Thomas Steenland dreams of a world without mp3

The story behind Boulder-based label Starkland 

By Izzy Fincher Oct. 1

“New music always stood out to me. I gravitated toward it,” Thomas Steenland says.

After 43 years in new music, the appeal hasn’t faded for Steenland. With his Boulder-based label Starkland, he continues to release genre-defying, innovative new music for adventurous listeners.

Thomas Steenland

Steenland established himself in Colorado’s new music industry in the 1970s. After graduating from the University of Colorado, he took over Owl Recording, Inc., a new-music label founded in 1976. Owl, the brainchild of Steenland’s professor Cecil Effinger, was one of the United States’ first major non-profit labels, a revolutionary idea in the music industry. Freed from industry norms, Owl pursued their mission of releasing new music LPs of “high artistic, educational or historical worth not otherwise available” with Steenland at the helm. 

After 15 years at Owl, Steenland’s entrepreneurial spirit grew restless, as he saw Owl’s legacy fade when CDs began to eclipse LPs. He decided to revamp Owl’s mission to meet technological advancements. This led to the creation of his own label in 1991, based in Boulder, which released CDs exclusively. 

“I think a label can be based anywhere,” Steenland says. “But I was here in Boulder and had connections that evolved out of my experience with Owl. It was an easy transition from running that label to forming my own label.”

He decided to name his label Starkland, a play on his last name Steenland (which means “stone land” in Dutch).

“I have always loved the word stark, and I wanted it to indicate that it was edgy music,” Steenland says. “It wasn’t easy listening, new-age music.”

The word stark certainly embodied the label’s mission. Stark means utter and sheer, suggesting an absolute commitment to new music. Stark means severe, harsh and sharp, suggesting the tendency of new music to challenge expectations. Stark also means desolate and barren, perhaps a nod to unexplored musical territory and the sparsely populated landscape of the new music industry.

Original album of Dockstader’s Apocalypse

Starkland’s first release, a reissue of composer Tod Dockstader’s LPs on CD, sat at the intersection of unexplored musical and technological territory. The CD reissue presented the audio, especially the bass, with greater depth and authenticity than the original LPs released 25 years earlier. The reissue garnered attention and rave reviews from critics.

From there, Starkland grew, releasing music by cutting edge composers including Paul Dresher, Jay Cloidt and Guy Klucevsek. Later, Steenland experimented with new audio techniques, notably surround sound in the 2000 release Immersion, which featured 13 experimental electroacoustic commissions.

Nothing was too extreme for Starkland, not even Elliott Sharps’ 2015 album The Boreal, a turbulent auditory experiment.

“I can’t say I have rejected anything because it’s too extreme,” Steenland admits. “There would be other reasons. Elliott Sharp’s album is very challenging to listen to. You have to be in the right frame of mind. But he’s a big name, and that album got over 30 reviews. He has fans, but it’s not easy listening.”

In the digital music age, Steenland has been forced again to adapt to technological advancements, this time unwillingly, as CDs fade away like Owl’s LPs, eclipsed by mp3 and digital streaming services.

“The big change is how music is presented and sold to the public,” Steenland says. “I made the transition from LPs to CDs and now from CDs to digital, but the music is a constant. I really enjoyed CDs because the sound was significantly better than LPs. Now CDs are going away, and it’s becoming a digital world.”

Steenland is not a fan of this new “digital world.” Frustrated by low quality audio, he dismisses millennials’ listening habits.

“People are more interested in convenience than quality,” Steenland says. “On Spotify or SoundCloud, the quality is really low. It’s a very different experience for the listener. Spotify’s data rate is about one-seventh of what a CD is. They are throwing away six-sevenths of the music. That’s discouraging when you worked really hard to make a beautiful sounding master tape.”

In the future, he believes 5G wireless will eliminate the need for mp3 by expanding current limits on storage capacity and data rate.

“I think if 5G comes in, that is incredibly faster,” Steenland says. “It can stream high resolution video in real time. That would mean it can also stream high resolution audio. Hopefully then mp3 will go away, and we can go back to listening to CD or even better quality.”

Amidst the pandemic, he admits little has changed for Starkland, as the label focuses on chamber music releases. Musicians do their own recordings in home studios or in a socially-distanced studio setting. The only issue is promotion, such as Starkland’s recent release of Danielle Buonaiuto’s Marfa Songs, a “problem everyone faces” in the 2020 recording industry, he says.

“When COVID-19 came in, Danielle could not have a release party in New York City. That was really unfortunate. [A release party] gives critics more reason to pay attention to the album. It’s a problem. It’s disappointing, but what can you do?”

Instead in 2020, Steenland chooses to focus on what he can control. So he continues his 40-year mission of releasing new music and pursuing the highest-quality sound, meanwhile dreaming of a day when mp3 goes away.

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You may access the full Starkland catalogs here.

