On this day in 1920, women were guaranteed the vote in the USA, which, when finally ratified by the state of Tennessee, led to a majority – basically making it the law of the land that women could vote!
By the beginning of the 20th century, women’s roles were changing drastically. Women were becoming more and more autonomous, working increasingly outside the home and receiving better education. When America entered the war in 1917, women had played an active role in the war effort and a year later, women had acquired equal suffrage with men in 15 states. Commemorating this historic day is a perfect time to reflect on and draw your attention to a handful of strong 21stcentury women in classical music. Continue reading →
On this 2015 compilation of contemporary solo cello music, Matt Haimovitz presents a diverse program of past performances, drawn from his recordings on Oxingale Records. The selections have been remastered for HD sound by PentaTone, so the audio quality of these 3 hybrid SACDs is superior to the sound of the first releases, which appeared on the albums Anthem (2003), Goulash! (2005), After Reading Shakespeare (2007), Figment (2009), and Matteo (2011). The selections range from popular music to the avant-garde, and Haimovitz explores major examples of modern cello music, from Luigi Dallapiccola’s Ciaconna, Intermezzo e Adagio (1945) to Philip Glass’ Orbit (2014), and embraces many of the trends that make up contemporary music, including a virtuoso arrangement by Luna Pearl Woolf of The Beatles’ Helter Skelter.
You could do worse than play a 1710 cello made by the Venetian luthier Matteo Goffriller, but what Matt Haimover now is doing on that instrument can come very close to explaining what we mean by an author’s “voice” in writing.
He can stroll up on you with the walking-bass ease of a 1945 Luigi Dallapiccola adagio.
He can shimmy his bow way down into a slurry of nervous buzzes in Steven Mackey’s Rhondo Variations of 1983.
He can tell you “The source of all humor is not laughter but sorrow,” and then play Paul Moravec’s Mark Twain Sez second movement, “Humor,” pacing out a profoundly elegant clearing in his audience’s mind to hold just such a contradictory quip.
And all the while, you’ll know it’s him.
As when an accomplished author moves through the minds and vocabularies of a broad cast of characters, you never lose your grasp on this artist’s singular “voice,” even as Haimovitz works his way through four hours — yes, four hours — of solo cello performance.
Orbit, this three-disc set, takes its name from the Philip Glass 2014 meditation that opens it. We’ve just been writing here in Music For Writers about the remarkable, architectural genius for building a work that Glass brings to his music. And what Dennis Russell Davies and the Bruckner Orchester do for Glass’ Symphony No. 10,you now get to hear Haimovitz do for this lonely étude. Both men’s voices — Glass’ devastating primacy in construction and Haimovitz’s relentless drive of exploration — stand in gracious respect of each other.
Thanks to New York Public Radio’s 24/7 free contemporary classical Internet stream Q2 Music, you can hear it. Orbit is Album of the Week at Q2 Music, and it’s no wonder that Doyle Ambrust there writes of having “a cranium full of Matt Haimovitz.” One of the most intensive exposures to a single artist’s vast vocabulary to come along in years, Orbit is drawn from the years 1945 to 2014 and almost 25 composers. They include Jimi Hendrix (Anthem, 2002) and Luna Pearl Woolf (Haimovitz’s composer-partner) in an evocation of Paul McCartney and John Lennon (Helter Skelter, 1968)
In his notes, Hamovitz talks of the 20th century’s Tower of Babel with respect and good cheer, embracing “its boldness, diversity, complexity and its return to the natural order of harmony.” And what you hear as his own instrumental voice rises to unify this long conversation is a stamp of artistry coming into its own. The Oxingale label is one founded by Haimovitz, himself, and in December it became a partner of the Pentatone Music brand.
It’s thanks to Pentatone’s designers, in fact, that the album has its remarkable cover. Haimovitz tells me he doesn’t know where the photo comes from or what it depicts. But as you hear this work, you’ll realize that Pentatone is speaking Haimovitzian quite well: From an impossible height, several people gaze down on what looks like the 20th century itself, a vast city of sunlit ambition.
The dizzying eloquence of that shot is one of the first things Haimovitz and I talked about as I reached him in Santa Cruz. He was there for a performance on Saturday evening (15th August) in Maestra Marin Alsop’s Cabrillo Festival.
