New Sounds From the Village
Cover Photo: New York
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Catalog Number: CPS-8616
Audio Format: Stereo, AAD
Playing Time: 66:52
Release Date: 1993
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New Music Ensemble
Esther Lamneck, director
Time Remembers (10:30)
tape by the composer
of the New Jersey Percussion Ensemble
American Music - Spring,
1998 - by Elliott
studying the development of American music, one cannot overestimate
the importance of college and university communities. The alliance
of cam-pus and composer goes back to the nineteenth century, and has
produced a record of striking partnerships: John Knowles Pain-Harvard,
Edward Mac-Dowell-Columbia, and Paul Hindemith-Yale, to mention but
a few. In the postwar era, the relationship between universities and
those concerned with new music grew even stronger, and especially
so during the 1960s, with the proliferation of resident new music
ensembles, electroacoustic music studios, and campus-centered composer
organizations. As a result, the postwar pat-tern that has emerged
in this country is quite different from that of Europe, where the
most active centers for music (contemporary and otherwise) are the
government-supported radio networks. On our side of the Atlantic,
ra-dio's role has been ever-diminishing, while the campus is regarded
as an invaluable laboratory, patron, and resource pool for composers.
Even though the love affair between American composers and universities
has cooled considerably over the last decade or so, the relationship
is still ongoing, and still - most would agree - healthy.
Two recent compact discs celebrate this unique aspect of artistic
activity in twentieth-century America. Each CD offers a sampler of
diverse works linked by their shared roots in a common institutional
center and geograph-ic base; in both cases, then, we have a music
of "place." In many ways the two settings (lower Manhattan
and Iowa City), separated by more than a thousand miles, couldn't
be more different from each other! But they have both nurtured and
fostered traditions of solid compositional activity; in fact, both
discs testify to a certain strength of music-making throughout the
Amer-ican academic community in general.
One of the two discs is entitled New Sounds from the Village - Greenwich Village, to be precise, located at the southern
end of Manhattan Island. An even more specific location, directly
facing Washington Square (itself one of the Village's traditional
boundaries), is the site of New York University, and it is therefore
hardly surprising that this disc presents a group of composers with
NYU ties. Area contemporary music buffs may tend to overlook New York
University since it is not geographically "uptown" (like
Columbia or Juilliard) and esthetically has little in common with
the "downtown" (multi-media, antiacademic, often minimalist)
scene. But it is a lively, adventurous place in its own right, maintaining
a strong presence well beyond its Village borders.
It may be puzzling to see Leo Kraft's name included on this disc,
since he has long been associated with Oueens College of CUNY. During
a period of residency as visiting professor at NYU, Kraft composed
a work for large chamber ensemble entitled (appropriately) Washigton
Square. The composi-tion's program - the chronicle of a day in
Washington Square Park - allows Kraft to begin and end with distant
church bells, and to offer a kaleidoscop-ic array of brief images
between those points. The result is an evocative, one-movement tone-poem,
particularly rich in its shimmering colors and textures. (Appropriately
enough, a few of those textures seem reminiscent of other "chronologies,"
such as La Mer or the Vaughan Williams London Symphony.) A certain consistency in Kraft's handling of pitch material might
lead the lis-tener to suspect a twelve-note row lurking somewhere
in the background. But that should not be in the least offputting;
the surface is by turns perky, moving, and lyric, and immediately
accessible. The NYU New Music Ensem-ble, for whom the work was composed,
plays it with assurance. Frankly, the real Washington Square - which
can be a forbidding place - was never as at-tractive, or as benign
(!), as this.
The romantic impulse underlying Kraft's piece becomes quite prominent
in John V. Gilbert's piano
solo If Time Remembers, an extended fantasy on material
drawn from the pop classic "As Time Goes By." Gilbert works in a freely chromatic style and enjoys shifting the rhythmic
focus of his gestures. For the most part, If Time Remembers affects an unhurried, musing, even med-itative air, but at times it
builds up to impassioned climax. One might hear the entire fabric
as though it were a cadenza from some romantic concerto - an illusion
enhanced by the fact that we all (or at least most of us) know the
theme that serves as its springboard. The work receives a sensitive
perfor-mance from pianist Ronald Sadoff. Dinu Ghezzo also creates
a romantic am-bience in his Two Prayers for soprano and electronic
tape, expertly sung by Catherine Rowe (for whom the work was composed).
Long, lyric lines are prominent; although the stylistic mannerisms
are deliberately altered as the operatic sweep of the first movement
moves to the quality of a spiritual in the second, the voice always
dominates Ghezzo's textures and is never sub-sumed by the tape. At
times, in fact, one would like to hear the tape rise to prominence
or even stand alone - not only for the sake of textural variety but
because the electronic part is so seductive in its low-key way. (One
can find a wealth of associations in the tape sonority: perhaps the
pealing of distant bells, wispy modulated fragments, a slowly pulsating
drone bass-at times a cross between an organ and a gamelan.) Ghezzo's
text is drawn from Psalms 114, l18, and 120. It would have been a
plus to have the sung words printed in the CD booklet; their absence
We can perceive a distinct shift to neoclassic attitudes as we move
to Robert Sirota's Seven Picassos for chamber ensemble. In
each of the work's brief movements, a sense of clear linearity and
lean, transparent texture is upper-most, with contrast provided by
obvious tempo changes and an ever-shift-mg array of colors and melodic
shapes. Sirota's use of instruments stands at the opposite pole from
Leo Kraft's "orchestral" approach; although there are six
performers at his disposal (on this recording, the first-rate Boston
ensem-ble called Dinosaur Annex), Sirota rarely asks more than two
or three of them to play at once. Within this rather austere context,
occasional passages of ob-vious sentimentality - such as a ghostly
waltz fragment, or an idyllic pasto-ral moment in F major - take on
a dream-like quality.