STARKLAND’S NEW RELEASES: FEARLESS, AUTHENTIC AND EXPERIMENTAL

Boulder’s new music label has added three albums to its catalog

By Izzy Fincher Sept. 24 at 1:15 pm.

Boulder-based label Starkland recently issued three CDs that explore contemporary music’s different personalities. Listeners who favor the familiar should begin with Danielle Buonaiuto’s aesthetically pleasing Marfa Songs, while adventurous listeners should dive headfirst into Kathleen Supové‘s bold Eye to Ivory and then Instruments of Happiness’ The Happiness Handbook

Instruments of Happiness: The Happiness Handbook Music by Scott Godin, Tim Brady, Jordan Nobles, Maxime McKinley, Gordon Fitzell and Emily Hall, performed by Instruments of Happiness. Starkland ST-232

Instruments of Happiness’ new release The Happiness Handbook explores eclectic guitar sounds, wandering through diverse textures and colors. 

The guitar collective Instruments of Happiness is led by Tim Brady, an innovative Canadian guitarist and composer. Since 1988, Brady has released 24 CDs. Instruments of Happiness is a diverse ensemble of electric guitarists that exists in three sizes: the original quartet, a chamber orchestra, and a 100-piece ensemble. Their second studio album The Happiness Handbook, which features music by Canadian composers, received Global Music Award’s Gold Medal in 2019 and Prix Opus in Quebec in 2020. 

The opening track, Scott Godin’s “Martlandia,” pays homage to British composer Steven Martland, who combined European minimalism with British aesthetics. After a convincing imitation of a Haydn string quartet, the electric guitars emerge with a minimalistic melody that after eight minutes peaks with light distortion. 

Meandering through different aural textures, the next four tracks at times lack cohesiveness. Brady’s “Equal But Opposite Reaction” begins with an ambient, foreboding texture, randomly exploding into riffs. Jordan Noble’s “Deep Field” sounds like bluesy improvisations wandered into a science fiction soundtrack. Maxime McKinley’s “Reflects de Francesca Woodman” opens with effervescent harmonics that later fall into distorted hard rock riffs. Gordon Fitzell’s “Bomb Crater Garden” emulates scraping space noises, rocket beeps and robotic bird sounds, with no clear direction.

But the final work, Emily Hall’s “The Happiness Handbook,” finds a sense of cohesion and definitive personality. In five movements, Hall constructs a minimalistic texture, underpinned by ambient noise, as rapid slurs, distortion, warbles, slides, harmonics and beeps fade in and out above. Intensity builds through the movements, and a direction emerges, until finally the last movement hints at a melody. Guitars strike bluesy chords and repeated notes amidst an echoey reverb, bringing a satisfying closure to the 15-minute adventure. 

The Happiness Handbook shows an expertise and mastery of electric guitar. The guitar collective can emulate nearly any natural sound and weave multi-layered textures with ease. At times, the tracks might seem aimless, but perhaps Instruments of Happiness is more focused on the journey than a clear destination—the first step toward happiness.

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Kathleen Supové: Eye to Ivory. Music by Mary Ellen Childs, Guy Barash, Nick Didkovsky, Randall Woolf and Dafna Naphtali, performed by Kathleen Supové, piano. Starkland ST-233

Kathleen Supové’s Eye to Ivory is an unforgettable album. It evokes overpowering visceral reactions, from confusion to fear to embarrassment, and leaves a pervasive sense of unease. My advice is don’t listen to it at night or when you are home alone.

Supové knows how to push musical boundaries. As a young pianist, she won top prizes in the Gaudeamus International Competition for her interpretations of contemporary music. In the Exploding Piano, her ongoing solo concert series, she has championed many contemporary composers, including Terry Riley, Frederic Rzewski and Louis Andriessen. Her work earned her the prestigious ASCAP John Cage Award in 2012. On her newest project Eye to Ivory, she continues to stretch the limits of piano repertoire. 

The album begins eerily with the title track “Eye to Ivory” by Mary Ellen Childs. Housed in the piano’s lowest register, the opening notes blend together into a low hum, building to an angry crescendo. It is grimy and hazy with lots of pedal. Sometimes sharp high notes float in, fighting against the dark low sounds. The piece lacks clear direction—it is a collage of developing textures, all with the undercurrent of unease.

Guy Barash’s “Talkback IV” creates aural confusion. Static and garbled piano sounds bounce between the left and the right speakers. At times, the sounds seem to be coming from all directions, even bouncing straight through the listener’s brain.

With the next two tracks, “Rama Broom” and “In the Privacy of My Own Home,” the creepiness sets in. “Rama Broom,” composed by Nick Didkovsky, is an unsettling mind-twister. Using a homicidal fantasy text, Didkovsky introduces syllables out of order, leaving the listener to decode the threatening text. It’s like a drawn-out childhood nightmare. 

