Filed under: Reviews | Tags: Adam Gorb, Chris Malloy, Conrad Kehn, Dave Hanson, Joseph Docksey, Joseph Martin, Leanna Kirchoff, Malcolm Lynn Baker, Michael Colgrass, Percy Grainger, Ricardo Iznaola, William Hill
There is absolutely no doubt what the faculty members at the Lamont School of Music think about their departing Director of Music, Professor Joe Docksey. Wednesday night, May 4, there was yet another concert, this time by the Lamont Wind Ensemble, which was dedicated to him in appreciation of his 34 years of service to the University of Denver. The Lamont Wind Ensemble is a surprisingly large group of students conducted by Dr. Joseph Martin who is also the coordinator of the Wind Chamber Program. Writing reviews for programs like this is interesting for me, because I always learn something new. And Wednesday evening’s program presented a composer, Adam Gorb, whom I have never heard before.
Adam Gorb was born in Wales in 1958. He began composing at the age of ten, had his first work broadcast on national radio when he was fifteen, enrolled at Cambridge University in 1977, and the Royal Academy of Music in 1991. He is now Head of Composition at the Royal Northern College of Music in Manchester, England. He has become a vital influence on music for wind ensemble.
Dr. Martin opened the program with Gorb’s composition, Adrenaline City. This is a good program opener, as it is exciting and very much in the fanfare style, though it seemed to me that, unlike some other fanfares I am familiar with, this had a very clear sonata allegro form. However, keep in mind this was my first hearing, so I may be in error concerning that. What I do know, is that in contrast to the opening A theme, the B theme group was extremely lush and melodic. It also seemed to be tonally centered, even though it used some pretty complex chord structures and clusters. Dr. Martin’s conducting style is extremely vigorous and very emphatic. In fact, one might even call it “sharp edged.” There is certainly nothing wrong with that, it’s just his style, but I always find it interesting to compare different conductors that I have watched over the years. Dr. Martin was able to communicate extremely well. The Wind Ensemble played with great excitement.
It has been quite a while since I have heard Michael Colgrass’ composition, Winds of Nagaul, but that was indeed the second piece on the program. Michael Colgrass received his Bachelor of Music degree in composition and percussion from the University of llinois in 1954, at a time when the University of Illinois was beginning to make itself known as a center of avant-garde music. Colgrass became known as an excellent percussionist, and participated in the recordings of the music of the late John Cage and the late Harry Partch. As a matter of fact, Harry Partch was also at theUniversity of Illinois in the late 1950s, where he worked with a student from the School of Industrial Design in building some of his famous instruments.
Winds of Nagaul is a five (at this concert) movement suite based on the works of author Carlos Castaneda. Colgrass stated, some time ago, that one need not have read any of Castaneda’s work in order to appreciate this piece. He said that his main goal was to create the mood of Castaneda’s work, not describe any particular event. I must say that Colgrass was extremely successful in creating moods. The opening piece in the suite called The Desert opens with a clarinet solo that sounds very much like a Native American flute, and is very reminiscent of some of the work that James Pellerite, one of the best flautists in the world, has done. Megan Biondi, the Principal Clarinetist with this Wind Ensemble, performed this clarinet solo absolutely hauntingly. The second section of this suite, Gait of Power (note the spelling, Gait) contained some measures that that were quite similar to Mariachi music, as well as some strongly bombastic sections that sounded evil. It was in this second section that one begins to realize that Colgrass wrote a very difficult piece to perform. There was musical gesture after musical gesture, similar to a conversation between two people, and, just occasionally, the entrances were a little ragged. The third portion of the suite, as performed Wednesday evening, Asking Twilight for Calmness and Power, is where I began to be a little puzzled. I began to recollect the performance I heard of this work at the University of Illinois several years ago (this piece was written in 1984). There were seven movements versus five that were performed Wednesday evening. The second movement, as Colgrass wrote it, is called Don Genaro, and there is a third movement, entitled Carlos Stares at the River and Becomes a Bubble. That makes the fourth movement The Gait of Power. My only guess as to the omission of the two movements would be that there simply wasn’t enough rehearsal time. Dr. Martin did give a small talk about this Colgrass’ composition, but I did not hear him address this particular issue. Nonetheless, this was a very impressive performance. Asking Twilight for Calmness and Power had a wonderful section quite similar to a chorale, and it certainly lent an air of meditation to this particular movement. I might add that the wind ensemble performed it in that manner. The next movement, Juan Clowns for Carlos, was performed in a manner that one could certainly imagine some humor, and yet the Wind Ensemble managed to perform it with great seriousness. It was almost Stravinsky-like, and yet seemed to be based on serial pointillism. The last movement, Last Conversation and Farewell, is like a benediction to the entire suite. Dr. Martin was able to infuse this portion of the suite with a great deal of reverence and nostalgia, and that is certainly no exaggeration. This really was a good performance of a very difficult piece. It has difficult entrances and difficult rhythms, and it is a tribute to the students in this ensemble, that they played so well. So many of these musicians deserve mention, but I do know that Zach Ashcraft was the trumpet soloist.
