Magos Herrera Brings Her Elegant, Genre-Defying, Poignant Songcraft to a Popular Outdoor Queens Spot
Singer Magos Herrera‘s music spans the worlds of jazz, film themes, contemporary classical and many styles from her native Mexico. This blog has witnessed her in a rapturous, intimate duo performance with her longtime collaborator, guitarist Javier Limon, as well as a much more lush and politically-fueled set with string quartet Brooklyn Rider. When live music was criminalized throughout much of the world in 2020, she turned to the web for supporting musicians. The result is Con Alma, the most eclectic album of an amazingly eclectic career, an “operatic tableau on isolation” streaming at Bandcamp. Herrera is back in action in New York, with a 7 PM gig outdoors on Halloween night at Terraza 7, where she’s leading a quintet. The Elmhurst venue is best known for jazz, so that’s probably going to be what Herrera brings to the stage, but knowing her, anything is possible.
The album is a mix of energetic acoustic guitar-driven numbers, imaginative pieces for orchestra and vocals and choral works. As you would expect from an album created during the lockdown, there’s an ever-present apprehension, but also hope. As fascinating as this music is, you will want to skip track seven – a found-sound collage on which Herrera does not appear – which contains PTSD-inducing samples of social engineering run hideously amok, a 2020 artifact best buried forever.
The first track is La Creación de las Aves, Vinicius Gomes’ circling, nimbly fingerpicked acoustic guitar loop anchored by Jeffrey Zeigler’s sweeping cello and Gonzalo Grau’s lithely understated cajon.
Tree of 40 Fruit begins as an uneasily close-harmonied soundscape, layers of wordless vocals by Constellation Chor‘s Marisa Michelson blended with a little crowd-sourced spoken word on themes of isolation and alienation. She quickly builds it to an anguished series of peaks: the effect of all the multitracks wipes away any sense of loneliness or abandonment.
Clarinetist Kinan Azmeh joins with guitarist Romero Lubambo for moody but energetic dynamics in Rojo Sol, a bristling, flamenco-tinged ballad. Alma Muerta, a choral collaboration with Ensemble Sjaella rises from a desolate, Gregorian chant-influenced atmosphere to a web of stricken, shocked operatic riffs.
With her broodingly impassioned vocalese, Herrera and the Orquesta Sinfónica de Minería reinvent the album’s title cut – a Dizzy Gillespie hit – as a shapeshifting mini-suite, moving from cumulo-nimbus orchestration to a delicately bouncy, balletesque rhythm.
Ensemble Sjaella return for Fratres, by Paola Prestini, Herrera and the choir moving uneasily between early Renaissance-flavored ornamentation, grey-sky ambience and tremoloing atmospherics.
The lush treble counterpoint of Prestini’s Thrush Song, sung by the Young People’s Chorus of New York City, offers a glimpse of hope. Herrera and her Mexican orchestral colleagues wind up the album with a strikingly stark, gracefully rhythmic take of Cucurrucucú, a longing-infused ballad made famous by Mexican singer Ana María González in 1954.
A Fascinating Collection of New Piano Music and the Beethoven and Ravel That Inspired It
Pianist Inna Faliks excels particularly at innovative and interesting programming, whether live or on album. On her latest release, Reimagine – streaming at youtube – she’s commissioned a fascinating mix of contemporary composers to write their own relatively short pieces inspired by, and interspersed among, Beethoven’s Bagatelles, Op. 126. She also includes a handful of new works drawing on Ravel’s Gaspard de la Nuit. It’s a big success on both a curatorial and interpretive level.
With the Beethoven, Faliks is typically understated, yet finds interesting places for flash. In the first Bagatelle, she employs very subtle rubato and a jaunty outro. She gives the etude-like No. 2 a light-fingered staccato, then brings the brings ornamentation front and center in No. 3, a counterintuitive move. In No. 4, she shows off a calm precision and nimble command of how artfully phrases are handed off – along with the jokes in the lefthand.