Haimovitz will headline with violinist Tim Fainan evening named for the West Coast premiere of Nico Muhly’sWish You Were Here. The program also features music of Missy Mizzoli (River Rouge Transfiguration, West Coast premiere); Sean Shephard (Blue Blazes, West Coast premiere); Hannah Lash (Eating Flowers, world premiere of a festival commission); and Glass — Haimovitz and Fain give his Double Concerto for Violin and Cello its West Coast premiere.
The Israeli-born artist (“HIGH-moe-vitz”) made his debut in 1984 at age 13 with Zuben Mehta and the Israel Philharmonic, recorded for years with Deutsche Grammophon, and is a Grammy nominee whose friendly, easy bearing gives him a wry, self-deprecating sense of humor.
“Might sell more albums without my face on the cover, too,” he cracks, as we talk about the arresting cover shot for Orbit.
‘It’s Really A Singing Instrument’
On a windswept phone connection, typical of Santa Cruz, I opened our chat by telling him how very recognizable his cello-voice is becoming.
Thought Catalog: Matt, I’m reminded in listening to Orbit, that your technique is always attuned to what each composer wants, and yet I hear your “cellic” voice every time. It’s taken this long to develop that distinctive a personality as an artist, doesn’t it?
Matt Haimovitz: I appreciate that comment because in this day and age, there’s so much conformity and uniformity, it’s often very difficult to tell the difference [between one performing instrumentalist and another].
I used to play that game all the time, growing up as a teenager, with a collection of LPs…you’d put something on and have to guess who was playing, [Pierre] Fournier or [Leonard] Rose or [Pablo] Casals, whoever it was. These days, I’m not sure I could even tell them all apart. So your saying that means a lot, thank you.
“All these composers you hear on Orbit, you can tell, love that chameleon aspect of the instrument…It’s really a singing instrument.” Matt Haimovitz
TC: I don’t think we’d actually know this, in fact, though, if you hadn’t done something like Orbit. If you hadn’t put so much diverse music together at once like this, I’m not sure we’d be getting this effect of saying, “My God, I can still hear Haimovitz, even in this and this and this piece. It’s an unexpected benefit from this project.
MH: With it all in one place, yeah. And it was never intended that way. It was intended as single albums. And we were trying to figure out how to put it all out and decided to put it together. And I think you’re right, there’s this scope to it. And amazingly, this is just a small part of the repertoire for cello. There’s great stuff throughout Europe, German composers, French composers, Asian — maybe this is the start of a longer term project. (He laughs with a tinge of exhaustion.)
You’re right, it’s great after 15 years of going project by project, to see so much of it in context and all in one place.
TC: And we don’t get it as well unless you do solo work, too. I don’t think we can hear it as clearly. I don’t ever want to hear you with an ensemble again.
MH: (He laughs.) Don’t say that. But it’s true, when you think of soloists, you think of piano. And yet, starting with Bach and even before Bach, the overtones on this instrument are so rich that we can provide our own bass. You can always take away overtones, but you can’t add them. So all these composers you hear on Orbit, you can tell, love that chameleon aspect of the instrument. In a sense, we can accompany ourselves and we can play as high as the violin or flute or saxophone. It’s really a singing instrument .
TC: Like [the composer] Paola Prestini and [cellist] Jeffrey Ziegler, you and Luna Pearl Woolf can work together as composer and performer when you want to, right?
MH: Luna is one of six composers I’ve commissioned for a suite of overtures, one each, to the Bach suites, and I commissioned her for the sixth that I recorded on the cello piccolo. And she’s working on an opera for the Washington National.
MH: Right, it premieres in January. And she’s got some Hawaiian chant in the opera. And that chant was very similar to the motive in the Bach. And when I pointed that out, that was it. So the piece is based on Hawaiian chant and some things in her opera.
TC: An overture to the sixth Bach cello suite with Hawaiian chant.
TC: Can’t wait.
‘You Find A Way To Share It’
MH: When we first started out in our relationship, Luna was so happy to have an advocate like me. And now, it’s almost a different story…doing this composition for me for the Bach was a bit of a relief from the really big form she’s working on with the opera.
TC: And with Luna’s composition career getting so big now and your career coming into this advanced stage, what do you find that you still feel you haven’t had a chance to do?
