Monday Night at the Classical Recording Foundation Awards

Music awards ceremonies can be funny, and not in a good way – for example, when’s the last time you watched the Grammies? A better question would be, have you ever watched the Grammies? At their 2011 awards ceremony at Carnegie Hall Monday night, the Classical Recording Foundation chose the Kalichstein-Laredo-Robinson Trio to receive their “collaborative artist award,” named in honor of Samuel Sanders, the longtime Itzhak Perlman collaborator and a sensitive pianist. Other than that they have excellent taste – and that maybe they should call this award the Classie – what does this say about the Classical Recording Foundation? Do celebrated pianist Joseph Kalichstein, violinist Jaime Laredo and cellist Sharon Robinson deserve yet another award? Without question, yes, as they reminded when they played a fresh, cliche-free take of the opening Allegro Moderato from Schubert’s Piano Trio No. 1, acerbic and sometimes stingingly direct where they could go in that direction, redemptively cheery when that path wasn’t an option. This was especially impressive considering that they’ve probably played this piece hundreds if not thousands of times. But do they need this award? At this point in their career, having debuted as an ensemble at Jimmy Carter’s inaugural, they have their choice of concert halls worldwide and audiences who will fill them and walk away afterward in awe – and tell everyone about it.

If that particular award set the bar, the others upheld it. The first of two “composers of the year” was Robert Paterson. The American Modern Ensemble’s recording of Paterson compositions, Star Crossing, is one of 2011’s best and most richly enjoyable albums, a feast of noir flourishes, accent on flutes and percussion, from someone who’s a somewhat unlikely combination of percussionist and composer. Imaginative, often magical trio Maya got to play several selections from Paterson’s considerably more lighthearted but equally original new Book of Goddesses album. Paterson’s keen sense of melody and remarkable eclecticism were evident throughout the four pieces on the bill. The first, Aphrodite, took on a bracing Middle Eastern edge with Sato Moughalian’s full-throated flute, Bridget Kibbey’s characteristically lithe, incisive harp and percussionist John Hadfield’s slinky levantine groove. After an ersatz Andean folk tune, Oya was a showcase for Kibbey, who switched effortlessly from percussive fire to funky rhythm and back, while The Muses gave the group a chance to work their way with a casual elegance from the ancient Middle East to current-day downtown New York. The other composer of the year, Arlene Sierra, was represented by piano duo Quattro Mani, whose pianists Susan Grace and Alice Rybak merged singlemindedly on the otherworldly Wuorinen-esque atonalisms of her 1997 composition Of Risk and Memory, which gave way to a cruelly difficult, insistent, staccato rhythmic attack and then extrapolated on both themes.

Young Artist of the Year went to Metropolitan Opera star Susanna Phillips, who delivered Debussy’s six Ariettes Oubliees, pianist Myra Huang getting the enviable assignment of playing them, turning in a richly sustained, spacious interpretation that essentially got the max out of the composer’s otherworldly minimalism. Phillips is a force of nature and sang like one, but the songs wouldn’t have had the same impact without Huang.

Awards are just a small part of the Classical Recording Foundation’s agenda (to an outsider, this concert felt like an exclusive party: everybody seemed to know each other, with several famous or least semi-famous faces scattered throughout the crowd). The Foundation’s agenda is to raise funds for important recordings, without regard to commercial appeal. The roster of acclaimed artists they’ve worked over the years includes such familiar names as Simone Dinnerstein, Donald Berman and Ann Marie McDermott. The CRF also has an ongoing collaboration with the Library of Congress and Bridge Records, both fortuitous relationships for an organization clearly not afraid to take risks in the spirit of making our era’s important works and performers available to future generations.

Advertisement

The NY Philharmonic Makes Solid CONTACT!

The debut concert of CONTACT!, the New York Philharmonic’s new-music series proved auspiciously to be a lot more than just a PR opportunity, a brazen attempt to court a younger audience: these people mean business. The NY Phil has commissioned works for decades, but the fact that they selected Arlene Sierra, Lei Liang, Marc-Andre Dalbavie and Arthur Kampela to create an inaugural program of world premieres for a series devoted exclusively to the avant garde underscores the seriousness of their commitment. Under the direction of composer-in-residence Magnus Lindberg – making his NY Phil debut as a conductor – players from the Orchestra demonstrated a versatility and an unabashed enthusiasm for a program that was challenging and often highly unorthodox (and thus a welcome break from the familiar canon – it probably couldn’t have been timed better for the musicians).

Sierra’s Game of Attrition was described beforehand in a brief dialogue between composer and conductor as essentially math-rock for orchestra, a Darwinian competition  for space between instruments of similar timbres. Composers have been sending motifs on a journey around the orchestra, or from one rank of the organ to another, since before Bach. But with a playfulness and an understated deliberation, Sierra’s simple ideas grew as she said they would into larger, more expressive figures: evolution on display, the warmth of the lows contrasting with the ominous portents of the highs and what sounded like a deliberate quote from The Eton Rifles by 70s mod punk rockers the Jam. The tension was most appealingly apparent toward the end in a detente-breaking conversation between marimba and piano. And then it was over.

Lei Liang’s Verge, for 18 Strings was another successful attempt to put new spin on an old idea, in this case using the notes of the scale to spell out a name. It’s been done scores of times – you assign a note to the first twelve letters of the alphabet, and then you start over. Google Prelude and Fugue on B.A.C.H., for example and see what you get. Liang dedicated this one to his infant son: he’d started the piece before the child was born, hence the title. With the strings arranged T.S. Eliot style in four quartets with a bassist at each end of the stage, it was a hypnotic, ambient, oscillating tone poem replete with quadrophonic effects that built to a dramatic, windswept crescendo of Mongolian tonalities on the second movement, evocative of  throat singers Huun Huur Tu’s most recent work. It was the high point of the evening.

Marc-Andre Dalbavie and Lindberg met in Paris in the 80s and bonded over their passion for spectral music. Dalbavie told the audience that he was moving further and further toward a horizontality in his composition, and his Melodia, for Instrumental Ensemble cleverly blended in the well-known Dies Irae theme from Gregorian chant, an effective update on what Rachmaninoff did with Isle of the Dead. While the tonalities would shift ever so slightly, the dynamics bubbled and lept, often in considerable contrast with the stillness of the melody, such that there was.

Arthur Kampela’s Macunaima takes its title from a seminal Brazilian magic-realist novel from the 1920s. To be fair to the composer, it seemed from the point of view of one unfamiliar with the book to be a narrative, and for that matter, it might have been spot-on. But for those in the crowd who hadn’t read it, it sounded – as one cynic put it – “like the four-year-olds in my morning class when you pass out the instruments.” It actually wasn’t that bad, percussive and carnivalesque, but like the kind of carnival that takes place on the far side of a Stop and Shop parking lot in northern New England, where it seems that the carnival guys have left all the best rides back in Massachusetts, and the sounds that make their way across to the folks on the other end aren’t exactly enticing enough to lure the eight-year-olds who make up their target audience. It was impossible to tell whether the ensemble were enjoying themselves or just counting time until the end, which they did perfectly: the composition didn’t afford them the opportunity to do much of anything else.   

Don’t just take our word for all this: the entire concert will be rebroadcast in its entirety on q2, WQXR’s contemporary online classical music stream this Sunday, December 27 at 2 PM. And even more auspiciously, CONTACT! continues on April 16 at 8 PM at Symphony Space, Alan Gilbert conducting world premieres by Sean Shepherd, Nico Muhly and Matthias Pintscher.