“In the Privacy of My Own Home” shows the different sides of laughter. It gets weird pretty fast. Supové’s husband Randall Woolf created the composition by mixing live piano with samples of Supové’s laughs during Abbot and Costello’s skit “Who’s on First?” The composition captures laughter in the contexts of humor, sadness, intimacy and insanity. At first, it’s interesting, but by the third or fourth movement, it’s unbearably awkward, creepy and a bit too personal. 

The final track, Dafna Naphtali’s “Landmine,” is a slight respite, though certainly not conventional. The composition seamlessly blends the acoustic piano performance with real-time processing. The music feels otherworldly, as if a conventional piano performance has been interrupted by space noise.

Eye to Ivory is emotionally challenging to listen to. At times, it’s not even aesthetically pleasing, but that doesn’t seem to be its goal anyway. Instead, the album succeeds where it counts—in its commitment to being fearless and memorable. 

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Danielle Buonaiuto: Marfa Songs. Music by James Young, Cecilia Livingston, Natalie Draper and Douglas Buchanan, performed by Danielle Buonaiuto, soprano, and John Wilson, piano. Starkland ST-234

Danielle Buonaiuto’s Marfa Songs is a conservative contrast to Eye to Ivory. With only soprano voice and piano, the album is beautifully raw and authentic. 

Buonaiuto is known for promoting contemporary art songs and chamber music. She has received grants from the Peabody Institute and New Music USA. In 2018, she received the Brooklyn Arts Council grant to launch ChamberQUEER, a LGBTQ+ chamber music series in Brooklyn, New York. She has been a founding member of several contemporary music ensembles, including REXDuo and the Lunar Ensemble. 

The final three tracks are the highlight of the album—Douglas Buchanan’s “Psalm 23,” “The Skye Boat Song” and “Loch Lomond.” Buchanan transports traditional Scottish folk melodies into the 21st century with colorful harmonies and dissonance. These tracks are a delight for adventurous Celtic music aficionados. 

“Psalm 23” and “Loch Lomond” stay true to the original Celtic tunes, though with reimagined harmonies. The simple melodies show off Buonaiuto’s delicate touch and vocal control. “Loch Lomond” mostly resides within her rich mid-range, building to a sparkling, mournful ending, as she laments “me and my true love will never meet again / on the bonnie, bonnie banks of Loch Lomond.”

“The Skye Boat Song” is more romantic and experimental. Pianist John Wilson’s Debussy-esque arpeggios undulate like waves beneath free, improvisatory vocals. In the chorus, the ornamented vocals of “Speed, Bonnie boat, like a bird on the wing” seems to sway in the wind before taking flight.

James Young’s “Marfa Songs” are another notable work on the album. With nine movements in 14 minutes, “Marfa Songs” celebrates Young’s youth on the great plains of West Texas. The lyrics come from Anthony Madrid’spoetry collection I am your slave, now do what I say.

This work is more unpredictable and volatile than the Celtic tunes. At times, it sounds like an operatic, Wild-West version of Bernstein’s West Side Story.

”Heathen” sets the violent scene of western settlement, as Buonaiuto begs a  “war-weary general” to “call back your army, invincible army / show mercy to the heathen people.” The violent theme continues in ”Rope” and “Dragon,” before exploring love and heartbreak in “Mattress,” the jazzy lament ”Rival” and the cruel, mocking “Olympus.” “Olympus” is particularly aggressive, as Buonaiuto leaps to the top of her range, nearly screaming the word “Olympus.” Then the set waxes reflective on love and life with “Forgiveness,” “Ghost” and the eerie lullaby “Saguaro.”

Buonaiuto’s vocal and stylistic flexibility on Marfa Songs is impressive. From delicate Celtic folk songs to energetic western songs, Buonaiuto proves her profound vocal control—she can sing nearly anything convincingly and beautifully.

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All Starkland recordings may be purchased through the label’s Webpage.

Starkland’s latest adventurous releases: diverse, fascinating excursions in sound

New works, virtuoso performances

By Peter Alexander Dec. 28 at 12:25 p.m.

With 2018 coming to a close, now is a good time to take note of the past year’s three releases from Boulder’s Starkland Recordings. Specializing in new works, Starkland features performances of the highest quality. And in keeping with the label’s wide-ranging catalogue, the new recordings are very different, but each adventurous and challenging in its own way.

A1AdBe8paYL._SX522_Nakedeye Ensemble: Storylines Crossing. Jonathan Russell: Sextet. Zack Browning: Decade of the Dragon. Richard Belcastro:Smoke n’ Wid. Rusty Banks: Surface Tensions. Randall Woolf: Punching the Clock. Frederic Rzewski: Coming Together, arr. by Belcastro. Starkland ST-228.

The NakedEye Ensemble is a group of eight young musicians based in Lancaster, Penn. Directed by pianist Ju-Ping Song, they have been performing together since at least 2014, and have now released their first recording.

