Showing posts sorted by relevance for query brooklyn rider. Sort by date Show all posts
Showing posts sorted by relevance for query brooklyn rider. Sort by date Show all posts

Friday, May 6, 2011

CD Review: 'Brooklyn Rider Plays Philip Glass'


The innovative and exciting NYC string quartet Brooklyn Rider has a new CD from In a Circle Records in which the group records Philip Glass's entire string quartet oeuvre, which is the 5 numbered quartets plus the world premier recording of the Suite from "Bent" for String Quartet.

Brooklyn Rider, whose CD Dominant Curve was included in the Washington Post's list of top ten classical albums from 2010, was the right choice to premiere this important work. Bent, winner of the 1997 Cannes 'International Critics Award' tells the story of doomed relationships between gay men in Nazi Germany. The first of its 8 movements opens with a plaintive cello melody wending its way through a forest of suppurating strings, and one can feel the danger, the flight, the violence of the film. There are rays of hope in this work, however slim they may be. Brooklyn Rider understands how to perform this music from an intuitive, gut-level standpoint; one misplaced accent, one slightly shifted emphasis and the meaning of the whole structure is lost; the repetitive nature of Glass's motives both vertically and horizontally amplifies the importance of each little change, and without attention to every minute detail both technically and emotionally there will be nothing left. From the terrifying cello chords exploding from the smooth texture in the fourth movement to the forlorn wailing of the solo viola which is the only instrument heard in the final movement, the power of the composition shines through.

Some of the other quartets also come from film scores, including #3 which came from the 1983 film Mishima about the life of the quixotic Japanese author who committed seppuku in the early 70s. Very different in character from the Bent, there is less of the ceaseless in and out arpeggiation and more homophonic movement and stark chordal textures. String Quartet #1 was composed in 1966 but not first recorded until more than 20 years later. It is more experimental: its atonal warbling that at times veers toward a pizzicato almost completely lacking in pitch requires very different techniques of the group, and they render the ceaseless pulse with painful exactitude.

There is wondrous variety to be found in this release, each quartet with its own unique character, and Brooklyn Rider has the relentless energy required to sustain interest in the somber, often haunting sound world through which Glass's compositions wander. This release represents another big win from an unconventional and visionary group, and is an important contribution to both string quartet and Philip Glass discography.

Monday, March 1, 2010

CD Review: Brookly Rider--'Dominant Curve'


The NYC based string quartet Brooklyn Rider covers a lot of ground with their newest release from In A Circle Records, Dominant Curve. From Debussy to arrangements of John Cage and featuring compositions by the musicians themselves, Brooklyn Rider shows deep artistic maturity and a spiritual essence bordering on the psychedelic.

This disc, centered around Debussy's monumental String Quartet No. 1, featured music by, inspired by, or in the spirit of Debussy. Achille's Heel, by violinist Colin Jacobsen, opened with a spare threnody that hinted little at the chaos to follow in the second movement. Every trick in the book was pulled out: harmonics, glissandi, multiple stops and col legno combined to produce an intense sonic mind-warp, varied and somehow hypnotic despite the dynamic extremes. The third movement, Loveland, was simple and beautiful, featuring sighing violins and pizzicato cello playing in closely-layered modalities that occasionally intersected to create lush cadences. Finishing with a dragonfly's flight of fancy on a ceaseless moto perpetuo, the music heaved and seethed in impossible quadrangles and dying suns.

The extremely atmospheric (Cycles) what falls must rise by Kojiro Umezaki (who also played shakuhachi and electronics) was an eerie soundscape of very different character. Redolent with Japanese imagery and mystery, it moved ceaselessly, sound colors shifting in and out like a ghost coming in from a cold gray electronic fog. The piece closed with a perplexing coda, a more conventional string quartet playing with the shakuhachi. It seemed awkwardly appended to the end of an otherwise marvelous piece. Thematically it was enjoyable but did not seem to fit in the slightest with the rest of the material; it served to unnecessarily break the spell.

They approached the Debussy with a vigorous attack that seemed at times like almost too much, but Debussy always sounds right to me when played at the very edge of the emotions; his music inhabits a world of dreams and half-light, of terror and overpowering surges of innate divinity. Brooklyn Rider made the most of this titanic work, throwing caution to the wind with bold tempos and unabashedly dramatic dynamics. Yet there was something old-fashioned there too; the whole thing had a sepia-tone timbre to it, like listening to a recording from the thirties. The third movement ended with a gentle, rapturous ascent, rendered as prayerfully as anything by Messaien.

