A new CD devoted to my music for voice and ensemble has been released by Bridge Records. Susan Narucki and William Sharp are the soloists; Christopher Kendall conducts the 21st Century Consort. It’s available at Amazon and at Arkiv Music. Scroll down for several more posts about the album. A review by Christian B. Carey on the Musical America website here.
Secret Geometry is about the play of forms, and forms of play: composing, performing, listening, music making, reading, and again, composing. There’s news here about the music I write, as well as comments about concerts, recordings, books, and a few other things you might find of interest. For more information about my compositions, see above for a work list. There are score samples and audio clips at jamesprimosch.com
Kids have their summer reading lists, and I have my self-assigned summer listening list. There’s recent listening here that I have enjoyed, and also discs I haven’t gotten to yet, but am very interested to hear.
I wish I could offer more than a few words about some of the discs, but that’s not practical; at least this bare bones list makes you aware of a few options that you might have overlooked. While some of these are relatively new, many are not – it’s simply a list of what happens to be stacked around my desk at the moment.
Recently heard and enjoyed:
- Undercurrent: Bill Evans and Jim Hall.
- Live at Blues Alley: Wynton Marsalis, Marcus Roberts, Robert Hurst, Jeff “Tain” Watts.
- The Great Divide: Von Freeman, Richard Wyands, John Webber, Jimmy Cobb. Freeman is an elder statesman of the tenor who was new to me.
- Eternal Interlude: John Hollenbeck Large Ensemble. Brilliant writing and playing. Much for “classical” composers to learn here.
- An Exaltation of Larks: Jennifer Higdon; Lark Quartet, Gary Graffman, Blair McMillen, Todd Palmer.
- Go: Dexter Gordon, Sonny Clark, Butch Warren, Billy Higgins.
- Our Man in Paris: Dexter Gordon, Bud Powell, Pierre Michelot, Kenny Clarke.
This and Go are essential Blue Note classics. Check this re: Sonny Clark.
- Crackpot Hymnal: Dimitri Tymoczko; Corigliano Quartet, Amernet Quartet, John Blackow, Kevin Weng-Yew Mayer, Daniel Schlossberg, Illinois Modern Ensemble, Stephen Taylor.
- Beyond Quantum: Anthony Braxton, William Parker, Milford Graves
- Written on Skin: George Benjamin; various artists.
- Piano Music (1960-2010): Bernard Rands; Ursula Oppens, Robert Levin.
- Time Machines: Sebastian Currier; Anne-Sophie Mutter, New York Philharmonic, Alan Gilbert (disc includes works by Penderecki and Rihm).
- Clouds: Chou Wen-Chung; Brentano String Quartet, Boston Musica Viva.
- Out of Chaos: Jason Eckardt; Ensemble 21.
- Body Mandala: Jonathan Harvey; Anu Komsi, BBC Scottish Symphony Orchestra, Ilan Volkov, Stefan Solyom.
The performances page has been updated, with dates now in place for spring concerts by Peggy Pearson/Winsor Music, and the Philadelphia Sinfonia. A few more events will likely flesh out the schedule a bit, including a possible performance of the Piano Quintet at Penn, and a revival of a motet at Emmanuel Church. I’ll also be participating in an Exquisite Corpse project for Network for New Music, but more about that in another post.
The piano recital by Robert Levin that I attended last winter at Harvard, featuring music of Yehudi Wyner, John Harbison, and Bernard Rands, was dazzlingly good, but Levin is perhaps best known for his astonishing work with Mozart. Astonishing is not too strong a word, for he doesn’t just play beautifully, he improvises beautifully in Mozart’s style. Here are some fascinating videos. The first is an excerpt from the second, an improvisation on themes suggested by the audience that serves to close the lecture given complete in the second video – if you don’t have time for the whole lecture, at least give the first video a try.
Then this one on composing Mozart is the sequel to the previous lecture:
There’s a nice post on the Penn Gazette website about my grad school classmate Philip Maneval. Philip is a marvelous composer who has done tremendous service to the field through his work with the Philadelphia Chamber Music Society and Marlboro Music. Many, many years ago I gave a couple of performances of his big first piano sonata. I hope I get to perform his music again at some point, not least for the selfish pleasure of spending time in the practice room with some solidly crafted music.
Last night at Westminster Choir College, Lyric Fest presented a reprise of the program they first offered in Bryn Mawr and Philly this past spring, featuring settings of poetry by American women, and including my “Waltzing the Spheres”, on a text by Susan Scott Thompson. Kelly Ann Bixby, soprano, and Laura Ward, piano, gave a beautifully shaped and deeply touching performance of the piece – indeed, the performances were at a very high level throughout the evening. Thanks also to the CoOPERAtive program for hosting the event, and to the warmly appreciative audience. I am told there will eventually be a video of the concert available online for streaming – will let you know when I hear the details.
Bel Canto – Ann Patchett
I finally got around to this, more than 10 years after it came out; you’d think that, as a musician, I would have read it sooner, given one of its principal characters is an opera singer. On the surface, it’s about the terrorist takevover of a South American government residence, but the real themes are the intensities of the human heart and the potency of music. The Lyric Opera of Chicago will premiere Jimmy López’s opera based on the book in 2015-16.
My Kind of Place and Rin Tin Tin – both by Susan Orlean
I am becoming a big fan of Orlean’s writing, beautifully crafted journalism, often on offbeat topics, that transcends reporting to become literature. My Kind of Place is an anthology of short pieces, mostly travel-based, while Rin Tin Tin is a book length exploration of a dog – and the idea of a dog – that persisted through most of the 20th century. Orlean is sometimes a presence in her own writing, but always appropriately so, and that presence helps her achieve some of her most touching writing. She is also terrifically funny. Visit her entertaining Twitter feed here.
Thinking in Jazz – Paul F. Berliner
It is taking me quite a while to work through this tome, but it is worth it, for there are helpful insights everywhere, as well as many fascinating transcriptions. There are also passages of remarkable banality: “Typically, young learners cultivate their own performance skills with dedication and determination.” “The bass continues to develop within the jazz idiom in direct relationship to the skills and creativity of its master artists.” “One of the ways in which learners modify an initial mentor’s influence is by studying the styles of other artists…” There’s stuff like this on just about every other page. Some of the quotes from musicians are no better. I suppose Berliner is just trying to be thorough, but It’s as though he was trying to explain jazz to a Martian unfamiliar with Earth music. Nevertheless, I am learning a great deal about how musicians develop a vocabulary for improvisation and how they create and vary compositional structures – how they think in music, not just about music.
A reminder that Lyric Fest will be presenting a program at Westminster Choir College next week, a reprise of this past spring’s concert that included the premiere of my “Waltzing the Spheres”. The concert will be Tuesday, July 15 at 7:30 in Bristol Chapel on the Westminster campus and is part of the CoOPERAtive program – read more here. Kelly Ann Bixby will be singing my song, with Laura Ward at the piano. Here’s a glimpse of the piece’s opening: