STAFF PICKS: Friday Faves

Second Inversion hosts share a favorite selection from their weekly playlist. Tune in on Friday, April 14 to hear these pieces and plenty of other new and unusual music from all corners of the classical genre!

Valgeir Sigurðsson: “Architecture of Loss: The Crumbling” (Bedroom Community)

Valgeir Sigurðsson’s “Architecture of Loss: The Crumbling” is five minutes of bold, emotive, string-heavy resonance sweetened with silvery piano and sharpened by nearly subliminal scratches and creaks. The music is drawn from the concept of “formation and disintegration,” so the sparse notes and lingering strings serve the theme well. It’s a piece evocative of splintering glaciers: beautiful yet uneasy.
Rachele Hales

Tune in to Second Inversion in the 11m hour today to hear this piece.


Danny Clay: “Two and Six” (Ignition Duo)

Unlike some stuff we play on Second Inversion, Danny Clay’s “Two and Six” is an example of music best experienced in headphones. The interplay of harmonics between the two guitars is more engrossing and intimate in stereo, especially if the audio is piped straight to your brain. So, I advise you to put your cans on and chill out to this introspective conversation between twin electric guitars. Whether you need to focus or relax, this track is an excellent choice. – Seth Tompkins

Tune in to Second Inversion in the 3pm hour today to hear this piece.


Terry Riley: “Venus in ’94″
Performed by Gloria Cheng (Telarc Records)

He’s one of the world’s foremost boundary-bursting minimalists; she’s a Grammy-winning pianist known for championing new music—it’s a match made in musical heaven. The world premiere recording of Terry Riley’s “Venus in ’94” sparkles under Gloria Cheng’s free-spirited fingers, which gracefully soar up, down, and around an utter obstacle course of intricate voicings and rhythms.

Half waltz, half scherzo, the piece is a delicate but deftly virtuosic lesson in extravagant romanticism—or as Riley himself describes it: “A tip of the hat to early Schoenberg, Chopin, and Brazil.”
Maggie Molloy

Tune in to Second Inversion in the 7pm hour today to hear this piece.

ALBUM REVIEW: The Glass Effect from Lavinia Meijer

by Maggie Molloy

When most people hear the harp, they think of Baroque suites or Celtic folk ballads, angels strumming heavenly melodies—or perhaps that sideline string instrument sandwiched between the violin and percussion sections of the orchestra.lavinia-meijer

But harpist Lavinia Meijer is interested in expanding those possibilities. In fact, she’s made an entire musical career out of it.

Meijer has cultivated a name for herself as one of the most diverse harpists of the 21st century, consistently seeking out little-known classical solo and orchestral repertoire, collaborating with contemporary cross-genre artists, and recording brand new music that bursts through classical music boundaries. And when the music’s not written for her instrument—she simply arranges it for harp herself.

Her latest project is The Glass Effect: a two-disc release featuring works composed and inspired by minimalist mastermind Philip Glass. The first disc is classic Glass: 10 of the composer’s famous 20 Piano Etudes, each delicately arranged and deftly performed on harp by Meijer. The second disc highlights Glass’s influence on the next generation of composers, featuring Glass-inspired compositions by Bryce Dessner, Nico Muhly, Nils Frahm, Ólafur Arnalds, and Ellis Ludwig-Leone.

Recorded as a tribute album for Glass’s 80th birthday this coming January, the two-disc set begins with a retrospective glance backward through Glass’s extraordinary compositional discography. Meijer lends her fingers to 10 of Glass’s 20 Etudes which, composed over the course of 1991-2012, offer a glimpse into the development and ongoing transformation of his harmonic language and compositional style.

Etudes are, of course, exercises: short musical compositions designed to develop (and, once learned, demonstrate) the skill and technique of the player. And trust me, Glass’s Etudes are no easy feat.