No. 5 is very cantabile, yet almost furtive in places. And Faliks approaches No. 6 with coy staccato but a remarkably steadfast, refusenik sensibility against any kind of beery exuberance.
In the first of the new pieces, Peter Golub‘s response to Bagatelle No. 1, ragtime tinges give way to acidic, atonal cascades and a bit of a coy tiptoeing theme. Tamir Hendelman‘s variation on No. 2 has Faliks scampering slowly, coalescing out of a rather enigmatic melody through a bit of darkness to a triumphant coda.
Richard Danielpour‘s Childhood Nightmare, after No. 3 is the album’s piece de resistance and the closest thing here to the original, steadily and carefully shifting into more menacing tonalties. Ian Krouse’s Etude 2A, inspired by No. 4 is also a standout, with spare, moody modal resonance and a racewalking staccato alternating with scurrying passages.
Arguably the most lyrical of the new pieces here, Mark Carlson‘s Sweet Nothings is a slowly crescendoing, fond but ultimately bittersweet nocturne built around steady lefthand arpeggios. In David Lefkowitz‘s take on No. 6, after an intro that seems practically a parody, Faliks works a subdued, swaying 12/8 rhythm amid murky resonances.
Next up are the Ravel-inspired works. Paola Prestini’s neoromantically-tinged triptych Ondine: Variations on a Spell begins with the broodingly impressionistic low-midrange Water Sprite, followed by the Bell Tolls, with a long upward drive from nebulosity to an anthemic, glistening payoff. The finale, Golden Bees follows a series of anthemic, flickering cascades
The album’s longest work is Timo Andres‘ Old Ground, an attempt to give subjectivity to the unfortunate victim of the hanging in the gibbet scene via distantly ominous, Philip Glass-ine clustering phrases and eventually a fugal interlude with echoes of both gospel and Rodgers and Hammerstein. Faliks winds up the record with Billy Childs‘ Pursuit, using the Scarbo interlude as a stepping-off point for an allusively grim narrative where a black man is being chased: possibly by the Klan, or a slaver, or the cops. A steady, lickety-split theme contrasts with still, spare wariness and a stern chordal sequence straight out of late Rachmaninoff.
It’s Been a Typically Eclectic Year at Upper Manhattan’s Home for Adventurous New Classical Sounds
If new classical music is your thing, don’t let any possible twee, gentrifier associations scare you away from the Miller Theatre‘s series of so-called “pop-up” concerts. For almost a decade now, Columbia’s comfortable auditorium at the top of the stairs at the 116th St. stop on the 1 train has been home to an often spectacularly good series of free, early evening performances of 21st century works along with the occasional blast from the past. The name actually reflects how impromptu these shows were during the series’ first year, and while the schedule now extends several months ahead, new events still do pop up unexpectedly. Sometimes there’s free beer and wine, sometimes not, but that’s not the main attraction, testament to how consistently solid the programming here has become.
This past fall’s first concert was a revelatory world premiere of John Zorn’s new JMW Turner-inspired suite for solo piano, played with virtuosic verve by Steven Gosling; that one got a rave review here. The October episode, with indie classical chamber ensemble Counterinduction playing an acerbic, kinetic series of works by their charismatic violist Jessica Meyer, was also fantastic. Various permutations of the quintet, Meyer joined by violinist Miranda Cuckson, cellist Caleb van der Swaagh, clarinetist and bass clarinetist Benjamin Fingland and pianist Ning Yu began with the dappled shades of I Only Speak of the Sun, then brought to life the composer’s many colorful perspectives on Guadi’s Sagrada Familia cathedral in a dynamic, high-voltage partita. The most bracing number of the evening, Meyer explained, drew on a David Foster Wallace quote regarding how “ the truth will set you free, but not until it lets you go,”
There were many other memorable moments here throughout the past year. In February, Third Sound played an assured but deliciously restless take of Schoenberg’s Chamber Symphony No. 1 along with a mixed bag of material from south of the border. A month later, pianist Marilyn Nonken parsed uneasily lingering works by Messiaen and Tristan Murail.
