Braxton, Anthony

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    Taking in Jennifer Walshe and Anthony Braxton at Darmstadt

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    In between the four operas of the “Ring,” a critic traveled to take in world premieres by Jennifer Walshe and Anthony Braxton.It’s not a typical week in Germany when a staging of Wagner’s “Götterdämmerung” on the composer’s own turf at the Bayreuth Festival finds itself outdone for world-consuming sadness, rage and the possibility of redemption.But that’s what I experienced recently when I traveled between the four operas of the “Ring” at the festival and the Darmstadt Summer Course, a hotbed of avant-garde works since 1946.On Wednesday in Darmstadt — during a day off between “Siegfried” and “Götterdämmerung” in Bayreuth — Ensemble Nikel backed the Irish experimental singer and composer Jennifer Walshe in the world premiere of the complete song cycle “Minor Characters,” which she co-wrote with Matthew Shlomowitz.The morning after “Minor Characters,” I traveled back to Bayreuth for “Götterdämmerung” as staged (to much polarization) by Valentin Schwarz. Experiencing both back-to-back, I had the feeling that the song cycle had managed to steal the fire of the “Ring” cycle.I had expected “Minor Characters” to have a keyed-up, smash-cut musical aesthetic. Shlomowitz’s “Popular Contexts” series, for piano and “sampler keyboard,” after all, uses snatches of vocal growls, drooping water sources and Ping-Pong volleys, plus piano and beat-work, to create a disorientating, groovy effect; then nervier piano marches, alarming synths and distorted guitar samples.

    Popular Contexts / Performed by Mark Knoop by Matthew Shlomowitz / Peter AblingerWalshe’s compositional practice often revolves around her wide range of vocal inflections. Her approach incorporates extended technique experimentalism and free improvisation in addition to composed elements.But also many, many accents. In a 2020 profile, the New Yorker critic Alex Ross celebrated her ability to channel “Irish bard” and “California surfer girl” alike — a style which reaches a high state of refinement on solo Walshe efforts like “All the Many Peopls.”