Yet Meijer dances with grace and charm through the entire obstacle course of changing tempi, textures, and techniques, crafting each phrase and every delicate detail with the utmost care and attention. From the soft and sweet lullabies of Glass’s early Etudes to the motoric rhythms and virtuosic variations of the later ones, Meijer’s arrangements maintain the music’s trademark clarity and unshakable sense of forward motion while also offering compelling insight into her instrument.

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The second disc is bookended by Glass’s haunting theme from the 1982 apocalyptic film Koyaanisqatsi, beginning first with Meijer’s solo harp arrangement. She craftily transforms the original synth-laden ostinato into a poignant and introspective solo piece which speaks to the sheer power and timelessness of Glass’s melody. But she doesn’t forgo the electronics entirely: the theme comes back again at the end of the album in a remixed version with electronics titled “Lift Off,” which Meijer created with sound designer Arthur Antoine in 2014.

The effects of Glass echo clearly throughout the second disc, which showcases how ambient and minimalist music has evolved (and continues to evolve) in the hands of young composers.

Among the first composers featured is Bryce Dessner (who you may recognize from the band The National) with his three-movement Suite for Harp. Dessner’s piece utilizes the full pitch range and performance idiosyncrasies of the harp, painting a hazy soundscape of softly cascading melodies, harmonics, and arpeggios.

laviniaNico Muhly’s two contributions to the album, each originally composed for piano, are more introspective in nature. Meijer’s fingers drift patiently through the simple, chant-like melodies and soft bass drones of Muhly’s “Quiet Music,” and her playing brings a quiet warmth and aching resonance to “A Hudson Cycle.”

Muhly’s pieces dissolve into the soft ambience of two of Ólafur Arnalds’ most music box-worthy compositions. Meijer twirls through the twinkling melodies of “Erla’s Waltz” and drifts sweetly through the circular harmonies of “Tomorrow’s Song.”

Arnalds’ friend and frequent collaborator Nils Frahm follows with two compositions originally composed for piano but expertly arranged for harp by Meijer. Breathy melodies float above soft (but busy) bass arpeggios in “Ambre,” while block chords echo against a serenely silent backdrop in “In the Sky and on the Ground.”

However, it’s perhaps composer Ellis Ludwig-Leone’s contribution which stretches the harp the furthest from its traditional musical stereotype. His composition “Night Loops” for harp, looping pedal, and electronics sparkles with fluttering melodies and crackling electronics, creating an entire glistening garden of timbres and musical textures.

And thus, the album ends with a glance toward the future—a look at how Philip Glass’s musical influence continues onward in all its ever-expanding variations and transformations.

Because although Glass may be a minimalist, his influence is far from minimal.

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STAFF PICKS: Friday Faves

Second Inversion hosts share a favorite selection from this Friday’s playlist. Tune in during the indicated hours below on Friday, October 14 to hear these pieces. In the meantime, you’ll hear other great new and unusual music from all corners of the classical genre 24/7!

1045-bates-cover-1600Mason Bates: Mothership (BMOP/sound)

Some combinations are wonderful despite the unintuitive relationship of their component parts.  Mason Bates’s Mothership contains such a combination.  You wouldn’t think that live electronics, a full orchestra, and NASA spaceship sound samples would go well together with the sound of the guzheng, but they do.  So sit back, grab some cream cheese for that hot-dog, and enjoy Mothership. – Seth Tompkins

Tune in to Second Inversion in the 10am hour today to hear this piece.


Philip Glass: Etude No.12; Bruce Levingston, piano (Sono Luminus)

dsl-92205-dreaming-awake-coverI‘m a total nut for minimalism and usually turn to it when working, running, cooking, commuting, exploring, just about anything. So, I was thrilled to discover Dreaming Awake, a recently released 2-disc journey of Philip Glass’ piano music guided by Bruce Levingston. Ten of his etudes are tucked in between and around The Illusionist Suite, Wichita Vortex Suite (with guest vocals from Ethan Hawke), Dreaming Awake, and Metamorphosis No.2, for an asymmetric but balanced collection.

