Re: MicroMay Concert Report - May 20

Report on MicroMay �99 Concert of May 20th held at Columbia University�s St. Paul�s
Chapel.
Following the first of the series of concerts I found that my time sense had been
altered. Not one of the works on the May 20th program featured the typical mad dash
scurrying about that characterizes much of the solo instrument literature in the
12-tone tradition. I heard some wonderfully inspiring solo work that was completely
free of the Paganini / Liszt influence. The works I heard were heart centered
rather than solar-plexus centered in chakra terms. They were not about the
performer as athletic competitor trying to outdo the other or prove to himself or
the listener that he can conquer the instrument. These were about the love of
sound, breath, time and subtlety.
Ko-Lho by Giacinto Scelsi opened the program. Scelsi exercises the most
extraordinary restraint as he confines pitch between flute and clarinet until a
center from which to microtonaly depart takes hold. Once the ear is centered (and
not simply centered on a drone) then the most subtle departures can unfold without
any interval sounding awkward. The performers were Michiyo Suzuki on clarinet and
Andrew Bolotowsky on flute.
Theodasii Spassov�s work on the Kaval was nothing short of pure genius as this
brilliant young virtuoso expressed his whole world of influences through a
shepherd�s pipe, coaxing from it the purest flute tones at one moment to sounds
full of raw breathy guttural power. My mind reeled as I heard coming from this
clarinet sized keyless instrument full bodied tones in the lower bassoon register.
I loved the way he built toward the episodes that sounded distinctly Bulgarian in
rhythm and nuanced pitch.
Johnny Reinhard�s new work Sleep unfolded masterfully with such a gentle sense of
wide open pitch and time space. His fondness for choreographing the performer
integral to the piece looked ever so graceful to watch as clarinetist Michiyo
Suzuki effortlessly bent, kneeled and even stretched out on a pillow, all the time
playing her instrument. She�s one of the few musicians who�s control over
multiphonics is such that the multiphonic no longer raises the flag "extended
technique". She can really execute multiple tones that grow right out of the
phrase as if the clarinet were originally intended to do such impossibilities. Of
course Johnny may well have been responsible for such elegance in his writing
although I suspect there was a lot of good collaborating as well.
I enjoyed hearing Dowland played by Wim Hoogewerf in what was described as
Dowland�s favorite tuning but I had no way to compare the effect to that of
standard guitar tuning. The performance was mature and commanding. Later in the
program Wim returned to perform on the quarter-tone guitar works of Carillo written
in 1931. Carillos�s penchant for obvious sequences sounded raw and primitive in
the light of recent conceptions but it was a treat to place microtonality in
historical context.
Philip Corner�s Two Microtonal Memories for trombone and theramin was
masterfully played by Peter Zummo with Johnny on the theramin. The theramin was
very intriguing to watch since there is no instrument that I can think of that one
plays without physical contact since gesture becomes sound directly. I naturally
trust in Johnny�s ear to make things sound right.
As for the concluding work, Thirsting for Peace in a Raging Century by Edward
Sanders the synthesized sounds quality of the 31 tone microlyre was dull and dated
as was the two singers harmonizing in 3rds and 6ths. The acoustics of the chapel in
its abundant reverberation suited everything else on the program except this
strange folk-like work that seemed to go on endlessly, spinning out its twelve
verses which I had difficult understanding. The returning refrain "thirsting for
Peace�" helped me to keep count.
Overall it was a great and inspiring evening.

Howard Rovics
rovics@ct2.nai.net

Howard Rovics wrote:

> Ko-Lho by Giacinto Scelsi opened the program. Scelsi exercises the most
> extraordinary restraint as he confines pitch between flute and clarinet until a
> center from which to microtonaly depart takes hold. Once the ear is centered (and
> not simply centered on a drone) then the most subtle departures can unfold without
> any interval sounding awkward. The performers were Michiyo Suzuki on clarinet and
> Andrew Bolotowsky on flute.

Scelsi is always amazing. At least all the works I've heard so far!

> Theodasii Spassov�s work on the Kaval was nothing short of pure genius as this
> brilliant young virtuoso expressed his whole world of influences through a
> shepherd�s pipe, coaxing from it the purest flute tones at one moment to sounds
> full of raw breathy guttural power. My mind reeled as I heard coming from this
> clarinet sized keyless instrument full bodied tones in the lower bassoon register.
> I loved the way he built toward the episodes that sounded distinctly Bulgarian in
> rhythm and nuanced pitch.

So true - after the show I took a look at his flute. It just a tube,the mouthpiece: an
end bown hole. One minute he's playing a flute,
then he produces a didgeridu-like buzz with his lips that access a much lower range
of notes. He played solo but also performed a stunning duet with Johnny Reinhard.
Amazing.

> Johnny Reinhard�s new work Sleep unfolded masterfully with such a gentle sense of
> wide open pitch and time space. His fondness for choreographing the performer
> integral to the piece looked ever so graceful to watch as clarinetist Michiyo
> Suzuki effortlessly bent, kneeled and even stretched out on a pillow, all the time
> playing her instrument. She�s one of the few musicians who�s control over
> multiphonics is such that the multiphonic no longer raises the flag "extended
> technique". She can really execute multiple tones that grow right out of the
> phrase as if the clarinet were originally intended to do such impossibilities. Of
> course Johnny may well have been responsible for such elegance in his writing
> although I suspect there was a lot of good collaborating as well.

And the long reverb of St. Paul's Chapel also contributed to the beauty of
thispolymicrotonal piece. Michiyo would play a note followed by some microtonal
bends and it would hang in the air creating a stunning complex harmony.

> I enjoyed hearing Dowland played by Wim Hoogewerf in what was described as
> Dowland�s favorite tuning

A treat! The Dowland was a clean bright light amid all the colorfulpieces on the
program.

> Philip Corner�s Two Microtonal Memories for trombone and theramin was
> masterfully played by Peter Zummo with Johnny on the theramin. The theramin was
> very intriguing to watch since there is no instrument that I can think of that one
> plays without physical contact since gesture becomes sound directly. I naturally
> trust in Johnny�s ear to make things sound right.

I had no idea that Johnny was such a kick ass theramin player. Surelyhis incredible ear
and sensitive musicanship stole the show. The way he
eased in and out of notes - wow - what phrasing!

> As for the concluding work, Thirsting for Peace in a Raging Century by Edward
> Sanders the synthesized sounds quality of the 31 tone microlyre was dull and dated
> as was the two singers harmonizing in 3rds and 6ths.

The sparse harmony wore me out too.

> Overall it was a great and inspiring evening.

No argument here!

I'd like to add that composer Patrick Grant provided sound engineering for the evening.

Specifically Wim Hoogewerf's guitar, the Phillip Corner (if my memory servers,
but maybe not!) and the Ed Sanders. The Chapel has a long reverb and tends
to obscure some performances, but not this time - thanks Patrick!

*

Howard: do you mind if I include this review along with my previous
reviews of AFMM concerts at the uxtaposition Ezine www site?

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