Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Violinist Movses Pogossian Pulls Together a Stunning, Uneasy Album of New Armenian Classical Music

It’s astonishing how influential Armenian music has been, considering how small the country is, not to mention the pre-World War I holocaust there which resulted in the murder of as much as 85% of the population and most of its intelligentsia. While Armenian culture has thrived throughout the global diaspora, in the past hundred years the country managed to withstand a stifling Soviet occupation and emerged with wellspring of new music. Violinist Movses Pogossian‘s new album Modulation Necklace – streaming at Bandcamp – celebrates a series of intense, powerful, edgy works by 21st century composers from throughout the global Armenian community.

Artur Avanesov’s somber, stately, acidically crescendoing Quasi Harena Maris begins as a microtonal string quartet played by Pogossian and Ji Eun Hwang, violist Morgan O’Shaughnessey and cellist Niall Ferguson. The composer enters, on piano, with a brooding minimalism as the strings recede to wisps and washes. His fierce block chords shift between dark neoromanticism and unsettled close harmonies, the strings echoing the dichotomy between anthemic intensity and relentless, blustery unease. The sparse, clustering suspense on the way out is chilling. On one hand, there are echoes of the great Danish composer Per Norgard; on the other, this is like nothing you’ve ever heard. What a showstopper to open this album.

The quartet of Avanesov, violinist Varty Manouelian, violist Scott St. John and cellist Antonio Lysy play Ashot Zhrabyan’s Novelette. The ache of the string introduction is more visceral here, Avanesov pouncing in as they reach a horrified peak. Hazy atmospherics alternate with bracing swells, together and individually, the pianist punctuating the storm as it passes through and then returns with a marching vengeance. A stabbing, suspiciously petulant insistence peaks out, then the stern strings take over and end with an unexpectedly quiet triumph.

Avanesov, Manouelian and Tyler deliver Michel Petrossian‘s A Fiery Flame, a Flaming Fire with equal parts individual playfulness and a tight cohesiveness, yet one which remains unsettled until a starkly decisive conclusion. It’s an exploration of identity in an increasingly syncretic world. Have we lost a heritage, or are we creating a brand new, more universal one? The answer seems to be yes to both questions.

The UCLA VEM Ensemble: Hwang and O’Shaughnessey with violinist Aiko Richter, cellist Jason Pegis and mezzo-soprano Danielle Segen tackle Artashes Kartalyan’s Tekeyan Triptych, a setting of poems on longing and posterity by Vahan Tekeyan, a major 20th century figure. In the liner notes, Segen gets high marks from the ensemble for her Armenian pronunciation; the dynamically shifting music echoes late Debussy, with melodies that range from the baroque to Armenian traditional melodies, most anthemically in the second number.

Saxophonist Katisse Buckingham and percussionist Dustin Donahue’s take of Ashot Kartalyan‘s five-part Suite for Saxophone and Percussion shifts from kinetic high/low contrasts, to jaunty bits of vibraphone jazz, a hint of furtive suspense, a beautifully bittersweet ballad and a booming, dancing coda. Avanesov ends the album with seven miniatures from his Feux Follets collection, which range from warm neoromanticism, to lingering minimalism and biting Near Eastern modes. If this is typical of what’s coming out of the Armenian world now, we need to hear more of it!

July 8, 2020 Posted by | avant garde music, classical music, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Two Michael Hersch Works Top the List of the Most Disturbing Music of 2018

One of the most sepulchral and chilling albums of recent years is the Blair String Quartet’s 2014 recording of Michael Hersch’s Images From a Closed Ward. That one was inspired by Michael Mazur sketches made inside a Rhode Island mental asylum in the early 1960s. The latest recording of Hersch’s characteristically harrowing work is even more so, evoking the fitful last gasps and lingering pain of the final stages of terminal illness. Hersch’s Violin Concerto, performed by soloist Patricia Kopatchinskaja with International Contemporary Ensemble is paired with his End Stages suite, played by the Orpheus Chamber Orchestra and streaming at New Focus Recordings.

The twisted march that introduces the concerto – arranged with an emphasis on strings rather than a full orchestra – kicks in with a savage downward slash from Kopatchinskaja. Within the first minute, the message is clear: the horror is going to be relentless. The brooding string quartets of Per Norgard are an antecedent. Kopatchinskaja’s role is less traditional soloist than member of the ensemble who gets the most shivery, terror-stricken lines and cruelly demanding cadenzas.