I hope you catch Etude No.12 on Second Inversion today. Whereas his first 10 etudes were written primarily as exercises for improving technique, his later etudes are more expressive and emotional. No.12 to me is characteristically “Glass” in many ways – repetitive, steady, with rhythmic, driving arpeggios, and also a somber depth. The musical colors are incredibly poignant in this tribute to American painter Chuck Close, who temporary lost (but later regained) the ability to paint due to a spinal aneurysm. Glass depicts this emotional battle in the music, Levingston communicates it with is playing, and the producers at Sono Luminus record it with such mastery, yielding a stand-out new release in the contemporary classical realm. – Maggie Stapleton

Tune in to Second Inversion in the 2pm hour today to hear this piece.


Stephen Suber: Soleil; Ars Brunensis Chorus (Centaur)

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The best music is music that convinces you there is no other music in the world.  This week Stephen Suber’s “Soleil” did that for me.  He describes the composition as “an orchestral piece without the orchestra,” using only the dynamic human voice to create rhythms and harmonies that grow more complex as the piece continues.  Baritones sub as the double bass, tenors become cellos, and percussion is provided by plosives, sibilants, and fricatives.  This composition is from his album Starlit and, when asked about it in an interview, Suber refers specifically to “Soleil” when he states that the singers “came so close to reading my mind.  They nailed it.”  With a review like that it’s no wonder he cites this as his favorite work from the album! – Rachele Hales

Tune in to Second Inversion in the 3pm hour today to hear this piece.


Richard Reed Parry: Heart and Breath Sextet;  yMusic and Nico Muhly
(Deutsche Grammophon)

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Richard Reed Parry is one of those musicians who really writes from the heart—in this case, literally. His “Heart and Breath Sextet” throws all time signatures out the window and instead instructs the performers to play, well, to the beat of their hearts.

The piece comes from his introspective opus, Music for Heart and Breath: a series of compositions which uses the performers’ hearts and lungs as the performance parameters. Each musician is instructed to play with a stethoscope (and very quietly) in order to stay in sync with their own heartbeat, thus resulting in a beautifully irregular ebb and flow—a soft and serene watercolor come to life.

And as you can imagine, no two hearts beat exactly in time. For this sextet, performed by yMusic with Nico Muhly on piano, the result is a pointillistic effect: starts and stops are staggered, melodies fall out of sync with one another, harmonies bend delicately up and down.

And every once in a while, one of those softly sighing melodies falls in sync with your own heart and breath—a gentle reminder of just how musical it is to be alive. – Maggie Molloy

Tune in to Second Inversion in the 6pm hour today to hear this piece.

Seattle Symphony’s Tuning Up! Festival

by Maggie Molloy

The Fourth of July is almost upon us, and you know what that means: parades, picnics, and barbeques abound! And while hot dogs, fireworks, and flag-covered clothing are a (somewhat) relevant expression of American independence, our county has a whole lot more than just cured meats and corny t-shirts to be proud of.

Tuning Up!Which is why this summer, the Seattle Symphony is turning off the barbeque and turning up the music with Tuning Up!: a two-week festival celebrating American musical creativity in the 20th and 21st century. This star-spangled celebration features nine concerts which traverse America’s vast musical landscape, from jazz to Broadway, avant-garde to minimalism, classics to Hollywood, and much more.

So whether you crave the jazzy grooves of George Gershwin or the swinging blues of Duke Ellington, you can hear it all during the Tuning Up! Festival. Maybe you prefer the massive soundscapes of John Luther Adams, the hypnotic minimalism of Philip Glass, or the movie magic of John Williams—the festival has all that too!

Suffice it to say, Second Inversion is all over this festival. Come visit us at the KING FM table in the lobby at the following events for music, magnets, and other free swag!