MH: You know, I don’t really operate like that. At any one time, I’ve got lots of ideas and at any one time the challenge is weeding out some of those things and staying focused. I’m like a perpetual dreamer. At a young age, I could see connections between things that maybe you wouldn’t normally think of. That’s the way I’m wired. If I find something that’s engaging to me and I’m passionate about it, I want to see it all the way through. And I will it through. It sort of just works.
I don’t know what will happen in the next couple of years, but there are certain things, like Orbit. I never thought I’d have this kind of relationship with all these composers. As a 13 or 14-year-old practicing five hours a day, I never though I’d be recording [Gyorgy] Ligeti.
“It’s this idea that if you’re passionate about something, you stick with it and you share it. You find a way to share it.” Matt Haimovitz
TC: And you know, when we hear about your debut at Carnegie when you were, what, 15? And you stepped in for Leonard Rose. Most of us would say, “Well, that’s when Matt realized he had arrived as a world-class musician.” Such a spectacular moment.
But really, it sounds like what you’re saying to me now and what we’re hearing on the Orbit album is a much deeper and richer form of coming into your own, a better understanding of yourself in the work, isn’t it?
MH: It is. And you know, it also has to just do with inhibitions. And embracing what is in front of you without fear. Absolutely. Not really worrying about what the trend is or what is popular. If I want to do something that would really sell, I’d go hook up with a drummer and a rock band.
But it’s this idea that if you’re passionate about something, you stick with it and you share it. You find a way to share it.
I’ve got a cranium full of Matt Haimovitz at the moment, and have not yet reached capacity. Clocking in at 3.75 hours, the cello soloist’s latest release, “Orbit,” stockpiles the majority share of selections from five albums (on his Oxingale Records label), spanning 2003-2011, along with recent numbers by Phillip Glass and Luna Pearl Woolf.
To be clear, listening to four hours’ worth of any unaccompanied instrument is generally accepted as a legitimate defense in arson/public indecency/manslaughter trials, but here, Haimovitz cleverly arranges his three-album set more as a playlist than a triptych of full-lengths. Given his exemplary facility on the instrument, and the liberal span of repertoire he’s tackled since debuting with the Israel Philharmonic at age 13, “Orbit” is an expedition well worth booting up for.
Leaping from György Ligeti to Du Yun, Elliott Carter to Steven Mackey, and Salvatore Sciarrino to Jimi Hendrix, to name just a few the 20-plus composers included within, intriguing aesthetic parallels reveal themselves, and preferences necessarily arise. Luciano Berio’s Sequenza XIV stands as the collection’s high water mark, with Haimovitz deftly shapeshifting from cellist to percussionist, corralling the piece’s manic polarities of lyricism and full-on-berserker into a nuanced, handsomely-crafted episode.
What connects all of this music is a focus and intensity of tone that at times reads as aggressive in Haimovitz’s live performances, but here brings a clarity to a vast dynamic palette and articulation range. Take the timbral detail heard in the arresting conclusion to Woolf’s Sarabande, the harmonics of which pull the listener’s perspective skyward before a fluttering seizure of overpressure extinguishes the ascent.
Although “Orbit” gets off to a quivery start with an uncharacteristically pale Phillip Glass score (of the same title), Haimovitz delivers the bill-paying skills throughout in this considerable, and impressive, retrospective.
I’ve got a cranium full of Matt Haimovitz at the moment, and have not yet reached capacity. Clocking in at 3.75 hours, the cello soloist’s latest release, “Orbit,” stockpiles the majority share of selections from five albums (on his Oxingale Records label), spanning 2003-2011, along with recent numbers by Phillip Glass and Luna Pearl Woolf. Continue reading →
Présenté pour la première fois avec mis en scène, [à la compagnie Ballet-Opéra-Pantomime, directeur Hubert Tanguay-Labrosse] l’opéra Orpheus on Sappho’s Shore de Luna Pearl Woolf s’est révélé une fascinante et onirique proposition artistique: la rencontre de ces deux figures de la Grèce antique, Orphee et Sappho, deux allegories anciennes de l’art et de la passion. L’oeuvre s’enracine dans l’idéal des grans madrigalistes italiens qui désiraient marier poésie et musique, danse et theater. D’ailleurs, la partition de Woolf comporte de nombreuse mélopées ayant un je-ne-sais-quoi de baroque dans la souplesse et la délicatesse de la ligne vocale. La compositrice fait prevue d’une belle sensibilité et d’un grand attachement pour ses personnages, ce qui reflète dans une musique simple et brillante, efficace et théàtrale. Et comment ne pas être touché à la fin de l’opéra par ce vers authentique de Sappho: “Je crois qu’un jour, on se souviendra de nous,” chanté avec toute la douceur du monde sur un éclairage entre chien et loup.