The remaining three works on the disc are less "weighty"
in their material, instrumentation, or duration. Steven L. Rosenhaus's
brief Kol Nidre Prelude is a darkly colored setting of the
traditional Jewish prayer for violin and cello. Its language is tonal,
its melodic contours expansive but not excessive-ly chromatic - "romantic"
in the manner of Bruch rather than Schoenberg (to mention two others
who worked from a similar liturgical base). By contrast, the language
of Mary Inwood's Sonata for trumpet and piano is anything but romantic.
The work has a no-nonsense directness; its Hindemithean textures and
contours are angular, hard-edged, and crisp, moderated only briefly
by a relatively gentle slow movement. Finally, Ronald Mazurek offers
a skittish, perky, fanciful divertimento in his Encounters for
percussion quartet. Mazurek is the only composer on this disc who
has not taught at NYU; he received his doctorate in composition there,
and is now a faculty member at William Paterson State in New Jersey
- also the home of the deservedly renowned New Jersey Percussion Ensemble,
who provided the players for this expert performance.
It may be worth noting that all of the pieces on this CD are "referential"
to certain known historical styles, to source materials created by
other com-posers, or to programmatic, extramusical stimuli. In one
way or another, they all reach out the general public, and are all
The second CD for review here, with special focus upon institutional
ethos and geographical place, celebrates the twentieth anniversary
of the Univer-sity of Iowa Center for New Music. Iowa has offered
one of the nation's most distinguished composition programs, of course,
and its history of achieve-ment predates the creation of the Center:
even in the 1950s for example, un-der the leadership of Philip
Bezanson, students such as Edwin London, T. J. Anderson, Harvey Sollberger,
Charles Dodge, and Lloyd Ultan came to lowa City for graduate study.
The creation of the university's Center for New Music in 1966 opened
up new directions for an already thriving program. It effec-tively
provided a laboratory for student composers and performers, a con-cert
venue, an electronic studio, a vehicle for commissions and premieres,
and a site for guest residencies, all under one administrative umbrella.
Two of the works on this disc - and two of the most satisfying - are
composed by former directors of the Center, Richard Hervig and William
Hib-bard. Hervig's Off Center, for clarinet, cello, and percussion
was commis-sioned specifically for this anniversarv celebration, There
are multiple meanings in Hervig's title. The "Center" could
possibly refer to the univer-sity music facility itself; by adding
the word "off," however, one comes up with an apt description
of Hervig's piece - quirky, unpredictable, asymmet-rical, and episodic.
"Off Center" also turns out to be the name of the com-poser's
favorite tavern in New York City! It is easy to imagine it being per-formed
in (or even composed in) a congenial watering hole: in each of its
vividly contrasting sections one encounters pleasant surprises - imaginative
touches in scoring, rhythmic caroms, unexpected cadences. Handwork by Wil-liam Hibbard, for piano solo, is more "serious"
in every way, deriving its es-thetic from the mainstream of the great
Western recital tradition. The work was composed for Garrick Ohlsson
- who plays it with great panache on this recording - and was inspired
by Ohlsson's playing of Chopin. In the spirit of that model, Handwork is virtuosic in its technical demands and brilliant in sonority,
alternating sections of impulsive, rushing gesture with more delib-erate
-almost frozen - moments of a meditative character. By exploiting
extremes of the piano register, and a multiple layering of asymmetric
yet canonic accents (oddly like multiple tape loops in a concrete
studio), the composer has created a fabric of uncommon richness. As
will be obvious upon hearing this piece, Hibbard was quite gifted;
his early death in 1989 was a great loss.
Three other pieces are by composers affiliated with the university
and the Center. Eric Zioleks Nocturnes for trumpet and
piano alternates between the gently flowing and static/ruminative.
He makes use of extended instrumen-tal resources-interior piano resonances,
pedal effects, mutes, and brass glis-sandi-in a discreet manner, providing
the broadest possible timbral pallette without gimmickry. There is
a tonal quality, often centered on a single note, throughout. Trumpeter
David Greenhoe, and the composer as pianist, play the Nocturnes with a fine sense of dynamic shading and long-range structure.
