Violist Jessica Meyer has an intriguingly vivid new solo electroacoustic album, Sounds of Being, streaming at Bandcamp. It’s her first collection of original compositions. Its seven instrumental tracks are explorations of specific emotions, from unabashed joy to clenched-teeth angst. You could lump these pieces under the wide umbrella of indie classical, although they also have echoes of film music, ambient music and the spectral side of the avant garde. She’s playing the album release show at 8 PM on Dec 15 at the Cell Theatre, 338 W 23rd St (8th/9th Aves); cover is $20.
Although this is a loopmusic album, Meyer often creates the effect of a one-woman orchestra, with animated dynamic shifts and changing segments, rather than long, hypnotic one-chord jams in the same vein as her fellow string players Jody Redhage and Nadia Sirota have recorded in the recent past.
Meyer builds a steady theme that rises toward a shivery franticness on the opening track, Getting Home (I Must Be…), ending with a big, distinctly Indian-flavored crescendo. The second track, Hello is more of a soundscape, assembled around subtle, dancing Steve Reich-ish variations on a simple, cellular theme. She orchestrates Into the Vortex with deft swoops, washes, frenetic clusters and microtonal displays of extended technique, sort of a mashup of Rasputina and the Mivos Quartet in particularly experimental mode.
Afflicted Mantra introduces another Indian-tinged melody and variations – albeit more tense and menacing – out of a keening, enervated intro. A simple, morose spoken phrase anchors its increasing agitation. By contrast, Source of Joy builds a jauntily leaping if considerably more measured, pensive atmosphere than the title suggests. The album’s most expansive piece is Touch, again reaching for distantly Indian overtones with a gently pulsing rhythm that contrasts with its enveloping sonics. The final piece, Duende follows a troubling trajectory upward out of more of hints of the Indian music that Meyer seems to love so much, to a cruel false ending. Who is the audience for this? Fans of the more edgy, intense side of classical music, obviously, as well as anyone who enjoys any of the abovementioned artists.
At Merkin Concert Hall Thursday night, American Modern Ensemble director and virtuoso percussionist Robert Paterson explained to the sold-out crowd that the show had been eight years in the making. And he made it worth everyone’s while. It might or might not have been a rather brazen attempt to upstage works by George Crumb and David Del Tredici with a trio of his own compositions, but that was the ultimate result. Whatever the intention, it made for a great night of music.
The ensemble began as a sextet and by the time they hit the intermission, they’d grown to a nineteen-piece chamber orchestra, heavy on the percussion as you would expect from a composer like Paterson. He’s one of the most cinematic around: it’s a shock that his work hasn’t appeared in more films than it has. He credited both other composers on the bill as being major influences, and while there were echoes of Crumb’s flitting, ghostly motives as well as Del Tredici’s edgy, carnivalesque tunefulness throughout these works, there was as much ghoulish narrative, comparable with Bernard Herrmann – or Danny Elfman on steroids. Which made sense, this being a Halloween show.
The first number, Hell’s Kitchen, included everything AND a kitchen sink (ripped from its frame and hanging over the marimba). Methodically and with not a little gleeful intensity, the group made their way through a chuffing steam-train theme, a lively chase scene and horror-stricken tritones punctuated by brief moments of relatively less unease. Paterson’s second work, Closet Full of Demons, was more of a longform horror theme and variations, veering between cartoonish drollery and moments of sheer terrror. The concluding work, Ghost Theater took the wry ghoul-humor to a logical conclusion, sort of a 21st century update on Raymond Scott.
Crumb’s Music for a Summer Evening (from his Makrokosmos IIII suite) had a creepy aspect, and a nocturnal one, but also a big, agitated twin-piano cadenza from Blair McMillen and Stephen Gosling early on, not to mention plenty of anticipated autoharp-like figures emanating from inside the piano as the two went under their respective lids to brush the strings. The two percussionists, Paterson and Matt Ward, really got a workout, shifting in a split second between many, many objects, building vivid contrasts between murk and momentary, marionettish motives. As the piece went on, there were persistent references to dreamy Asian-tinged folk themes – and also occasionally maddeningly weird, awkward, seemingly random vocal shouts and mumbles that under different circumstances might have cleared the room. A work with so many other interesting things going on deserves to have those parts discreetly omitted.
Del Tredici’s Dracula came across as the kind of piece that would have been staged at Tonic ten years ago, part Vera Beren avant garde horror tableau, part nimbly macabre theme and variations. Soprano Nancy Allen Lundy sang the daylights out of it when presented with a few opportunities to do that. Otherwise, she was relegated to narration, which was luridly fun as the story took shape but quickly became a distraction from what is in every sense of the word a fantastic piece of music. Echoes of Roaring 20s swing, disquieting circus rock and Weimar cabaret juxtaposed with the clenched-teeth intensity from the winds, brass, percussion and strings – violist Jessica Meyer and cellist Dave Eggar getting some of the juiciest parts. Looking back, you could see the twistedly funny ending coming a mile away.
This was it for 2014 for this group, other than a couple of characteristically eclectic trio performances led by Gosling coming up at 5 PM on December 5 and 6 at the Metropolitan Museum of Art balcony bar. But 2015 promises to be especially ambitious for an already ambitious ensemble: a weeklong festival of new music from American composers staged at a reputedly amazing new complex in Danbury, Connecticut, in late summer, and the creation of a fullsize American Modern Ensemble symphony orchestra.
The New York composer/performer collective Counter)Induction has an intriguing collection of new and relatively new chamber works, Group Theory, just out. The quintet of Steven Beck on piano, Miranda Cuckson on violin, Benjamin Fingland on clarinet, Sumire Kudo on cello and Jessica Meyer on viola tackle an ambitious and challenging series of works and pull them off with flair and conscientious attention to emotional content. The most unabashedly atonal of the lot is a piece by Salvatorre Sciarrino which is more of a study in textures and waves of shifting dynamics than melody. The real knockout here is Kyle Bartlett’s Bas Relief, a grimly resolute diptych unexpectedly juxtaposing twisted boogie woogie piano bass, icy upper register piano glimmers, apprehensively fluttering strings and a chilling crescendo anchored by an ominous bass clarinet drone. It’s avant noir in the best possible sense of those two words; as with many of the works here, the quintet’s somewhat unorthodox instrumentation enhances its plaintive edge.
Right up there with it is Douglas Boyce’s triptych Deixo Sonata. Spacious fugal tradeoffs between voices lead to a creepy dance of sorts that quickly descends to a furtive sway, rises to a crescendo with hints of ragtime and old-world Romanticism and then a neat false ending. Ryan Streber’s Partita, for solo cello utilizes a similar architecture, sostenuto forebearance versus insistent staccato, steady arpeggiated cadences punctuated by the occasional dramatic flourish or chordally-charged crescendo. Lee Hyla’s rather minimalist Ciao Manhattan is considerably less sad than the title might imply: pensive hints of the baroque and graceful, sustained layers of strings shift to a simple but affecting piano/violin duet that ends on a surprise note.
Eric Moe’s Dead Cat Bounce (Wall Street slang for a stock on the way down that’s recovered for just a second) follows a jauntily bittersweet trajectory, from a rondo to a sort-of-tango to a fullscale dance, the entire ensemble in and out of the melee, winding out on a puckishly ironic note. The longest work here, Erich Stem’s four-part suite Fleeting Thoughts juxtaposes a terse, balletesque pulse with icily moody piano-and-string interludes that eventually leads to a richly satisfying noir bustle on the way out. Frequently dark, challenging, compelling music utilizing an imaginative mix of devices and genres from across the decades to the present: watch this space for upcoming NYC concerts.