Presented for the first time with staging [by Québec company Ballet-Opéra-Pantomime, director Hubert Tanguay-Labrosse], the opera Orpheus on Sappho’s Shore by Luna Pearl Woolf proved itself a fascinating and dreamy artistic proposal: the meeting of two figures of ancient Greece, Orpheus and Sappho – two ancient allegories for art and passion. The work is rooted in the ideals of the Italian madrigalists who sought to combine poetry with music, dance and theater. Moreover, Woolf’s score includes numerous melodies with a Baroque je-ne-sais-quoi in the suppleness and delicacy of their vocal lines. The composer proves herself to have a lovely sensitivity and great affection for her characters, reflected in a music both natural and brilliant, effective and theatrical. And how not to be touched at the end of the opera by the words of the real Sappho: “I think someone will remember us,” sung with all the sweetness in the world on a twilit stage.
Joyce DiDonato at Zankel Hall with the Brentano String Quartet: from left, Serena Canin, Mark Steinberg, Nina Lee and Misha Amory.Credit: Hiroyuki Ito for The New York Times
The life of the French sculptor Camille Claudel is a tangle of art, passion, madness and betrayal. A student and lover of Rodin’s, Claudel was a critically acclaimed artist when she began to show signs of mental distress, which led her family to commit her to an institution, where she spent the remaining 30 years of her life.
On Thursday at Zankel Hall, the incandescent mezzo-soprano Joyce DiDonato presented the New York premiere of Jake Heggie’s “Camille Claudel: Into the Fire.” Set for voice and string quartet, the work compresses a tragic life of operatic dimensions into a song cycle of great beauty and emotional resonance.
Ms. DiDonato is one of this season’s artists in the Perspectives series at Carnegie Hall, tasked with assembling a group of concerts that reflect her own interests. At first glance, these seem eclectic: Thursday’s program, which featured the fiercely eloquent Brentano String Quartet, also included instrumental music by Charpentier and Debussy, as well as the world premiere of “Mother Songs,” a set of lullabies composed by amateurs, resulting from an outreach program of Carnegie Hall’s Weill Music Institute.
But at a closer glance, there was a narrative cohesion to the concert that revealed Ms. DiDonato’s intelligence as a storyteller. Debussy’s seething String Quartet provided a backdrop for Claudel’s personal drama, a Parisian arts scene humming with innovation yet anchored in the kind of classicism of which Charpentier’s “Concert Pour Quatre Parties de Violes” is an elegant example. The Brentano Quartet performed both with stylistic finesse; in the Debussy, the juxtaposition of blurry textures and bright explosions of sound vividly evoked Impressionist painting.
The titles of Mr. Heggie’s songs, with texts by Gene Scheer, are those of some of Claudel’s sculptures, allowing her work to remain in the foreground, even as the songs explore her personal turmoil. Ms. DiDonato gave a riveting performance that ranged from the unkempt eroticism of “Shakuntala” to the hollow despair with which she sang the final line, “Thank you for remembering me.”
The touching simplicity of “Mother Songs,” written in a gospel-tinged American vernacular, with spun-sugar arrangements by the composer Luna Pearl Woolf, may seem far removed from Claudel’s wild genius. But the authors, women who had teamed up with teaching artists from the Weill Music Institute during their pregnancies, drafted these lullabies facing their own struggles. Of the four women represented in Ms. DiDonato’s performance, one had been homeless during her pregnancy, two were teenagers, and one was incarcerated on Rikers Island.
Ms. DiDonato’s tender performance of their songs alongside her tribute to Claudel thus became a gesture of defiant compassion.
It’s been a while, seven years, since the popular NPR musical talent show From the Tophas been back to San Francisco. The show is planning to tape a show at the S.F. Conservatory on Feb. 14.
The taping caps a week in which From the Top host Christopher O’Riley will be in residence at the Conservatory giving concerts with cellist Matt Haimovitz.