The most interesting part, at least for me, of this entire program came next. (There was no intermission.) The wind ensemble performed The Sussex Mummers’ Christmas Carol arranged by the Australian composer, Percy Grainger. A “mummer” is a member of a troupe of actors that often performed in the streets of London. The composition that was performed Wednesday evening was based on a Sussex folk tune, and its harmony was based on African American spirituals which influenced Percy Grainger. This is an interesting piece, because it sounded to me as if Grainger placed the harmonies above the melodic line as well as below it. And what really made this portion of the program enjoyable and fascinating in every sense of the word, was that everyone on the faculty who is a composer, and I emphasize that every one of them are quite good, was asked to write a 3 minute variation on Grainger’s carol. That means that we in the audience got to hear a short composition by Ricardo Iznaola, Leanna Kirchoff, Malcolm Lynn Baker, Dave Hanson, Chris Malloy, Conrad Kehn, and William Hill.
In modo antico was the first variation by Ricardo Iznaola. This was a wonderfully majestic piece in the traditional chorale style. The harmonies were traditional in function, but there seemed to be some bi-tonality heightened very effectively by a glockenspiel, which gave it a decidedly festive air. This was an absolutely beautiful variation. Zach Ashcroft (once again) was the trumpet soloist in this opening variation.
In Gabrielle’s Shadow, Leanna Kirchoff composed the second variation, which had a marvelous trumpet solo. As a matter of fact, all the composers of these variations used extensive trumpet. I’m sure, that most of you know that Professor Docksey’s instrument is trumpet. This delightful work featured a little more percussion than the first variation, and was a little more adventurous harmonically. It is clear that Dr. Martin knows how to bring out the best in these students.
Malcolm Lynn Baker contributed the next variation called Mummers Mambo. A mambo is a Cuban form of song, later to become a dance, and like the danzon, became popular in Cuba and in Mexico City. How many of you readers remember Perez Prado? It was he who invented the dance back in the 40s. As you might suspect, this variation was highly rhythmic and very much in a Latin American jazz style. It also made use of what I would refer to as a “scream trumpet.” The Lamont Wind Ensemble clearly had to work very hard in this variation. There were a few little spots where they weren’t quite together, but they brought it off, and they brought it off musically.
Sussex in ‘3’ was the next variation, and it was composed by Dave Hanson, who happens to be one of the most formidable jazz pianists I’ve heard for quite a while. He is also Instructor of Jazz and Commercial Music Composition and Arranging at the Lamont School. As you may have guessed from the title of this variation, which is distinctly a jazz style title, Mr. Hanson led the audience through a very jazzy trumpet solo, which was almost blues in spots. The harmonies were very rich and reminded me very much of Hindemith. The soloists and the Wind Ensemble are excellent, and due to the difficulty of these variations they were trading back and forth. I believe, and please excuse me if I am wrong, that the trumpet soloist in this variation was Carrie McCune.