Characterizing themselves as an “electro-acoustic group with classical, rock, and jazz DNA,” their mostly new repertoire reaches back to an arrangement of a work from 1971 by Frederic Rzewski, who remains a touchstone for younger, politically motivated composers. The other five works on the disc all date from the current centurySettings range from a quartet to the full ensemble of eight.

With six such accomplished performances, it seems unfair to single out specific works, but as a child of the 1960s I have to start with Zack Browning’s Decade of the Dragon. Written for NakedEye to mark the 50thanniversary of the beginning of U.S. involvement in the Vietnam War—the dominant event of my generation’s younger lives—it refers to two searing, Pulitzer-Prize winning photographs from that struggle, “Saigon Execution” and “Napalm Girl” (the first and third images here).

The jazzy, rock-inflected score incorporates a traditional Vietnamese song, “City of Dragons.” The music is marked by sudden shifts of sound and mood, including suggestions of the ‘60s and even a trace of Hendrix. Decade of the Dragon is too energetically likable to quite evoke the horror of the subject, but it clearly deserves a place among works inspired by the Vietnam War.

In Randall Woolf’s intriguing Punching the Clock, recordings of work songs from around the world are embedded in the musical texture. The episodic score darts from one musical world to another. It is fascinating to follow Woolf’s blues-inspired imagination from scene to scene, even if it doesn’t quite add up to much more than the individual parts.

Two works on the album are sheer fun to hear. Jonathan Russell’s Sextet is a delight, from the “groovy little bass line” (in the composer’s fitting words) that opens the piece to the long, teasing fadeout ending. Richard Belcastro’s Smoke n’ Wid must be the most playful, cheerful piece ever written about cats in a box with catnip.

Another work that grew from the Vietnam War is Rzewski’s Coming Together, the tour de force and culmination of the album. It is based on a letter written by Sam Harris, who was arrested and convicted for eight bombings in New York protesting the war. Incarcerated at the infamous Attica Prison, he died there in the 1971 riots that he helped organize.

Readings from Harris’s letter are underlaid by repeated bass lines and improvised parts that reflect and surround the spoken texts. The effect is cumulative over the 20-minute duration: the combination of Rzewski’s boundless musical creativity and commitment have made this a masterpiece of political music theater.

NakedEye Ensemble plays with virtuosity and verve, demonstrating what a wealth of musical talent there is beyond our experience in Boulder. This meticulously played, fun and varied album has landed near the top of my list of favorite Starkland albums. Adventurous listeners in love with the new should make it a priority.

912LkDwsYHL._SS500_Peter Garland: The Landscape Scrolls. 1. mid-day 2. sunset 3. after dark 4. late 5. early morning. John Lane, percussion. Starkland ST-229.

The Landscape Scrolls feature virtuosity of another dimension. There are five monochromatic movements, each inspired by a time of day and an imagined landscape, and each calling for a single percussion sound.

The tour de force here is clearly for percussionist John Lane, who must in sequential movements perform on a set of eight drums, nine rice bowls, three triangles, the glockenspiel, and tubular bells; and then create an arc and a sense of direction out of a limited sound palate in each movement. That he does so is indeed a virtuosic accomplishment.

The drums of the first movement effectively evoke the subject, “jagged peaks, endless mountains, receding in the distance—early spring.” In the second movement, ringing rice bowls recreate the effect of “peepers”—pond frogs—near the composer’s home. In the third movement, the magical sight of fireflies in the summer is reflected in the sound of triangles. That Lane maintains the effect for 10 minutes is a triumph of concentration as much as musical technique.

My favorite movement is the fourth, which refers to van Gogh’s famous painting “Starry Night” through the sound of the glockenspiel. The reference to a much-loved painting , the greater compass of pitch provided by the instrument and the rhythmic variety make this movement stand out from those that went before.

The longest movement is the last, “early-morning: sea smoke on the river—winter.” Using tubular bells—commonly called chimes—the composer aims create a fog of sound that duplicates aurally the sight of the thick fog that often hovers over cold or frozen water. In this he is successful; whether it is worth of 20 minutes of listening will depend on your interest in pure sound and tolerance for near stasis as a single musical idea is repeated and slowly transformed—just like the fog slowly swirling over the river.

91p1XxsY4+L._SS500_Tim Brady: Music for Large Ensemble. Désir: Concerto for electric guitar and large chamber ensemble; Eight Songs about: Symphony #7. Bradyworks Large Ensemble, Tim Brady, electric guitar and conductor; Cristian Gort, conductor; Sarah Albu, soprano; Vincent Ranallo, baritone. Starkland ST-230.

This disc is Tim Brady’s second appearance on the Starkland label following the strikingly original Instruments of Happiness of 2016. It represents a turn in a different direction from the former recording, which featured an electric guitar quartet.