Unusually, this edition of the radio show will focus on performers from the Conservatory’s pre-collegiate division, including soloists 16-year-old cellist Elena Ariza from Cupertino; 15-year-old pianist Elliot Wuu from Fremont; and 14-year-old violinist Kevin Zhu from Cupertino. Conservatory alums Haimovitz and soprano Lisa Delan will premiere parts of the “music storybook” Angel Heart (based on stories by Cornelia Funke and with music by Luna Pearl Woolf) on the same program. Normally, the auditions for From the Top include a geographical region, so this is a little feather in the cap for the Conservatory.
The radio episode airs nationally on March 9. For tickets to the taping, call 415.503.6275 or visit this Conservatory website.
OXINGALE RECORDS, the trailblazing artists’ label founded in 2000 by cellist Matt Haimovitz and composer Luna Pearl Woolf,is excited to announce that it is joining forces with PENTATONE, the classical music label renowned for its discerning artistic quality and superior audiophile technology. Beginning in 2015, new albums and reissues from Haimovitz and his musical collaborators will be available internationally – in SACD 5.1 surround sound and as high definition downloads – from the Amsterdam-based label under the PENTATONE OXINGALE series.
“15 years ago, Luna and I founded Oxingale to pave a way for us to share music that we are passionate about, with an audience that we believed was seeking meaning and musical adventure,” says Matt Haimovitz, continuing, “For us, classical music is a living, breathing art form. We started Oxingale to bring to life what has been in our minds and hearts, whether by composers working 300 years ago, newly inked works, or improvisations. The invitation to collaborate with PENTATONE is an affirmation. With our shared sense of artistic and sonic values, we look forward to bringing our vision and energy to a label which has shown an optimistic and uncompromising attitude in its contributions to culture and the future of classical music.”
“There was never any doubt for PENTATONE to join forces with OXINGALE Records,” says PENTATONE’s managing director, Dirk Jan Vink. “We believe the works of Oxingale artists bring a fantastic addition to our catalogue. With PENTATONE’s warm, dynamic and detailed sound capturing the superb works and performances of Oxingale’s artists, we look forward to bringing you a range of prestigious work in prime quality.”
The new collaboration launches on February 1, 2015 with the release of BEETHOVEN, Period., the complete collection of sonatas and variations for pianoforte and violoncello recorded on period instruments by Grammy-nominated cellist Matt Haimovitz and pianist Christopher O’Riley. Following later in the year are two more releases: Shuffle. Play. Listen, a groundbreaking recording, also with O’Riley, which saw Herrmann, Janacek and Stravinsky come together with Radiohead, the Cocteau Twins and John McLaughlin; and an all-Schubert album featuring theArpeggione Sonata and the Cello Quintet. Also forthcoming is a 3-CD box set of Haimovitz’s solo cello recordings from the last 15 years, including 20 world premiere recordings and two newly released tracks: Orbit, by Philip Glass and a new arrangement of the Beatles’ Helter Skelter for solo cello by Woolf.
Founded in the year 2000, the Grammy Award-winning Oxingale Records is as committed to revelatory interpretations of the canonic repertoire as it is to riveting performances of works by recent and living composers. Under the new collaboration, Oxingale will continue to oversee its own A&R direction, while benefiting from the global distribution and marketing offered by PENTATONE.
Launched in 2010, Oxingale Music is the publishing arm of the label. Oxingale Music publishes the work of Luna Pearl Woolf plus a range of works by composers such as Pulitzer Prize-winner Lewis Spratlan and Rome Prize-winner David Sanford. The Oxingale Music catalog includes a substantial library of music written for and premiered by Matt Haimovitz, most of which are recorded on Oxingale and will be released over time as part of the PENTATONE Oxingale Series.
This year, Oxingale Music launched a semi-annual composition competition aimed at expanding and enriching the repertoire for cello in unusual combinations and ensembles. Over 40 composers from 18 countries entered the 2014 competition, the winners of which will have their works premiered in February 2015.
MÉLANGE À TROIS is an instrumental theater work, set for violin, cello and percussion. In this voiceless opera, each musician embodies a character in an enchanting tale of misplaced love.
After first hearing Krystina Marcoux’s fiery, solo performance of Jennifer Higdon’s Percussion Concerto back in 2013, it was with a lot of anticipation that I attended Luna Pearl Woolf’s original voiceless opera Mélange à Trois with the BIK ensemble last Friday, May 16th at McGill University’s Pollack Hall.Continue reading →