Chris Malloy, who is chairman of Composition and Theory at the Lamont School of Music, contributed One Variation on the Sussex Mummers’ Carol, and this was a wonderfully unique – but in truth, all of these wonderful variations were unique – work wherein a soprano soloist stepped out on stage (I wish her name had been in the program) and did a solo with the rest of the group. The “rest of the group” stamped their feet and clapped their hands, as instruments sporadically entered and began to play. At the end, the soprano had the text, “And this is for you, Joe Docksey!”, as she pointed to the box seat where Mr. Docksey was seated.
Mentorem: Slim Joe Docksey Remix, variation six by Conrad Kehn was marvelously inventive. It featured some speeches that were, at some point or another, given by Joseph Docksey in his career as Director of Music. As the speeches progressed, Mr. Kehn “re-mixed” them, adapting the rhythmic flow of Docksey’s speech to that of the composition, which struck me as being completely aleatoric. It was the kind of composition that, I think, John Cage would have loved. It was inventive and completely musical, and its indeterminacy was completely natural. I would like to hear this again.
The concluding variation was by William Hill, entitled Sussex Mummers’ Carol Variation. The first thing that struck me about this piece was the incredible color and tone because the orchestration was well-nigh perfect (this does not mean the other compositions were inferior). There was some remarkable voice leading (?) in this work, and there was some excellent percussion work by those in the Wind Ensemble. The percussion writing reminded me a little bit of one of Cage’s Imaginary Landscapes, but, of course, those are for percussion ensemble solo, and this had the Grainger’s carol melody floating on top. I found myself convinced that I was listening to a chaconne, but keep in mind this was the first hearing, and there are so many things to listen for when one hears a piece for the first time.
Of course, the discussion of these variations is way too short. But this was a very enjoyable concert even though there were a few funny things going on in the Lamont Wind Ensemble, such as missed entrances, etc. But, nonetheless, it was startling to realize how an individual’s personality can be exposed in their compositions. I am quite sure that if all I had to do was listen to this concert without knowing who wrote the pieces, I could identify the composers, at least the ones whom I know personally. And it is an absolute pleasure to point out that after this musical tribute, Mr. Joe Docksey was absolutely beaming in appreciation.
Filed under: Reviews | Tags: Arturo Márquez, Colin Thurmond, Concierto de Pampas for Guitar Percussion and Ochestra, Danzon Nr. 2, Devin Hughes, Gregory Walker, Rich Chwastiak, Rimsky-Korsakov, Song of the Untouchable for Electric Violin and Chamber Orchestra
Sunday, May 1, I drove to Boulder from Littleton to hear a concert of the Boulder Symphony Orchestra, which was their season finale. You may recall that the Boulder Symphony Orchestra is a community orchestra whose former name was the Niwot Timberline Orchestra. I have written about them before, particularly their opening performance last fall, and I was quite impressed. I still am. This is a very good community orchestra, and their conductor Maestro Devin Hughes is working very hard to make sure they stay on a true path. The program on Sunday had to world premieres. Gregory Walker’s composition entitled Song of the Untouchable for Electric Violin and Chamber Orchestra and Colin Thurmond’s Concierto de Pampas for Guitar, Percussion and Orchestra. In addition, Arturo Marquez’ piece, Danzon Nr. 2, was programmed along with Rimsky-Korsakov’s well-known Scheherazade.
Song of the Untouchable for Electric Violin and Chamber Orchestra, Gregory Walker’s piece, was first on the program. For those of you not familiar with Dr. Walker, he is the concertmaster of the Boulder Philharmonic Orchestra, and he also teaches at the University of Colorado in Denver at the School of Arts and Media. He has a Doctorate in Composition from the University of Colorado in Boulder, and he has won several awards for his compositions. The piece that was premiered by the Boulder Symphony Orchestra was the result of a trip to India to observe the untouchable caste in the southern most part of India. In a short pre-concert talk, Dr. Walker explained that in this composition, he uses the first three notes from the second movement of Beethoven’s Fifth Symphony. He did not make it entirely clear how the music of Beethoven fits in with a trip to India and Indian music, though Dr. Walker did state that there was not a lot of original material, and I quote: “Coming from me.” In other words, there was a lot of Beethoven in this composition, and, perhaps, musical ideas from southern India. He proceeded to teach the audience the rhythmic codes to be tapped out in one’s hands for the different rhythmic patterns in Indian music. His trip to India was accompanied by Chuck Fryberger, who is a documentary film maker. If I understand correctly, he was to film Indian musicians and their instruments and Gregory Walker’s interaction with them. Walker displayed his electric violin to the audience, and stated that he had enough electronic equipment behind the conductors podium so that when he played certain notes, it would change photos of the video record of his trip which were displayed on two large screens at the front of the First Presbyterian Church which is the home base of the Boulder Symphony.