It closed with two more contemplative, dreamy works in keeping with the overall feel of the release: ...al niente by Dmitiri Yanov Yanovsky and an arrangement of John Cage's In a Landscape. Exciting and fresh, Dominant Curve is full of worthwhile new material as well as a valid and imaginative interpretation of the Debussy string quartet.

Wednesday, August 28, 2019

Gabriel Kahane appointed to new artistic position with Oregon Symphony

The Oregon Symphony is shaking things up!

From the press release:

The 2019/20 Season is one of innovation and growth for the Oregon Symphony as it expands its Classical programming, presents the next installment of its groundbreaking SoundSights Series, and now, appoints American composer and singersongwriter Gabriel Kahane to the newly-created post of Creative Chair. In the 2017/18 Season, Kahane stunned Symphony audiences with his oratorio, emergency shelter intake form, which examined inequality through the twin lenses of housing and homelessness. As Creative Chair, he joins the OSO through the 2021/22 Season taking on a variety of responsibilities. In addition to writing and performing three substantial works over the next three seasons, Kahane will serve as an advisor for contemporary programming on the Classical series. And crucially, he will produce two new concert series: Open Music, a composer-driven chamber series to be held in smaller Portland venues, and an as yet unnamed indie concert series in which marquee pop artists will collaborate with dynamic composers and orchestrators. 

“I couldn't be more thrilled to be entering into a long term partnership with the Oregon Symphony,” says Kahane. “Working with the organization on emergency shelter intake form has been a career highlight, and I'm honored and humbled to have been invited to take on a more substantial role with the OSO in the coming years.”

In describing his new position with the Symphony Kahane emphasizes that, “Governing all of my planned curatorial activities with the orchestra is a desire to see an increasing commitment to new music at the OSO, and, in particular, music written by those who've been historically shut out of the concert hall. I take that responsibility seriously, and also consider it a gift to help introduce Portland to so many dynamic voices who are making essential music of the 21st century.”
For the Open Music Series, Kahane will invite a composer or musician featured on the Symphony’s classical program that weekend to examine their creative approach by curating a concert of their own design with music as well as art in other forms that inspires their work. Kahane will be on stage as moderator, friend, conversationalist, and occasionally a cameo performer; a small ensemble from the Oregon Symphony will serve as house band.

Kahane observes that “Writing music is a mysterious thing; those of us who do it professionally are continually baffled and astonished by our sublime and ridiculous pursuit of finding language, meaning, and expression in sound and silence. With Open Music, I want to create an intimate space in which audiences can get a little closer to this ineffable creative path.”

In addition to producing these new series, Kahane has been commissioned to premiere work once a year on the Symphony’s Classical Series. This season he brings the world premiere of Pattern of the Rail, six orchestral settings from his 2018 album Book of Travelers, inspired by a cross country train trip through America following the contentious 2016 presidential election, as well as the premiere of the full orchestral version of “Empire Liquor Mart (9127 S. Figueroa St.)”  from his acclaimed 2014 album, The Ambassador. Kahane will present these works December 7-9, 2019 on the Symphony’s Prokofiev Fifth program at the Arlene Schnitzer Concert Hall. 

From the Kennedy Center to the Los Angeles Philharmonic, Kahane is in demand across the country. “The Oregon Symphony is thrilled to deepen its relationship with Gabriel,” says Oregon Symphony President and CEO Scott Showalter. “Working with him as our creative chair is a boon for our community.”

ABOUT GABRIEL KAHANE
Gabriel Kahane is a singer-songwriter, pianist, and composer, whose work lives increasingly at the intersection of art and social practice. His 2018 Nonesuch Records debut, Book of Travelers, hailed by Rolling Stone as “a stunning portrait of a singular moment in America”, chronicles an 8,980 mile transcontinental train trip that he embarked on the morning after the 2016 U.S. presidential election.

Gabriel is grateful to be working with and within an incredibly vibrant and supportive community of musicians. Among his most memorable collaborations have been projects with Paul Simon, Sufjan Stevens, Andrew Bird, Caroline Shaw, Brooklyn Rider, Blake Mills, Chris Thile, and Orpheus Chamber Orchestra, for whom he served as composer-in-residence from 2011 til 2013. He has been commissioned by, among others, the Los Angeles Philharmonic, The Crossing, the Los Angeles Master Chorale, A Far Cry, The Knights, yMusic, and the Los Angeles Chamber Orchestra. 

Earlier this year, he appeared as soloist with the St. Louis Symphony in a broadcast of the radio program ‘Live from Here with Chris Thile’; Kahane will make several more appearances on the show throughout the 2019-2020 season.  

