto for solo viola, also by Scelsi. In this 12 minute work, a brief, but startling series of pizzicati, their first appearance on the program, provided a surprising and delightful contrast to the evening’s long tones. A memorable and evocative first half.
After intermission, an exploration of the church catacombs was needed to unearth soloist Stephen Clarke who finally appeared, unruffled and took his seat at the helm of a giant Bosendorfer concert grand – its extra keys provocatively uncovered. With composer Linda Smith as page turner, Clarke prepared himself to play the Horatiu Radulescu (1942-08) 29 minute Piano Sonata 6, Op. 110, “Return to the Source of Light”, whose title was taken from The Tao te Ching of Lao-tzu.
This Sonata could well be a case history for exploring compulsive angst syndrome. The moderately paced, pounding chords of the beginning were sure to end I thought, but no, they went on and on until relieved by what may have been a Romanian folk song. Unfortunately the song, very catchy, was too short lived. It was also written for both hands playing canonicaly o’er top each other. The tempo was extraordinarily fast and when the tune first appeared, even Clarke whose artistic skills reliably re-create some of the most difficult 20th and 21st century piano repertoire, found his fingers interfering with each other, creating an unintended “Here’s the Church, there’s the steeple, open the doors and Ooops”, phalangial faux pas. That part of the work went much better the second time around.
“Return to the Source of Light” is the first work by Radulescu I’ve heard. I hope his journey was a success, either before or after death.
The evening’s remarkably stimulating programme resolved with Scelsi’s Elegia per Ty. This was written for his wife who had deserted him in the 40’s and was never heard from again. Royer played beautifully. The concert with Royer and Charest’s performances greatly improved my appreciation for Scelsi’s music.
Excepting the bio of Stephen Clarke, those by the other performers seemed to run on like Ole Ma Bell’s Yellow Pages. When one is young, one wants to write down everything because everything is important. But there does come a time for thoughtful culling and I think the time has come for them. At any rate they are artists on the go and have done and are doing many positive things. They are both very, very good players.
* Violist Vincent Royer, Cellist Émilie Gerard-Charest occasionally play together, but are not a formally constituted duo. Charest was born in Montreal, Quebec and is presently participating in a month long composer/performer colloquy in Lyon, France. This colloquy will then move to three other European cities.
Born in Strasbourg, Royer studied in Freiburg and Cologne. He is now professor of chamber rmusic at the Conservetoire Royal de Liège in Belgium.
** sulla tastiera (over the finger board), strisciata (slides between notes), strozzata (strangled, choking), sur la chevalet (on the bridge), harmonics and chords in extreme pianissimos or fortissimos. The sounds emanating from these techniques proved a helpful tool for remembering the music. I had to look up all of the bowings in a dictionary.
*** Their compositional devices; glissandi, harmonics, multi-phonics and slowly evolving chords, were frequently used by mid-20th century composers. I cannot now remember who said “good composers borrow, great composers steal”. Thus, restoring old techniques and devices once again proves useful.
Posted by robinengelman on November 20, 2015 in Commentaries & Critiques, Composers, Contemporary Music
Tags: Array Music, Émilie Gerard-Charest, Giacinto Scelsi, Horatiu Radulescu, Jörg Widmann, Linda Catlin Smith, Rick Sacks, Stephen Clarke, Tao te Ching of Lao-tzu, Vincent Royer