This time Brady is featured, first as soloist in his Désir: Concerto for electric guitar and large chamber ensemble, and then as conductor in Eight Songs about: Symphony #7. His own Seventh Symphony, this is also a highly original response to the Seventh Symphony of Shostakovich.

The concerto is in the traditional three movements in the order fast-slow-fast. Nothing else about it feels traditional or predictable, however. The first movement, titled “Ecstasy,” is marked by frenetic, driven activity interrupted by sudden stops, then a total change of sound. The frenetic activity returns, as if powered by an internal engine, until it tapers into a cessation of movement at the outset of the second movement, “Beauty.”

In some ways this movement represents a conventional concept of musical beauty—slow moving, more consonant. But it is also uneasy, edgy, unpredictable. This is an uncomfortable beauty that leads into the third movement and a return to frenetic activity. It is titled “Wisdom,” but this is no reflective, contemplative wisdom. It is rather the wisdom of the virtuoso who can make any difficulty seem effortless.

Shostakovich dedicated his Seventh Symphony to the City of Leningrad, where it was performed in 1942, during the German siege of the city. That performance, by a pickup group of Soviet musicians, was broadcast on loudspeakers throughout the city and even to the German troops  outside the city.

Eight Songs about: Symphony #7 is a setting of texts by Douglas Smith, forming a fever dream of that performance as experienced by different people, including a German soldier, a Russian prostitute in the city, musicians in the orchestra and Stalin himself. The texts are sung and declaimed by a soprano and a baritone, accompanied by an ensemble of players who provide what critic Alan Kozinn accurately describes as “ominously opaque musical textures.”

Brady’s music expresses something basic about the despair and brutality of war, and does it in a powerfully original way, but it is not necessarily enjoyable to listen to. The two soloists present vivid characterizations while taking very different approaches to the material: soprano Sarah Albu sounds conversational, almost detached, while baritone Vincent Ranallo gives a more mannered delivery. Brady’s conducting is naturally assured, and the Bradywork’s Large Ensemble performs with commitment.

All Starkland recordings may be purchased through the label’s Webpage.

 

Three New CDs have Boulder connections

Music by Max Wolpert, performances by Altius, and Starkland’s latest

By Peter Alexander

Wolpert.CDAmanda Harberg: Viola Concerto; Elegy
Max Wolpert: Viola Concerto No. 1, “Giants”
Brett Deubner, viola; Southern Arizona Symphony Orchestra, Linus Lerner, conductor
Naxos American Classics 8.559840

Max Wolpert is the only composer I can think of who has begun a piece of music with the end of the world.

What could come after that? As it turns out, quite a bit in Wolpert’s Viola Concerto, subtitled “Giants.” As recently recorded by violist Brett Deubner, for whom the concerto was written, and the Southern Arizona Symphony Orchestra with conductor Linus Lerner, “Giants” is an attractive, effective and intriguing bit of musical depiction.

The title comes from Genesis: “There were giants in the earth in those days.” Each movement refers to a different giant, starting with Father Time as imagined in The Chronicles of Narnia by C.S. Lewis. A giant who slumbers deep beneath the earth, Father Time is awakened to “blow his horn and call the stars down from the sky.” If Wolpert’s end of the world is not as apocalyptic as we might expect, the chimes and final trumpet calls make a clear announcement.

max w

Max Wolpert

After this mild apocalypse, Wolpert looks to the sky and the familiar cloud-dwelling giant, soothed by a magic harp. Here, a lovely harp solo accompanies lyrical lines in the solo part. The sky giant grumblingly awakes when the harp ceases, to orchestral chords that call out “fee-fie-fo-fum.” As the harp resumes, the threat is evaded.

The third giant is a rollicking “Cloud Woman” who enjoys thunderstorms as “a wild dance party.” Her revels are evoked by a “Balkan-influenced groove,” with lots of non-symmetrical rhythms.

There is a clever bit of musical symbolism running throughout. Wolpert sees the disappearance of giants as the diminishing of the world. “To encapsulate this notion,” he writes, “the concerto is framed around a melodic interval which gradually diminishes”: A fifth in the first movement, a fourth in the second movement, and a third in the final movement.

Wolpert, who lives in Boulder and works at Rocky Ridge Music Center, describes himself as a “composer and storyteller,” and the giants are depicted vividly in his music. It’s all great fun, and this must be a pleasure to play. An accessible piece for audiences, I can imagine this Concerto showing up on programs for both adults and children. Brett Deubner plays with a lovely, deep viola sound, lyrical flow and great technical assurance.

BO_Artist_Brett-Deubner-_EA1815061528_yeo0ooeoxi2d_TB

Brett Deubner

The disc is filled out with another Viola Concerto written for Deubner, by Amanda Harberg. The second movement, described as “a meditation on the fragility of life” is particularly lovely, again combining the viola with harp—an especially congenial pairing—at the outset.