An avid theater artist, Kahane has been commissioned twice by the Brooklyn Academy of Music, which in 2014 presented The Ambassador, directed by Tony Award-winner John Tiffany, and in 2017 presented 8980: Book of Travelers. Last year, he made his Broadway debut with a score for Kenneth Lonergan’s The Waverly Gallery, starring Elaine May and Lucas Hedges. 

A graduate of Brown University, Kahane lives in Brooklyn. 

Monday, March 15, 2021

Classical music winners in 2021 Grammy awards

Winners are in bold type.

75. Best Orchestral Performance
Award to the Conductor and to the Orchestra.

  • ASPECTS OF AMERICA - PULITZER EDITION
    Carlos Kalmar, conductor (Oregon Symphony)
     
  • CONCURRENCE
    Daníel Bjarnason, conductor (Iceland Symphony Orchestra)
     
  • COPLAND: SYMPHONY NO. 3
    Michael Tilson Thomas, conductor (San Francisco Symphony)
     
  • IVES: COMPLETE SYMPHONIES - WINNER
    Gustavo Dudamel, conductor (Los Angeles Philharmonic)

     
  • LUTOSłAWSKI: SYMPHONIES NOS. 2 & 3
    Hannu Lintu, conductor (Finnish Radio Symphony Orchestra)

76. Best Opera Recording
Award to the Conductor, Album Producer(s) and Principal Soloists.

  • DELLO JOIO: THE TRIAL AT ROUEN
    Gil Rose, conductor; Heather Buck & Stephen Powell; Gil Rose, producer (Boston Modern Orchestra Project; Odyssey Opera Chorus)
     
  • FLOYD, C.: PRINCE OF PLAYERS
    William Boggs, conductor; Alexander Dobson, Keith Phares & Kate Royal; Blanton Alspaugh, producer (Milwaukee Symphony Orchestra; Florentine Opera Chorus)
     
  • GERSHWIN: PORGY AND BESS - WINNER
    David Robertson, conductor; Frederick Ballentine, Angel Blue, Denyce Graves, Latonia Moore & Eric Owens; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)

     
  • HANDEL: AGRIPPINA
    Maxim Emelyanychev, conductor; Elsa Benoit, Joyce DiDonato, Franco Fagioli, Jakub Józef Orliński & Luca Pisaroni; Daniel Zalay, producer (Il Pomo D'Oro)
     
  • ZEMLINSKY: DER ZWERG
    Donald Runnicles, conductor; David Butt Philip & Elena Tsallagova; Peter Ghirardini & Erwin Stürzer, producers (Orchestra Of The Deutsche Oper Berlin; Chorus Of The Deutsche Oper Berlin)

77. Best Choral Performance
Award to the Conductor, and to the Choral Director and/or Chorus Master where applicable and to the Choral Organization/Ensemble.

  • CARTHAGE
    Donald Nally, conductor (The Crossing)
     
  • DANIELPOUR: THE PASSION OF YESHUAH - WINNER
    JoAnn Falletta, conductor; James K. Bass & Adam Luebke, chorus masters (James K. Bass, J'Nai Bridges, Timothy Fallon, Kenneth Overton, Hila Plitmann & Matthew Worth; Buffalo Philharmonic Orchestra; Buffalo Philharmonic Chorus & UCLA Chamber Singers)

     
  • KASTALSKY: REQUIEM
    Leonard Slatkin, conductor; Charles Bruffy, Steven Fox & Benedict Sheehan, chorus masters (Joseph Charles Beutel & Anna Dennis; Orchestra Of St. Luke's; Cathedral Choral Society, The Clarion Choir, Kansas City Chorale & The Saint Tikhon Choir)
     
  • MORAVEC: SANCTUARY ROAD
    Kent Tritle, conductor (Joshua Blue, Raehann Bryce-Davis, Dashon Burton, Malcolm J. Merriweather & Laquita Mitchell; Oratorio Society Of New York Orchestra; Oratorio Society Of New York Chorus)
     
  • ONCE UPON A TIME
    Matthew Guard, conductor (Sarah Walker; Skylark Vocal Ensemble)

78. Best Chamber Music/Small Ensemble Performance
For new recordings of works with chamber or small ensemble (twenty-four or fewer members, not including the conductor). One Award to the ensemble and one Award to the conductor, if applicable.

