Leading the Way for Women Composers at Lincoln Center

To celebrate one hundred years of women voting in this country, the New York Philharmonic have launched Project 19, a major initiative to feature women composers in their regular programming. That’s a genuine paradigm shift, in the wake of the ugly confirmation from a Baltimore Symphony Orchestra survey confirming that as recently as 2015, the major orchestras in this country have been performing works written by women less than two percent of the time

Dovetailing with the Philharmonic’s long-overdue move, the Juilliard School are staging an unprecedented series of free concerts the last week of this month, with both semi-popular and obscure works by women from over the past two hundred years. The first is on Jan 24 at 7:30 PM at the conservatory’s Sharp Theatre, with a student ensemble playing music by Jacqueline Fontyn, Ursula Mamlok, Ruth Crawford Seeger, Elisabeth Lutyens and Galina Ustvolskaya. Free tiix are currently available.

For what it’s worth, Helen Grime is not one of the composers featured during this marathon week, possibly because she’s one of the better-known women in new classical music. There’s a fantastic London Symphony Orchestra recording of her Woven Space triptych conducted by Simon Rattle streaming at Spotify that you should hear, if staying on top of what’s happening in that world matters to you…or if you love John Barry or Bernard Herrmann suspense film scores.

The orchestra pounce on Grime’s sharp, anxious, Rite of Spring-ish introduction and swing its swirling variations around, brass and percussion dancing amid the strings as the first movement gains momentum. A distant horn sounds over a momentary lull, the angst returning with a vengeance anchored by low, sustained bass.

The second movement begins with disquieting chimes and disorienting, acidic resonance, nebulous strings in the background. There’s a sense of horror rising as sudden accents puncture the stillness, receding momentarily for an elegantly circling call-and-response. Sprightly dancing riffs interchange with bright brass, then ominous bass introduces a brooding reflecting pool of sound. The dance returns furtively – a celebrarion of the human spirit amid constant surveillance?

A tensely gusty circle dance kicks off the concluding movement, delicately churning amid heavy, stern percussion accents. A brief, eerily starry interlude rises and morphs into a series of bracing echo phrases. Grime’s low-high contrasts and reliance on percussion have Stravinsky’s fingerprints all over them; the dance ends suddenly and without closure.

Album of the Day 1/23/11

Every day our 1000 best albums of all time countdown continues, all the way to #1. Sunday’s is #737:

Grieg – The Peer Gynt Suites: Malmo Symphony Orchestra/Bjarte Engeset

A heavy metal classic from 1875 – that’s when Edvard Grieg wrote a bunch of theme music (a few segments written for a massive choir) for the Henrik Ibsen play. Later he divided up the hits into a couple of suites, the first being the one pretty much everybody knows: the sleepily optimistic morning theme, haunting ambient dirge Aase’s Death, the creepy waltz Anitra’s Dance and In the Hall of the Mountain King, most recently done by Trent Reznor and in years past by Epica (ok), Apocalyptica (awesome, dude) and ELO (the heaviest of them all). The second suite includes the cinematic Abduction of the Bride, Ingrid’s Lament, more creepiness with the Arabian Dance, plus another funeral theme, some traveling music, a nasty shipwreck scene and a sad lament. In 2007, The Malmo Symphony under Bjarte Engeset did a spiritedly competent version of all this plus six orchestral songs including the “Mountain Thrall,” a narrative about trolls in the underbrush. It doesn’t quite match the truly epic sweep of Sir Thomas Beecham’s recording with the London Symphony Orchestra from the 1930s, but reissues of that one pop up in used vinyl stores from time to time (his 1957 stereo re-recording isn’t all that special). Here’s a random torrent.