Stage & Screen: From Appalachian Spring to the Red Violin
Thursday, June 23 at 7:30 p.m.

From stage to screen to concert hall, these giants of American music transcended borders and paved the way for generations to come. Among them is Florence Beatrice Price: the first African-American woman to be recognized as a symphonic composer. The Seattle Symphony pays tribute with a rousing orchestral rendition of her ragtime classic, Dances in the Canebrakes. Plus, dancers take to the stage alongside the Symphony for a performance of Aaron Copland’s famous folk-inspired and Pulitzer Prize-winning Appalachian Spring.

The program also features Leonard Bernstein’s elegant Divertimento for Orchestra, poignant movie music from Schindler’s List and The Red Violin, and a heartwarming tribute to the late Marvin Hamlisch who, among his many accomplishments in music, served as the Principal Pops Conductor at the Seattle Symphony from 2008 until his death in 2012.


The Light that Fills the World: A Meditation in Sound & Light
Thursday, June 30 at 7:30 p.m.

In the face of trauma and political turmoil around the world, Seattle Symphony offers an intimate meditation in sound and silence, light and dark. Julia Wolfe’s My Beautiful Scream, written after the events of 9/11, opens the program with a slow-building and softly illuminating agony. What follows is utter silence: John Cage’s famous 4’33”.

The program also features Pulitzer Prize-winner John Luther Adams’ immersive, Arctic-inspired soundscape The Light That Fills the World, the delicate breath of Morton Feldman’s Piano and Orchestra, and Philip Glass’ scientific salute, The Light.

Plus, the Symphony invites you to submit your own Glass-inspired photographs to be featured during the performance. Deadline for submissions is this Friday, June 24.


In the White Silence: John Luther Adams’ Alaskan Landscapes
Friday, July 1 at 10 p.m.

To say that composer and environmentalist John Luther Adams is inspired by nature would be a bit of an understatement. He spent much of his life composing from a 16×20 ft. one-room cabin in the Alaskan woods, creating large-scale soundscapes which blur the line between nature and man-made instruments.

In 2013, the Seattle Symphony commissioned and premiered John Luther Adams’ Become Ocean, a 42-minute meditation for large orchestra which went on to win a Pulitzer Prize and a Grammy Award.John Luther Adams

And now, during this special late-night concert, the Symphony revisits one of Adams’ earlier explorations into sonic geography: the 75-minute soundscape In the White Silence. The piece unfolds slowly and patiently, translating the vast horizons of the frozen far north into a musical landscape of clean, radiant harmony and subtle transformation.


Looking for more in American music? Check out the Seattle Symphony’s Tuning Up! Festival Map below:

Tuning Up! Visual Guide

ALBUM REVIEW: Philip Glass and Nico Muhly ft. Angela and Jennifer Chun

by Geoffrey Larson

Angela and Jennifer Chun

The sister violin duo Angela and Jennifer Chun, originally from Seattle, have blazed new trails for the violin duo (and violin-viola duo) repertoire, commissioning new works by George Tsontakis and Osvaldo Golijov while performing existing rep ranging from Vivaldi to Martinu. Their new album presents music of Nico Muhly with the composer on the keyboards, together with music of Philip Glass, a composer with whom Nico has a close personal and musical relationship.
Philip Glass and Nico Muhly

The synthesized sounds of the Muhly Four Studies that open the recording add an ethereal backdrop to the motion of the two violins, and in general the four short movements are enjoyable to listen to. It’s amazing how much the synth background adds to the character of the violin duo, and the listener hears the various characters and emotions of each movement as if in suspended animation, like walking through a gallery of fossilized amber. Honest Music, and earlier Muhly, takes the duo in even more serious, occasionally dark directions. Angela and Jennifer attack this one with a fervent purposefulness, and display virtuosity with notes that occasionally leap up in high exclamations.

