All Alone

Daniel Felsenfeld had a fine idea on Twitter, inviting composers to list their works for solo performers – an obvious resource for a time of pandemic when we are staying home. I listed my relevant pieces there, but would like to mention there here as well.

There are three solo piano pieces in my catalog. The oldest is Secret Geometry, the same as the name for this blog. This is a piece with pre-recorded electronic sound, what kids these days would call “fixed media” and what I have to stop myself from calling “tape” even though that’s the medium I used at the time to record my MIDI realization of the electronic component. I wrote the piece for the brilliant Aleck Karis, perhaps the pianist I heard most frequently when attending new music concerts during my Columbia days. Aleck is a long time faculty member at UC San Diego. This was the first piece of mine to appear on CD but the label on which it appeared – CRI (Composers Recordings Inc.) no longer exists. However, New World Records has the CRI catalog, and lists a lot of CRI items on its website – not sure how complete the listing is. The album with Secret Geometry is not easy to find on the website; if you search for “primosch” you will only get the all-Primosch cd Icons, which was recorded after Aleck’s album. Despite being an album of pieces for piano and electronic sound, it doesn’t come up when you filter the CRI catalog for electronic music. However, a search for “aleck  karis” will finally yield this page which features sound clips of my piece.

There are two more recent piano pieces. I wrote a big Sonata-Fantasia on a commission from Lambert Orkis who wanted a piece involving both a piano and a Kurzweil synthesizer. Since I knew it was extremely unlikely anyone else would play the piece (for one thing, that model of Kurz was out of production before I finished the piece), I planned on making a portion of the piece work for solo piano. The first movement is a substantial variation set, running about 24 minutes, and it is available from Presser as Piano Variations. The idea of the original version was that ghosts of the piano’s past would be evoked in some of the variations. For example, there is one that refers to Schubert that uses fortepiano samples; a canon with a third free voice – a texture that recalls the Goldberg Variations – uses a harpsichord sample. However, most of the variations employ a more wide-ranging palette of electronic sounds and do not refer to earlier styles. In the piano solo version, earlier keyboard idioms are evoked simply by texture and keyboard layout. You might say the piece becomes variations of the piano as well as variations for piano, though I suppose every substantial variation set does that to some extent. Lambert recorded the entire Sonata for Bridge in its original version, but the piano solo version awaits a first recording. (You should check out the Wernick Sonata #2 on that Bridge album – Dick is a truly under-appreciated master.) Here is a handsomely made video of Anna Kislitsyna’s brilliant performance of the Piano Variations:

While there is presently no CD of the Piano Variations, a second recording of Pure Contraption, Absolute Gift is forthcoming.  This set of five short character pieces or preludes, running about 14 minutes, was recorded for Centaur by the wonderful Youmee Kim; here’s the second movement:

Ryan McCullough has recorded the piece for an Albany disc that I anticipate will be coming out in the next several months. (UPDATE: It comes out May 15!) It includes some songs of mine as well as music of John Harbison. Ryan’s wife Lucy Fitz Gibbon is the soprano on the album, and the performances are fantastic throughout.

I wrote Pure Contraption, Absolute Gift (the title comes from an Auden poem) for a consortium of 12 pianists. Check out a substantial post on the piece here, including score excerpts.

My other solo pieces are early works. There are two pieces with electronic sound: Particles for clarinet, and Aria for oboe. In both cases the electronic component needs some technological attention, so if you are interested, let me know, and I will work on getting together something that is presentable. No electronics are required for my solo violin Variations. Aria is available from what is now called Wise Music Classical. Originally published by Gunther Schuller’s Margun firm, the pieces went to Associated Music (the BMI sibling of G. Schirmer) when Gunther sold the business. Presently, Associated is under the Wise Music Classical umbrella. Wise, unlike Associated, identifies the pieces as being under the Margun imprint, instead of simply being absorbed into Associated. I believe the violin Variations were also in the Margun catalog, but they are not listed on my page at Wise; I will look into that. For the moment be in touch with me if you are interested in a score of the Variations or in Particles.