After this pre-concert talk, the program began with Dr. Walker striding down the aisle of the church, rather than from the “green room” area, and holding his bow in both hands high over his head. The orchestra began under the direction of Maestro Hughes, and the music seemed to be microtonal with, of course, the very recognizable themes from Beethoven’s Fifth Symphony. From where I sat, I could not see quite clearly enough, but it seemed as though when Walker reached the front of the church, he knelt down and picked up his violin and, still kneeling, begin to play pizzicato on his violin. The video began as well, and showed Dr. Walker striding down narrow streets in India, striding across those streets amongst the traffic, and eventually jumping into a lake. While the video was in progress, Dr. Walker was playing very emotionally on his violin, and even occasionally speaking into it. As he was performing, he walked around in back of the orchestra and across the front near the audience, smiling and nodding to the audience, and occasionally holding the bow above his head. On the video, the photographs of the Indian musicians comprised of a middle-aged man smiling into the camera, an elderly man playing a flute, and a group of ceremonial dancers. There was no explanation of what they were doing or how the music they were playing was organized. Beethoven themes were again played by the orchestra. The video showed Dr. Walker emerging from the water (symbolism?) that he had jumped into at the beginning, and that was the end of the composition. I did not hear any unusual modal sounds from the orchestra that might indicate some kind of Indian influence.
This composition had an air of the 1960s about it, particularly one composer that I have mentioned in a recent article, namely William Albright. He wrote a piece called Beulahland Rag, a multi-media work, which was for a small chamber group, mainly comprised of percussion, with film and piano.
In the late 1960s it was relatively innovative, but this is not the 1960s, and I would hesitate to call Dr. Walker’s composition innovative. In addition, I found myself wondering why Dr. Walker went to India. It seemed to me that it would have been of better service if Dr. Walker had given the money for his trip to the poor of India, rather than travel there to have himself photographed so frequently for a composition which relied so heavily on Beethoven’s themes. I also found myself recalling the paraphrase of Abraham Lincoln’s words, “You can fool all of the people some of the time and that is enough to make a living.”
The second world premiere on the program was that of composer Colin Thurmond’s Concierto de Pampas for Guitar. I will quote from the program notes:
“Colin Thurmond earned his Bachelor of Music from the University of Denver, studying with renowned pedagogues Ricardo Iznaola and Jonathan Leathwood, graduating Magna Cum Laude and being awarded the 2007 Senior Recital of Distinction in the same year. He was also the prizewinner in the Lamont Concerto Competition in 2007 and grand prize winner of the 2009 Lamont Chamber Music Competition. He earned his Masters of Music in March of 2010 after being awarded the Graduate Recital of Distinction. Mr. Thurmond has been Adjunct Professor of Music Theory at the University of Denver, Guitar Instructor at Arapahoe Community College in Musicology Instructor at the Academy of Lifelong Learning. His interests include a strong commitment to contemporary music, aiming for the expansion of repertoire through composition and commissioning of new works.
“Colin Thurmond describes his Concierto de Pampas for Guitar as ‘on many levels, a commentary on the music to which I listen. This piece seeks to relate my experience and travels in the world and the rich diversity that coexists in the 21st century.’”