  • CONTEMPORARY VOICES - WINNER
    Pacifica Quartet

     
  • HEALING MODES
    Brooklyn Rider
     
  • HEARNE, T.: PLACE
    Ted Hearne, Steven Bradshaw, Sophia Byrd, Josephine Lee, Isaiah Robinson, Sol Ruiz, Ayanna Woods, Diana Wade & Place Orchestra
     
  • HYNES: FIELDS
    Devonté Hynes & Third Coast Percussion
     
  • THE SCHUMANN QUARTETS
    Dover Quartet

79. Best Classical Instrumental Solo
Award to the Instrumental Soloist(s) and to the Conductor when applicable.

  • ADÈS: CONCERTO FOR PIANO AND ORCHESTRA
    Kirill Gerstein; Thomas Adès, conductor (Boston Symphony Orchestra)
     
  • BEETHOVEN: COMPLETE PIANO SONATAS
    Igor Levit
     
  • BOHEMIAN TALES
    Augustin Hadelich; Jakub Hrůša, conductor (Charles Owen; Symphonieorchester Des Bayerischen Rundfunks)
     
  • DESTINATION RACHMANINOV - ARRIVAL
    Daniil Trifonov; Yannick Nézet-Séguin, conductor (The Philadelphia Orchestra)
     
  • THEOFANIDIS: CONCERTO FOR VIOLA AND CHAMBER ORCHESTRA - WINNER
    Richard O'Neill; David Alan Miller, conductor (Albany Symphony)

80. Best Classical Solo Vocal Album
Award to: Vocalist(s), Collaborative Artist(s) (Ex: pianists, conductors, chamber groups) Producer(s), Recording Engineers/Mixers with 51% or more playing time of new material.

  • AMERICAN COMPOSERS AT PLAY - WILLIAM BOLCOM, RICKY IAN GORDON, LORI LAITMAN, JOHN MUSTO
    Stephen Powell (Attacca Quartet, William Bolcom, Ricky Ian Gordon, Lori Laitman, John Musto, Charles Neidich & Jason Vieaux)
     
  • CLAIRIÈRES - SONGS BY LILI & NADIA BOULANGER
    Nicholas Phan; Myra Huang, accompanist
     
  • FARINELLI
    Cecilia Bartoli; Giovanni Antonini, conductor (Il Giardino Armonico)
     
  • A LAD'S LOVE
    Brian Giebler; Steven McGhee, accompanist (Katie Hyun, Michael Katz, Jessica Meyer, Reginald Mobley & Ben Russell)
     
  • SMYTH: THE PRISON- WINNER
    Sarah Brailey & Dashon Burton; James Blachly, conductor (Experiential Chorus; Experiential Orchestra)

81. Best Classical Compendium
Award to the Artist(s) and to the Album Producer(s) and Engineer(s) of over 51% playing time of the album, if other than the artist.

  • ADÈS CONDUCTS ADÈS
    Mark Stone & Christianne Stotijn; Thomas Adès, conductor; Nick Squire, producer
     
  • SAARIAHO: GRAAL THÉÂTRE; CIRCLE MAP; NEIGES; VERS TOI QUI ES SI LOIN
    Clément Mao-Takacs, conductor; Hans Kipfer, producer
     
  • SEREBRIER: SYMPHONIC BACH VARIATIONS; LAMENTS AND HALLELUJAHS; FLUTE CONCERTO
    José Serebrier, conductor; Jens Braun, producer
     
  • THOMAS, M.T.: FROM THE DIARY OF ANNE FRANK & MEDITATIONS ON RILKE- WINNER
    Isabel Leonard; Michael Tilson Thomas, conductor; Jack Vad, producer

     
  • WOOLF, L.P.: FIRE AND FLOOD
    Matt Haimovitz; Julian Wachner, conductor; Blanton Alspaugh, producer

82. Best Contemporary Classical Composition
A Composer's Award. (For a contemporary classical composition composed within the last 25 years, and released for the first time during the Eligibility Year.) Award to the librettist, if applicable.

  • ADÈS: CONCERTO FOR PIANO AND ORCHESTRA
    Thomas Adès, composer (Kirill Gerstein, Thomas Adès & Boston Symphony Orchestra)
     
  • DANIELPOUR: THE PASSION OF YESHUA
    Richard Danielpour, composer (JoAnn Falletta, James K. Bass, Adam Luebke, UCLA Chamber Singers, Buffalo Philharmonic Orchestra & Buffalo Philharmonic Chorus)
     
  • FLOYD, C.: PRINCE OF PLAYERS
    Carlisle Floyd, composer (William Boggs, Alexander Dobson, Kate Royal, Keith Phares, Florentine Opera Chorus & Milwaukee Symphony Orchestra)
     
  • HEARNE, T.: PLACE
    Ted Hearne, composer (Ted Hearne, Steven Bradshaw, Sophia Byrd, Josephine Lee, Isaiah Robinson, Sol Ruiz, Ayanna Woods & Place Orchestra)
     
  • ROUSE: SYMPHONY NO. 5- WINNER
    Christopher Rouse, composer (Giancarlo Guerrero & Nashville Symphony)