The final piece on the disc is Harburg’s Elegy, written for piano and viola and arranged by the composer for viola with strings for Deubner to play. Written in memory of Harberg’s piano teacher and drawing from the same well as the concerto’s slow movement, this is an even more lovely and deeply affecting piece of music. I have a suggestion for orchestral programmers: the next time you need music for a somber occasion, perform Harberg’s Elegy.

The Southern Arizona Symphony is a community orchestra located in Tucson. Aiming to have an influence outside their own region, they have recorded, toured to China, and commissioned new works. If lacking brilliance or exceptional power, their performance is never less than effective.

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Altius.coverShostakovich: String Quartets 7, 8 & 9
Altius Quartet
Navona Records NV6125

 The Boulder-based Altius Quartet, formerly in residence with the Takas at CU, have released their second full CD, and it is one to be relished by their fans.

After their somewhat whimsical first recording, “Dress Code,” with its offbeat mix of Haydn, Led Zeppelin, and others, they have turned to a more weighty region of the quartet repertoire: the Seventh, Eighth and Ninth quartets of Shostakovich. Written at a critical point in the composer’s life, 1960 and 1964, these quartets are deadly serious and challenging to even the most experienced, mature quartets.

For the most part, the Altius prove themselves equal to the task. The members of the quartet are never less than completely assured in playing this challenging music, and they know what they want the music to say.

altius_1

Altius Quartet

From the first notes of the Seventh Quartet, they play with a nervous energy and palpable anxiety that matches the composer’s life under the Soviet state. Their tightly controlled performance of the Seventh reflects Shostakovich’s emotional state in 1960, suggesting that there is a hidden emotional depth that could burst through at any time.

The Eight Quartet was a literal cry of despair, written when Shostakovich was contemplating a suicide that his friends may have only just averted. Here the performance is cold, distant, at times as bleak as the composer’s mood. Even the demonic waltz of the third movement seems repressed.

I like more threat in the ominous thee-chord outbursts—recalling every Soviet citizen’s greatest fear, the KGB’s knock in the middle of the night—but the performance is consistent in its restraint. There is a brief moment of warmth near the beginning of the fifth movement, but that too fades into desolation. It’s not easy to enjoy this music, but this is a performance to admire.

Written four years later, the Ninth Quartet is somewhat sunnier, if not exactly cheerful. This is again music of great complexity, but the Altius plays with a remarkable transparency of texture throughout—you can hear every individual line. Restraint is again the keyword for the performance, and the shifting character of the movements is well delineated.

The disc is more than three works by the same composer: it is a satisfying whole, helped both by the selection of works, moving from anguish to near-manic cheerfulness in the composer’s outlook, and by the Altius Quartet’s keen perception and effective communication of the emotional narrative.

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Myers.CDDavid Lee Myers: Ether Music
Starkland ST-227

Boulder’s Starkland records has released a CD by one of the pioneers of electronic music, David Lee Myers. Also creating under the name Arcane Device, Myers has been constructing his own sound-producing electronic circuitry since 1980 and has more than 30 CDs to his credit.

The winner of Global Music silver medals for Creativity/Originality and Innovation in Sound, Ether Music features “Feedback Music,” comprised of sounds that are entirely generated by electronics—or as the printed notes explain it: “The album’s content spontaneously emerged from Myers’ self-designed, hand-built conglomerations of elaborately interconnected sound processing devices, with no external input.”

From the raw material of electronic hums, pops, clicks, thumps, and other sounds, Myers has crafted ten separate pieces. The different sounds are layered in ways both simple and complex, creating varied and shifting clouds of sound.

I know that not everyone will hear this as “music,” depending on how they define the word, but it is certainly creative use of sound. Like most of Starkland’s releases, hearing it expands the listener’s horizons and opens the ears to new possibilities.

Each track pulls you into a distinct world. Some of these worlds seem familiar, some are exotic, some are hallucinogenic, and they all invite exploration. If Myers’ work has a weakness, it is the difficulty of using electronic sounds to build the tension and subsequent release that comes naturally to tonal music. Lacking a definitive closing gesture to resolve the music’s journeys, many of the tracks simply fade into silence, letting the final mood linger without resolution.

Myers

David Lee Myers

That said, every piece is worth hearing. If you wish to be engaged by new sounds, you should hear the entire CD. Of the ten tracks, the first, implicate order, is a good place to start because the layers of the texture are easily heard in their transformations and interactions. A pulsating, swelling and subsiding electronic drone is overlaid with drum-like clatters and clunks.

The third track, astabilized, is the most obviously derived from electronic feedback, including buzzes, static and electronic insect sounds. The fifth track, arabic science, features pitched drones and lines that sweep up and down the scale. The impression of a distant wailing chorus, birds and insects all invite the imagination to create a dramatic scenario.