The Philip Glass works on the disc are arrangements, and are considerably less successful. Mad Rush was originally a piano work written for the Dalai Lama visit to New York in 1981, and In the Summer House was incidental music for a play by Jane Bowles based on a short story, originally written for violin, cello, voice, and synthesizer. Presented here solely on their own and navigating tricky arpeggios that would be no sweat on a keyboard instrument, the violin duo struggles throughout both Glass pieces. Inaccuracies of pitch and rhythm occur throughout, showcasing the difficulty of this arrangement of vignettes more than anything else.

Nico Muhly and Philip Glass

Glass’ music is most successful when the repetitive figures are perfectly even and metronomical, with rhythms repeating smoothly and identically. The unevenness of the duo’s playing disrupts the spell, and though the violinists mostly eschew vibrato as they strive to portray the pure simplicity of this music, moments of poor intonation are made all the more obvious. Shaky bow pressure also becomes clearly apparent in softer passages. It’s likely that this music would be much better served in its original instrumentation; it’s also likely that this duo’s performances of Bartok and Shostakovich would be more enjoyable to listen to.

Geoffrey Larson is a host on Second Inversion and is the Music Director of Seattle Metropolitan Chamber Orchestra.

 

STAFF PICKS: Friday Faves

Second Inversion hosts Rachele, Geoffrey, and Seth each share a favorite selection from their Friday playlist! Tune in at the indicated times below to hear these pieces. In the meantime, you’ll hear other great new and unusual music from all corners of the classical genre 24/7!

John Adams: Road Movies (on Nonesuch Records)

“It’s a unique experience to listen to music that is relentlessly interesting and also somewhat mundane at the same time, and we get a touch of this in John Adams’ Road Movies, a work for violin and piano. To call Adams a minimalist composer is a bit lazy in my opinion; much of his music, this piece included, is constructed with the scaffolding of minimalist textures, but has much more complexity to offer. One of the composer’s few works of chamber music, Road Movies rJohn Adams Road Moviesejects the big chordal textures of his orchestral pieces and instead focuses on creating a convivial relationship between violin and piano through music that seems to be accompanying us on a cross-country road trip. We even get a bit of scordatura and jazzy swing along the journey. It’s a piece as ordinary as a drive down a long straight stretch of asphalt, and as captivating as the landmarks we find along the way.”

– Geoffrey Larson

Tune in to Second Inversion around 12:10 p.m. today to hear this recording.


Andrew Skeet: “The Unforgiving Minute” from Finding Time (on Sony Classical)
Andrew Skeet Finding Time
“Sometimes musicians write music to make the heart pound, but here Andrew Skeet has delivered a thoughtful, absorbing piece heavy on the strings and layered with delicate electronica. There is a stillness and fragility in this song that, in a world of flashing neon signs, feels like discovering one quietly burning candle.”
Rachele Hales

Tune in to Second Inversion around 11 a.m. today to hear this recording.


Philip Glass: String Quartet No. 3 from Mishima: A Life in Four Chapters,
Performed by the Modern Mandolin Quartet on Americana 
(On Sono Luminus)


“Glass-haters need not read any further. I am not one, however, so I find myself captivated by the Modern Mandolin Quartet’s rendition of his String Quartet No.3. This “quartet” is really four selections taken from Glass’s soundtrack to the 1985 Paul Schrader film Mishima: A Life in Four Chapters. Not having seen that film, or even having been aware of its existence before I encountered this quartet, I was free to hear the piece with clear ears.

I generally like Glass’s music, but the twist here (the quartet being performed on mandolins instead of the traditional bowed string instruments) gives this recording a special quality. Glass’s music performed on string quartet instruments is a sound with which many people are very familiar, but the mandolin quartet does not suffer from that handicap. Instead of the stuffy, all-black-clad (but still quite enjoyable) “indoor” feel of Glass’s music for bowed strings, the timbre of the mandolins imbues a more adventurous, airy, denim-wearing, “outdoor” sound to this music.

