Boston Adventure, part two

After Saturday morning’s rehearsal with Emmanuel Music, I had a great lunch at 29 Newbury with Ryan Turner (Emmanuel Music Director) and Pat Krol (Emmanuel executive director). (Check out the tomato soup and the pulled pork sandwich.) After a long walk in the Public Garden (amazing tulips) I made my way over to Brandeis where the 2011 BEAMS Electronic Music Marathon was in progress. Twelve hours of electronic and mixed media works! I caught nearly half the event, arriving – regrettably – too late for music by some familiar names, among them: David Felder, James Dashow, William Coble, Kaija Saariaho, Hans Tutschku, and Dennis Miller – and some not so familiar names: Ferdinando De Sena, Jeremy Podgursky, Michel van der Aa, Malin Bång, and a good many others. The unfamiliar names were mostly European, and one of the good things about the mix of pieces was the inclusion of music from Europe that is not often heard in this country. There was a chronological mix as well including older pieces such as …sofferte onde serene… of Nono, from 1976 (has not worn well) and Mortuos Plango, Vivos Voco from 1980 by Jonathan Harvey (still sounds fabulous, especially nice to hear it in a hall with a multi-channel setup). There were a lot of pieces that involved live processing, but much of this mostly just involved putting a live player through a laptop that served as a sophisticated stomp box providing variations on delay. There seemed to be a limited array of compositional options: either the processed version accumulates the notes as though the piano pedal was depressed (the homophony strategy); or something that was just played gets repeated, looped or not (sort of canon at the unison). Pieces for what we used to call “instrument and tape” – now the expression is “instrument and fixed media” – were also heard. Performances were at a very high level throughout the evening. A few standouts:

the forgotten dialect of autumn by Heather Stebbins – memorably lyric violin lines played by Krista Buckland Reisner, with live electronics.

Winter Fragments by spectralist master Tristan Murail – the Boston-based group Sound Icon playing with live processing, plus video imagery by Herve Bailly-Basin – mostly aqueous images, sometimes crystalline, mostly responding to the music in a direct way, and therefore suggesting a high end  iTunes visualizer. (Just as the laptop ends up being a fancy stompbox. Fancy technology does not always mean a fancy result.)

Rope and Chasm by Matthew Greenbaum –  Re’ut Ben Ze’ev, mezzo soprano, narrating, singing, and interacting with a video. The piece is based on Nietzche’s Also Sprach Zarathustra; one memorable moment was when the mezzo reached up her hand to a wounded figure in the video, casting her hand’s shadow onto the screen – a simple gesture, but quite touching.

Strange Autumn by Steven Kazuo Takasugi – a theater piece with narration, electronic sound and a percussionist making amplified noises with various pieces of paper. Something oddly moving about making a piece with such impoverished means.

Scuffle & Snap by Eric Chasalow – an heir to the Davidovsky tradition, Brandeis faculty member Chasalow, who curated the marathon, offered another one of his finely crafted studies in, as he put it in a program note, “building heightened dramatic structures around traditional instruments”. He continues, “I like to use a wide variety of sound sources, recontextualized, but very resonant with memories.” Chasalow’s work is important because he is not just an electronic music composer, he is an electronic music composer; the way he carefully shapes musical gestures and their interaction was a welcome contrast with much of the music heard that day.

The last piece I heard was Davidovsky’s Synchronism No. 12, played with her customary verve and lively array of colors by clarinetist Jean Kopperud. This is the most recent in the series of pieces for instruments and electronic sound by the original maestro of the medium. Here is Jean just before playing the piece:

By now it was getting close to midnight, and time for me to go get some sleep before the next morning’s church service with my motet at Emmanuel. More soon.

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