Then in April, Rebecca Fischer delivered a fascinating program of solo violin pieces along with some new solo arrangements. The highlight was a solo reinvention of Missy Mazzoli‘s incisively circling Death Valley Junction. Fischer also ran through an increasingly thorny, captivating Paola Prestini piece, along with brief, often striking works by Lisa Bielawa, Gabriela Lena Frank and Suzanne Farrin.
Last month, Tak Ensemble tackled elegantly minimalist chamber material by Tyshawn Sorey and Taylor Brook. And December’s concert featured firebrand harpist Bridget Kibbey, who played the Bach Toccata in D faster than any organist possibly could, then slowed down for simmering, relatively short pieces by Albeniz and Dvorak among others.
The next Miller Theatre “pop-up” concert on the calendar is next January 21 at 6 PM with violinist Lauren Cauley.
The Brooklyn Youth Chorus Soar Through an Ambitious, State-of-the-Art Program at National Sawdust
To paraphrase Rebecca Turner, Brooklyn is so big because it has to hold a lot of beautiful voices. Last night at the newly opened and sonically exquisite National Sawdust in Williamsburg, approximately fifty of those voices performed an exhilarating, richly dynamic program of new works for choir and chamber ensemble by four of this era’s outstanding women composers. The singers’ average age, from the looks of it, was around sixteen. In case you haven’t seen them, director Dianne Berkun-Menaker has shaped the Brooklyn Youth Chorus into a magnificent, meticulous powerhouse of an ensemble. There are young women in this group who will be able to sing for a living, especially the two high sopranos on the far end, stage right. To the young blonde lady in the black suit and her bandmate in the peroxide pageboy and glasses: stick with this and you’ll never need a dayjob.
As if we need further proof that music doesn’t have to be dumbed down to appeal to younger musicians, this concert was it. These works were sophisticated, employed all kinds of intricate counterpoint, required considerable amounts of what an instrumentalist would call extended technique, and the group rose to meet those demands efficiently and expertly: they schooled the old people in the house. Caroline Shaw was represented by two works, Its Motion Keeps and Anni’s Constant. The former was pinpoint-precise, full of quirky staccato, dizzying polyrhythns, a delightfully dancing groove and the occasional playful, hair-raising accent leaping in unexpectedly. The latter took a comfortable, homespun folk tune and made an ecstatically swinging, sometimes stomping celebration out of it – with some hilariously goofy vocalisms midway through.
For Sarah Small‘s Around the Forest, A Youth Roams – an electrifying, bracing mashuup of Bulgarian folk and postminimalism – the paradigm-shifting composer/arranger and Balkan music specialist was joined by both the choir and her a-cappella trio Black Sea Hotel with Shelley Thomas and Willa Roberts. The trio handled its challenging whoops, microtones and exotic ornamentation while the chorus grounded the piece with equal parts lushness and austerity, bolstered by Rima Fand’s darkly ambered string score.
National Sawdust impresario Paola Prestini joined the chorus to narrate the choral segments of her forthcoming multimedia work Aging Magician, a soberingly surreal collaboration with director Julian Crouch, with lyrics by Rinde Eckert. The pieces worked well as a stand-alone suite, sharing a trickily rhythmic and dynamically-charged playfulness with the Shaw works, but were both more pensive and more baroque-tinged in places. While it wouldn’t be fair to spoil Prestini’s occasional musical jokes, they were pretty hilarious. Throughout the program, the chorus were accompanied seamlessly by the American Contemporary Music Ensemble: Ben Russell and Caleb Burhans on violins, Hannah Levinson on viola and Clarice Jensen on cello, augmented by Dave Cossin on percussion, David Dunaway on bass and Geremy Schulick on electric guitar plus a pianist uncredited in the program.
The Brooklyn Youth Chorus’ next performance will also be alongside Black Sea Hotel to celebrate the opening of the new space at St. Ann’s Warehouse on October 17 featuring works by Shaw, Aleksandra Vrebalov and others plus world premieres from Mary Kouyoumdjian and Sahba Aminikia. There are two performances, one for free beginning at noon and another at 8 PM for $25.