Modern Mandolin QuartetThis change in instrumentation and its accompanying departure from a “classic Glass” sound might also allow listeners to forget this music is very much a product of the late 20th century; the “antique” sound of the mandolin might help people to hear this music without 20th century preconceptions, as they would the music of a composer from centuries ago.”
Seth Tompkins

 

Tune in to Second Inversion around 6:25 p.m. today to hear this recording.

ALBUM REVIEW: Third Coast Percussion | Steve Reich

by Maggie Molloy

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Minimalist composer Steve Reich is best known for his experiments into “phase music”—that is, music which features two (or more) musicians playing identical lines of music, synchronously at first, but gradually shifting out of unison with one another. As the cycle slowly unfolds, new melodies are created by the ever-changing aural interactions of the two identical lines of music.

But just like his phase music, Reich never repeated the same thing exactly twice—in fact, over the past five decades he has built an extraordinary compositional career by maximizing very minimal melodic content. That’s because his compositions are music of process, and his melodies are created through use of repetitive figures, slow harmonic rhythm and canons, perpetual cycles, and, of course, unwavering originality.

With his explorations into rhythm and articulation, Reich redefined the melodic possibilities of percussion instruments in particular—which is why Third Coast Percussion decided to pay tribute to the minimalist mastermind in their latest album, titled “Steve Reich.”

Third Coast Percussion

Comprised of percussionists David Skidmore, Robert Dillon, Peter Martin, and Sean Connors, Third Coast Percussion is committed to exploring and expanding the vast sonic possibilities of the percussion repertoire—and there is plenty to explore in Reich’s work alone.

In their new album, the quartet surveys the composer’s works for percussion over a four-decade span, beginning with the most recent: his three-movement Mallet Quartet. Composed in 2009, the work is scored for two vibraphones and two five-octave marimbas. Third Coast Percussion twirls effortlessly through the circling motives and interlocking canons of the two outer movements, transitioning seamlessly both in and out of the central slow movement. A stark musical contrast between the thinly textured, almost transparent middle movement against the persistent pulse of the outer two brings color and narrative to the piece.

What follows is a performance of Reich’s 1985 Sextet featuring pianists David Friend and Oliver Hagen. Scored for three marimbas, two vibraphones, two bass drums, crotales, sticks, tam-tam, two pianos, and two synthesizers, it’s safe to say it’s not your average percussion lineup. And yet, Third Coast and company succeed in creating a sonically cohesive narrative, each instrument carefully balanced against the rest of the group. Over the course the piece’s five continuous movements, repeating melodic motives and chord cycles form expansive, gradually evolving musical textures—and the musicians glide through these timbral changes with the utmost sensitivity and precision.

Peter Martin and Sean Connors perform the next duet on the album: the virtuosic “Nagoya Marimbas.”  Composed in 1994, the piece harkens back to some of Reich’s earlier explorations into phase music, though in this work the repeating patterns are more melodically developed and change more frequently. Martin and Connors delicately shape and shade each pattern with artistry and finesse—making this deceptively buoyant piece sound deceptively easy.

The album comes to a close with a performance of Reich’s 1973 composition “Music for Pieces of Wood” featuring percussionist Matthew Duvall. Scored for just five pieces of wood tuned to specific pitches, the work reminds us of the primeval nature of percussion—and the vast possibilities for music with even the simplest of instruments. Of course, it also allows Third Coast an opportunity to showcase their incredible rhythmic precision and skill without timbral or textural distractions. The piece is an entire kaleidoscope of sound, a pointillist painting of constantly shifting musical patterns.

Because if there’s one thing Reich has taught us, it’s that a little musical material can take you a very, very long way. And if there’s one thing Third Coast Percussion has taught us with this album, it’s that Reich’s music is so much more than just a phase.

Steve_Reich_photo_credit_Jeffrey_Herman