An electronic work by Robert Paredes, entitled #16 (Speakers)/Fiesta, strikes this lis-tener as a free-floating collage; its sound sources
(only a few of which are rec-ognizable) include synthesizer, clarinet,
bells, Casiotone, human voice-the composer's-and sundry household
items. According to the composer, the net effect could be likened
to a party (or celebration, or "fiesta") in progress. The
work's intersecting levels of activity, ever-changing shift of foreground-back-ground
roles, and deliberate lack of high-profile "motives," may
remind one of Cage. In every respect, Michael Eckert's Movement
for Five Instruments is the exact opposite: motivically strong,
vigorous, and hard-edged, extroverted and assertive, it offers an
unashamed stylistic throwback to high modernism of the 1950s and l960s.
Although only five minutes long (Eckert plans to incorporate it into
a larger piece), it certainly commands attention.
The final composition on this disc is a work by Joan La Barbara, the
only composer not affiliated with the University of Iowa-but who,
like Hervig, had been commissioned to compose a chamber work especially
for the Cen-ter for New Music anniversary celebration. Her piece for
ten players, Awakenings is inspired by Oliver Sacks's story
of the same name (which later be-came the subject of a well-known
film). Accordingly, La Barbara creates a group-sonority that evokes
a distant, somnabulent state, gradually alters it-in essence gaining
touch with sharply focused "reality"-and then allows it
to drift baick again into a hypnotic trance. The music slowly unfolds
over pedals, drones, and very gradual phase shifts. As scales and
rapid patterns are introduced as well, and as the pace increases,
one can detect a series of relatively stable patterns each revolving
around an ostinato pattern. Even-tually bright-even raucous-colors,
jolting rhythms, and contrapuntal imi-tation can be heard. But La
Barbara finally brings the narrative back full circle, to an extended
passage of great serenity and stasis. As a study in "focus"
states, Awakenings is a triumph."
Choice - Issue No. 54 - by Paul Turok
music by Leo Kraft (Washington Square) and others connected
with NYU (CPS-8616)."
Music Connoisseur - Volume 2, Number 4
"Marketing is more
than an incidental skill in the new music industry these days. To
get their products on the market, i.e., get their music recorded,
composers look to someone with a good sound bite, and "New
Sounds" is a typical example. Dinu Ghezzo, head of the composition
department at New York University, Greenwich Village's own academic
complex (and, by the way1 this writer's alma mater with degrees,
yes, in marketing), and Steven Rosenhaus, an NYU faculty member
and Ph.D. candidate, produced this CD with a little help from their
friends. The five friends are also
associated in some way with that school located in the Village.
Get it? Well, if this sort of excuse for an event works, more power
Whether one is thrilled or underwhelmed by the theme of the disc
is another matter, but variety of forces and personality distinction
in the music do help the listening experience. Leo Kraft's orchestral
piece (played by the NYU New Music Ensemble, Esther Lam neck1 director),
is an easy to take musical telegram as per, "Jogged in park
early today STOP met friend for lunch at Gotham Bar and Grill STOP
spent rest of day under the arch STOP." Unfortunately, this
little cocky overture's traffic sounds, not as mellifluous as in,
say, Gershwin's Paris, reminded me all too uncomfortably of those
school exams during the warm days when the windows were open and
the noise of the city blared on unremittingly. But, to be fair to
Leo, that's strictly a personal thing.
Mr. Gilbert's veiled
piano fantasy on Herman Hupfeld's "As Time Goes By" ushers
us into a quiet, but highbrow cocktail lounge insulated from all
that traffic. The music is whimsical here, moodily introspective
there, yet, despite some devoted interpretive skill by Ronald Sadoff,
ultimately dour. Dr. Ghezzo takes us away from the din via the element
of time. His first prayer, "From Psalm 114" suggests very
ancient modes with the use of electronic tape to accompany the soprano
(Catherine "kitty" Rowe) broodingly evocative, while "Kitty's
Prayer," a more rhapsodic invocation, half sung, half shouted,
is much in tune with the gospel spirit.
Passionate religiosity is also prominent in Mr. Rosenhaus' Kol
Nidre Prelude in which the viola here takes on the main cantorial
theme with the cello serving as partner rather than principal voice
a la the Max Bruch treatment. Tina Pelikan and Dawn Buckholz are
the committed string players.
The remaining three works offer a shade more con-temporary complexity.
Ms. Inwood's formal Sonata gives the trumpeter (John Malazzo) a
melodic line that flirts with traditional tonality while the pianist
(Robert Lanaghan) dishes up the aroma of a more chromatic stew.
Mr. Sirota follows in the footsteps of Mussorgsky, Goya, Schuller,
among others, to evoke the sentiments of Picasso during his Blue
period; there is little attempt to create specific images, although
there may have been more color here than given us by Scott Wheeler
and his Dinosaur Annex Ensemble.
On the other hand, the playing of the New Jersey Percussion Ensemble
in Mr. Mazurek's opus is crisp and sure, beyond the merit of the
piece, at least on first hearing. Similar forces have been used
to better avail in the past by the likes of Carlos Chavez in his
brilliantly intriguing Toccata and by the avant-garde Karlheinz
Stockhausen. But then, this work is now 13 years old, and Mr. Mazurek's
newer electronic compositions hold much more promise for some sort
of endurance If, indeed, he can get those unique performances recorded."