This work was very different from the previous work by Gregory Walker. One could hear elements of South American and Latin rhythms, and reflecting the full title, those rhythms made themselves known in the orchestra and percussion section. Mr. Thurmond, himself, played the guitar in this composition, and he is absolutely superb. There was a percussion soloist, Rich Chwastiak, who was equally superb, and has studied with the renowned Ted Atkatz, who is the principal percussionist with the Chicago Symphony Orchestra. In addition, Rich is working on his Masters Degree at the New England Conservatory of Music.
This work was in three movements, the second of which was incredibly lush and relied heavily on guitar and xylophone. The third movement, as in the first, opened with percussion ensemble and the orchestra gradually entered. There was no mistaking the Latin influence in this work, and there was no mistaking Mr. Thurmond’s skill as a composer and as a guitarist. It would have been great if the program notes told of how Thurmond and Chwastiak became acquainted, as they seemed incredibly comfortable performing together. This was a well done piece and a joy to hear. I would really like to hear this piece again, and I hope that Colin Thurmond has the chance to get a repeat performance. I also hasten to point out, that, in this work, the orchestra sounded quite exceptional because Thurmond’s orchestration was exceptional. Maestro Hughes has a very well-defined beat, and easily keeps all the sections of the orchestra together in the trickiest of rhythmic spots.
Danzon Nr. 2, by Arturo Marquez, took me completely by surprise. Marquez is a Mexican composer who was born in 1950. In the U.S., he was awarded a Fulbright Scholarship and obtained an MFA in composition from California Institute of the Arts in Valencia, California, where he studied with Morton Subotnick, Mel Powell, Lucky Mosko, and James Newton. A danzon is a Cuban dance of a very intimate nature, almost risqué, because of its sensuality. Aaron Copland wrote a Danzon Cubano, but I assure you that is the only time I have ever heard a danzon. It has its roots in a kind of combination of habanera and tango. The danzon became popular inMexico very quickly after its popularity developed in Cuba. Marquez has written an incredibly light and airy work that opens in a very lush and romantic style with a wonderful conversation between the clarinet and oboe. There were also superb solos from the piccolo and the piano. Soon after the opening, which is so incredibly elegant, the orchestra picks up the tempo a little and changes the accent of the beat so that a new boisterous theme is introduced as part of the traditional rondo form. In the middle of this, is a rather wistful return of the main theme in the piccolo, which is highly effective. While the orchestration is very different when one compares Marquez to our own Luis Jorge Gonzalez, I was still reminded very much of the works that I have heard by Gonzalez. This is certainly another piece that I hope to hear again.
The last work on the program was the well-known Scheherazade by Rimsky-Korsakov. It was narrated by Douglas Penick, who has quite a varied career in writing, translating, art research, and librettist for two operas. He is also a novelist, and is married to Debra Marshall who is a clarinetist with the Boulder Symphony Orchestra. The story behind this four movement work, as everyone must know, involves a Sultan Schahriar, who executes all of his wives after the first night because he fears their faithlessness. Scheherazade is determined to change him. She marries him, and then in enchants him with stories for 1001 nights, never completing one story until the next night, as she also starts another one. In this way she avoids her death, and after the 1001 nights, she asks the Sultan to spare her, which he does. This orchestral piece is probably best identified as a suite, rather than a tone poem, because the music itself does not have much narrative logic or flow. Nonetheless, as I stated above, it is popular for a very good reason: its lush harmonies and gorgeous melodic lines. Rimsky-Korsakov was also a master at orchestration. This work is so well-known, that I’m not sure much needs to be said about each movement, except that it has been admired by many other composers. Debussy, for example, uses one of its themes from the second movement in La Mer, his tone poem describing the sea.
The Boulder Symphony, as I have said before, is one of the better community orchestras in the state. Yes, there were a few strange burbles from the French horn section, and on a couple of rare occasions, I heard the violins play out of tune. However, that said, this orchestra seems to be solid as a rock. There was some wonderful playing from the trumpets, trombones, and tuba, and their concertmaster, Amanda Ramey, is truly excellent. Ms. Ramey is leaving the Boulder Symphony to pursue studies at the University of Illinois, and I wish the Boulder Symphony Orchestra the best of luck in finding a replacement.