Early May Miscellany

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–  Anna will be playing my Piano Variations. She was one of the students who shared in a performance of the piece in 2016, having had the work brought to her attention by Temple U professor Lambert Orkis. More about the piece here.

– there was a very strong performance by the Lark Quartet at their 30th anniversary concert in NYC this past Monday. After urgent, authoritative playing in the Debussy Quartet, they offered a premiere for string octet by Andrew Waggoner in which the original members of the Lark joined the current members. The piece, called Ce morceau de tissu, was striking for its fierce antiphonies and roiling textures. It was impressive how Andrew was able to maintain high energy in the piece; sustained fast music is no small challenge to write. After intermission, the Harbison String Quartet No. 6 had its NYC premiere. In four movements, the piece begins with the first violin placed some distance from the rest of the quartet, gradually arriving at a conventional playing location, and the “3 + 1” conception returns later, though the positioning of the player remains normal. It was interesting to hear this quartet and Harbison’s Presences two weeks apart; two chamber works for strings featuring concertante writing for a member of the ensemble, though Presences is mostly at a higher dramatic temperature than the quartet with its lyrical and dancing textures. Both works linger in the mind.

No less intriguing was a chance to hear the Harbison Sixth in close juxtaposition with the recent Mario Davidovsky Sixth Quartet as played by the Juilliard Quartet on Sunday here in Philadelphia.  Both memorable pieces by senior masters, but with very different languages, of course. Mario’s piece is called Fragments, and its essentially athematic discourse relies on the careful deployment of characterful elements that, in Mario’s words: “do not offer the necessary pitch/rhythmic information to denote them clearly as motives, but can be described in basic ‘expressive’ terms as being very fast, percussive, or lyrical, etc.” These fragments are combined, juxtaposed, and transformed, with the result being mercurial, dramatic, playful and poetic by turn. The writing is animated by vividly alert textures that retain the influence of Mario’s days in the electronic music studio; at times it is as though an electronic component is embedded in the purely acoustic piece. The work was brilliantly played by the Juilliard on a program that also included the Mendelssohn a minor quartet and Beethoven Op. 130, with the Grosse Fuge – whew!

Here’s John Harbison with Andrew Waggoner and Kathryn Lockwood of the Lark after the concert:

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and Andy with his wife Caroline Stinson, cellist in the Lark:

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– I visited the Guggenheim the morning after the Lark performance, and I strongly recommend their current show, filled with myriad strong pieces! I lingered at works by Pollock, Klee, many Kandinskys, a Bonnard (not normally one of my favorites), Mondrian, and many more. I found this Picasso especially moving, spending a long time looking at the supremely elegant curving lines:

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You might complain that this is an “easy” work to like, compared with, for example, some of the Kandinskys in the show. But “easy” in art is never easy.

“Variations” at Temple University

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Thank you to the fine young pianists who took on my Piano Variations yesterday at Temple University. Students in Lambert Orkis’s Modern Keyboard Music class offered a recital including works by Curt Cacioppo, Rodion Shchedrin, Sergio Calligaris, Michael Djupstrom, George Crumb, and myself. Five students shared my Variations, each one doing a few from the set (as pictured above, from left to right):Nam Hoang Nguyen, Anna Kislitsyna, Gretchen Hull, Alessandra Tiraterra, and (at the far right) Silvanio Reis. That’s Siang Ching Ngu, who played the Djupstrom piece, standing at Silvanio’s right. Lambert is seated on the piano bench.

It was fascinating to hear the varied gifts of these young artists reflected in the diverse expressive worlds of the variations. I wish I could hear each one of them play the whole set! I am very grateful to Lambert Orkis for introducing these pianists to my music.

A few more pictures from dinner afterward:

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