The very rhythmic sixth track, the dynamics of particles, starts with bongo-like pops and snaps, soon joined by other pitched pulses that rise and fall in pitch. The steady meter of the drum sounds makes this one of the most purely enjoyable tracks.

Another thoroughly enjoyable track, radial axial, conjures a Fellini-esque world as if from a 1950s movie. A woozy electronic organ is transformed into a theremin—the staple sound of 1950s sci-fi—then a harmonica, then a wheezing calliope before shuffling off into the distance.

It must be great fun to create these pieces, and I find it great fun to sample, either all at once or just the occasional excursion into one or two of Myers’ sound worlds. Whether it adds up to deeper artistry probably depends on your taste and concept of musical art, but no one is likely to remain untouched by the wide creativity contained in this album.

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NOTE: A correction was posted 12.4.17. An earlier version of the story had stated incorrectly that Harberg’s Elegy had been arranged for viola and string by Deubner. It was arranged for Deubner by the composer.

New Starkland CD has the antidote to the news: Accordion tunes

By Peter Alexander

Are you suffering, as I am, from “election stress disorder”?

If so, now would be a good time to take a break from politics and the news, kick back and enjoy some great accordion tunes. And just in time, Boulder’s Starkland CD label has issued a recording of just that: great accordion tunes.

61dics4g8l-_ss500Teetering on the Verge of Normalcy by accordionist Guy Klucevsek and some friends is the latest from Starkland, and it is a delight from beginning to end. From the very first track, “Moose Mouth Mirror” played by Klucevsek and violinist Todd Reynolds, the listener is in a world that is almost familiar, but, as the CD title suggests, not quite. It pulls you right in, gets you smiling and your toes tapping, and then throws you some curves that make you smile even more.

If you are not familiar with Klucevsek, he is a musician who loves the edges. Reviews of his work often stress how he transforms his instrument into something simultaneously familiar and unexpected. Downbeat calls him “A rebel with an accordion . . . . forcing you to rethink the accordion’s limitations.”

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Guy Klucevsek

Long a feature of the downtown music scene, Klucevsek has performed with a remarkable list of new music artists and groups, including Laurie Anderson, Bang On a Can, Anthony Braxton, Dave Douglas, Bill Frisell, the Kronos Quartet, Natalie Merchant and John Zorn. He is a founding member of Accordion Tribe, and has now released more than 20 albums. He has played on John Williams’s scores for Steven Spielberg films including The Terminal, Munich and Indiana Jones and the Kingdom of the Crystal Skull.

 One of the things that makes Klucevsek’s music outside of “normalcy” is the use of odd and nonsymmetrical meters—5s, 7s, irregular 8s as 3+3+2. In that not-quite-normal opening track, ¾ is followed by 3/8, then 7/8, and so on. But Klucevsek performs these patterns with such fluency that it sounds smooth, whatever the meter. You don’t even notice until you try to count along.

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Michael Lowenstern

Some of the most engaging music on the CD was written in memory of, or as an homage to, other composers and friends. Among my favorites are “Little Big Top,” written in memory of Nino Rota, featuring some virtuoso bass clarinet playing by Michael Lowenstern. So well is Rota’s spirit conjured that Fellini scenes from Dolce Vita to 8 ½ flash before my eyes every time I hear it. “Three Quarter Moon” in memory of Kurt Weill evokes just the right tone of decadent melancholy.

Other favorites for me are two waltz tracks: “Bob Flath Waltzes with the Angels” and “Waltzing on the Edge of Dawn.” Klucevsek’s seamless partnering with violinist Todd Reynolds should be mentioned a particular pleasure of the disc.

imagesEspecially moving for anyone who loves opera and opera singers is the nostalgic “Song of Remembrance.” It was written for Tosca’s Kiss, a film about the Casa di Riposo per Musicisti, a home for retired musicians and opera singers founded by Giuseppe Verdi. “Pull up a chair, listen with me,” the haunting text begins. “In this beautiful garden, the opera’s about too begin. . . . We remember the rest.”

Pianist Alan Bern crashes Klucevsek’s party with a couple of solo pieces, including the wonderfully jazzy 5-beat “Haywire Rag.” Haywire, but delightful.

I won’t describe every track, so just get the CD. Take the advice of Seattle Weekly and “forget everything you thought you knew about the accordion.” Then settle back and go where Klucevsek takes you.

All the way to the edge of normalcy and back.

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Guy Klucevsek:  Teetering on the Verge of Normalcy. Guy Klucevsek, accordion, with Todd Reynolds, violin; Alan Bern, piano; Kamala Sankaram, voice; Peggy Kampmeier, piano; Michael Lowenstein, bass clarinet; Pete Donovan, electric bass guitar; and Barbara Merman, drums. Stark land ST-225.

Available from Amazon and iTunes.