A sense of desperation pervades this piece, foreshadowing the suite to follow, Evil faces from every corner of the sonic picture peek out and then slash at each other, the horns rising over a cruel, emphatic low note from the piano. Astringent microtones linger side by side, a macabre march anchoring the shrieks overhead – not that anyone would want to be anchored in this skin-peeling acidity.

That’s the first movement. In the second, Similar shrieks burst from accordion-like textures throughout as much welcome calm as there is, the occasional piano accent piercing the veil. The third is a vast, spacious, defeated tableau punctuated by funereal piano, a horrified fragment from the strings eventually leading to a horrified quasi-march with a frantic couple of duels amid the string section, then a series of cruelly sarcastic faux-fanfares. The stillness in the fourth remains constant and sadistically icy: Hersch’s orchestration is every bit as inventive as his music is disturbing.

End Stages, which is also a microtonal work, begins with an austere mist punctuated by a sudden evocation of a scream or a brief moment of neoromantic clarity. The rest of the movements, many of them barely a minute or two long, shift from surreal, cinematic, conversational exchanges, to macabre dirges.

Bells and stark string horror permeate the third movement. There could be a death in a sudden pained cadenza here, and also in the grim codas of the fourth and fifth, puncturing their lingering, ghastly suspense. A sadistic parody of churchbells and grey-sky Shostakovian ambience sit side by side with long shrieking motives and every foreshadowing device ever invented, as these tortured voices stare down the end.  This is the best piece of new orchestral music since Julia Wolfe’s Cruel Sister album back in 2011.

October 5, 2018 Posted by | avant garde music, classical music, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

The Momenta Quartet Illuminate Per Norgard’s Haunting, Pensive String Works

Per Norgard is iconic in his native Denmark, and deserves a global audience. The lucky crowd at Victor Borge Hall at Scandinavia House on Park Avenue Friday night got to witness the Momenta Quartet turn in a purposefully flickering, often sepulchral, genuinely transcendent performance of string quartets, a suite of miniatures and a chilling violin/cello duet.

Norgard’s music is minimalist in the sense that everything counts for something, and that his melodies tend to be spare and follow a careful, meticulous path. But there’s a great deal going on, much of it rhythmic: constantly shifting meters, persistent wave motion and all sorts of oceanic and water imagery, unsurprising for someone from an archipelago nation. An unease on the brink of terror often lurks in the background, or in the distance. On the rare occasion that it takes centerstage – as in the coda of the duo suite Tjampuan, inspired by Balinese mysticism and waterways and performed with a hushed intensity by violinist Alex Shiozaki and cellist Michael Haas – the result can be spine-tingling, whichever way you want to imagine that.

There’s also a mathematical precision that sometimes brings to mind Steve Reich, but with vastly less playfulness and more foreboding. The awestruck terror of Messiaen’s most dramatic works also figures into the picture, if from a somewhat greater distance, as it did during the surreallistic time-warp of Norgard’s String Quartet No. 10. A contrast between calm if not exactly cheery harvest imagery, seemingly loaded with subtext, and a contemplation of time out of mind, it offered violist Stephanie Griffin a rare opportunity – at this concert at least – to vent, if only guardedly. There was no lack of cruel irony in how vexing such a concept can be to mere mortals, and Norgard seized on that.

His String Quartet No.3 – Three Miniatures, dating from 1959, juxtaposed brief, swinging, occasionally carnivalesque allusions with a dirge theme. Likewise, Playground, the suite of brief, flitting pieces, brought to mind a more mathematical, modernist take on Bartok’s Mikrokosmos etudes. The Quartet got to bring the most dynamism to the String Quartet No. 8- Night Descending Like Smoke, a World War I-themed piece based on a Norgard chamber opera, offering an offhandedly savage look at karmic payback to warmongers and their sympathizers. It’s characteristic of the relevance of Norgard’s repertoire, which really ought to be performed with this kind of meticulous attention far more often in this city.

One such performance to look forward to will be on July 29 at 8 PM when pianist Jacob Rhodebeck plays Norgard works at Mise-En Place, 678 Hart. St. in Bushwick. The other is by the Momenta Quartet June 23, with a delicious homemade vegetarian dinner at 6, show at 8 featuring Norgard’s String Quartet No. 3, Henri Dutilleux’s Ainsi La Nuit and Beethoven’s String Quartet, Op. 135 on the fourth floor of 67 Metropolitan Ave. (Wythe/Kent) in Williamsburg. Sugg. don. is $20, BYOB, sharable food/drink are highly encouraged!

June 20, 2016 Posted by | avant garde music, classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , | Leave a comment