Starkland’s new CD features music that is both accessible and deeply emotional

Boulder-based CD label releases acclaimed album of music by Martin Bresnick

By Peter Alexander

Pryaers cover“Prayers Remain Forever,” a new CD release from Boulder-based Starkland, is a wonderfully varied and deeply satisfying collection of six works by composer Martin Bresnick.

The six pieces on the album spring from very different sources: One was inspired by a personal experience, one by a painting by Goya, and three by literary sources. They are also diverse in instrumentation, ranging from solo violin and solo piano to a mixed quartet of violin, oboe, viola and cello. What they have in common is their expressivity. Bresnick, who teaches composition at Yale, is represented here by music that is personal, has an emotional depth, and is accessible to the listener.

Tom Steenland, who operates the Starkland CD label (which is under the umbrella of Spruceland Music, Inc., in case you were not already confused), is delighted to be issuing music that is easily appreciated. “I’m probably more excited about [new music today] than ever,” he says.

“In the mid-70s when I was studying composition, new music was pretty esoteric and not enjoyed much by the general public, but there’s been sort of a revolution since then. Music is more accessible, it’s exciting. People are interested in what composers are composing.

“It’s been a tremendous change I never would have envisioned.”

Tom Steenland

Tom Steenland

Steenland started the Starkland label in 1991 as a way of transferring music by Tod Dockstader from vinyl LPs to more up-to-date CDs. From that very first release, Steenland has seen the mission of his label to be the “promotion of alternative classical, experimental, and avant-garde music through the production of high-quality recordings.”

Composers in the Starkland catalogue include Jay Cloidt, Paul Dresher, Aaron Jay Kernis, Meredith Monk, Pauline Oliveros, John Zorn, and others. The label typically releases 3 or 4 recordings a year of about 1000 CDs each.

Martin Bresnick. Photo by Marc Ostow

Martin Bresnick. Photo by Marc Ostow

“Prayers Remain Forever” opens with “Going home – Vysoke, My Jerusalem” for oboe, violin, viola and cello. A mournful meditation on a visit to his ancestral home in Russia, where his immigrant grandparents had witnessed the murder of family members, this is a wonderful opening track that draws the listener in and prepares the emotional ground that Bresnick covers throughout the album. To my ears, this is the most deeply moving piece on the album, with the plaintive oboe weaving in and out of sustained strings, seeking but never quite finding repose.

“Ishi’s Song” for piano is based on a fragment of song recorded by Ishi, the last of California’s Yahi-Yani Indians, who died in 1916. The song fragment, sung by the pianist at the outset, is transformed into a bright, rhythmic minimalist sketch colored by pentatonic elements.

“Josephine The Singer” for solo violin is based on a Kafka story about a mouse who is—or fancies herself?—a great singer, although the fragmented, sketchy sounds from the violin do not suggest a singer of great lyrical qualities.

Francisco Goya: "Strange Devotion," Plate 66 of "Disasters of War"

Francisco Goya: “Strange Devotion,” Plate 66 of “Disasters of War”

“Strange Devotion” for piano was inspired by a Goya etching from “Disasters of War” in which peasants are kneeling before a cart of corpses drawn by a donkey. The plodding chords and the jingling of the donkey’s bells in the piano part both illustrate the image and convey the remorseless futility of war.

In “A Message From the Emperor,” two percussionists both recite and provide decoration for another short story by Kafka. Rattling marimba and xylophone capture the truly Kafka-esque tale of a messenger dispatched by a dying emperor with a critical message than can never be delivered.

The CDs final, title track, “Prayers Remain Forever” for cello and piano, takes its inspiration from a poem by Israeli poet Yehuda Amichai, “Gods Come and Go, Prayers Remain Forever.” A virtuoso passage of accumulating momentum suddenly breaks down into a long, intense section that seems to illustrate the poem’s opening line, “Tombstones crumble.” The virtuosic, headlong rush into destruction ends the CD with a powerful image of finality.

I don’t listen to a lot of new CDs, but this strikes me as one of the best recordings of new music that I have heard in a long time. I am not alone in that evaluation: “Prayers Remain Forever” has been selected one of the best albums of new music in 2014 by Sequenza21, an important new music Web site; and received glowing reviews in the classical music publications Gramophone and Fanfare.

“Prayers Remain Forever”
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Music of Martin Bresnick: Going Home – Vysoke, My Jerusalem; Ishi’s Song; Josephine the Singer; Strange Devotion; A Message from the Emperor; Prayers Remain Forever. Performers: Double Entendre (Christa Robinson, oboe; Caleb Burhans, violin; John Pickford Richards, viola; and Brian Snow, cello); Lisa Moore, piano; Sarita Kwok, violin; Michael Compitello and Ian Rosenblum, percussion and speakers; Ashley Bathgate, cello.

Starkland ST-221 (60:38)

Available from Amazon, Arkiv and iTunes.