    ALL THE MANY PEOPLS by Jennifer Walshe“Minor Characters” hits a new level of development for Walshe and Shlomowitz. He seems to pull her a bit closer toward more typical song forms; she puts some critical distance between his synths and the way they can seem to self-consciously emulate Muzak. And they put to use, through the piece’s dramatic interrogation of the pleasures and ills of our too-online present, the ferocious chops of Ensemble Nikel — a group made up of a percussionist, guitarist, saxophonist and keyboardist.Walshe’s text moves fast, and the music moves at the speed of thought. One moment, her vocals may seem to be celebrating internet memes — or the “minor characters” who become “main characters” for a day on social media. But before long, she’s chiding the world, or herself, for ignoring weightier matters. The music rockets back and forth between amiable, unhurried rhythms and black-metal blast beasts; between ad-jingle saxophone riffs and free-jazz skronk; between even-keeled, Eddie Van Halen-style finger-tapped motifs on electric guitar and less orderly plumes of distorted noise.She toys with audience expectations, too. Early on, she begins in a confessional mode, relating a #MeToo-style narrative involving a professor luring one of his students down to his basement. But before long, Walshe leaves the audience there, narratively, with no resolution and the professor screaming to no one in particular, in perpetuity.Instead, “Minor Characters” pivots to new fascinations and horrors — an exorcism in a rural country field, reports on a burning planet — as online life tends to do. When Walshe gave wild voice to lines like “they knew, we all knew, and we did nothing about it,” her self-implicating understanding of the climate crisis had a Brünnhilde-like edge — with traces of grace and good humor leavening her grave understanding, similar to Wotan in the “Ring,” of a world order’s undoing by its own designs.Walshe has a wide range of literary inspiration, Wagner included; her contributions to the liner notes for “Peopls” refer to “certain sections from ‘Watt’ by Samuel Beckett,” the rapper KRS-One and “the cast of ‘Lohengrin.’” That Wagnerian citation is no joke. “I don’t do anything ironically,” Walshe said in a brief interview after the performance of “Minor Characters.” “I don’t like any music ironically. But it has to mean something. There has to be something at stake.”“Minor Characters” seems to ask: If everyone is distracted online, following their own taste, how do we solve problems together? Even though the show feels complete, there is no true resolution.It felt more satisfying, even, than the “Götterdämmerung” in Bayreuth. Schwarz’s risky staging seems to run aground in the final opera. He has interesting ideas in the lead-up: making Wotan an even bigger cheater than usual; depicting Fafner’s dragon form as a hospice patient at home, sitting on the hoard of gold as a member of the gerontocracy.And Schwarz offers bleak humor, such as in Mime trying to teach Siegfried fear by introducing him to sex through pornography. But by “Götterdämmerung” none of that seems to have mattered as the opera’s telling sputters in its final moments.Still, there was much fine singing and orchestral playing. The bass-baritone Tomasz Konieczny’s Wotan had some of Walshe’s gloriously unhinged energy. In both “Die Walküre” and “Siegfried,” during moments of self-pity, he would crumple to the ground, offering aspirated whimpers; the next moment he would be raging, spurred on by a just as quickly extinguished explosion from the orchestra, led with fire by Pietari Inkinen.And Inkinen’s way with quieter textures provided a ravishing experience of Bayreuth’s fabled acoustics: He and the orchestra produced soft-grained marvel after marvel in the second, contemplative act of “Walküre,” then, as if with whip in hand, he blazed through the final act of that opera and the first act of “Siegfried” with what seemed like one complete surge of momentum.Anthony Braxton, whose new “Thunder Music” system debuted in Darmstadt.Kristof LempIn between those two shows, I traveled to Darmstadt for another world premiere: the debut of American saxophonist-composer Anthony Braxton’s new “Thunder Music” system, which came courtesy of a performance, led by him, of his Composition No. 443.While not strictly dramatic in nature, “Thunder Music” suggested a stagelike feel. In this new category of his compositional practice, individual musicians are responsible for making choices about how to merge their own sound with prerecorded sounds of thunder and nature.At Darmstadt, the musicians in this chamber ensemble — including singers, woodwinds, brasses, an accordion and two double basses — prerecorded a take on No. 443 the day before the concert. Then, at the show, the performers could control the extent to which their own prerecorded material was mixed with thunderstorms or swarms of birds (controlled through an app designed for their phones). Simultaneously, they played Composition No. 443 again — live, this time with the ability to network with other musicians in improvisations, or interpolations of past Braxton pieces.At one point, when the saxophonist James Fei and the trombonist Roland Dahinden collaborated on the theme of Braxton’s Composition No. 131 — in which frenetic riffs are capped with a sashaying figure that seems to wink at listeners — they put a jolt of Braxton’s bebop-tinged catalog into what had been an airy stretch of No. 443.Braxton has in the past declared himself “a complete fool for the music of Richard Wagner” — something that you can sense in operas like “Trillium X,” which I reviewed earlier this month from Prague. But you can also sense Braxton’s affection in the way he encourages musicians to layer his various compositions during the same moment in performance. That bit of No. 131 that cropped up during No. 443? Call it a Braxtonian leitmotif for Charlie Parker. More

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      Review: Braxton’s ‘Trillium’ Gets the Attention It Needs

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      Anthony Braxton’s “Trillium X,” part of a sweeping cycle of operas that began in the 1980s, finally premiered in Prague.Anyone bold enough to take command of a pirate ship should also be prepared for strife. Cannon battles? Frustrated crew members? All part of the job.Yet Helena, the captain of the Dragon Lily BX4, must face more than that in the first act of Anthony Braxton’s opera “Trillium X,” which was completed in 2014 but premiered on Tuesday at the DOX Center for Contemporary Art in Prague.After scheming like a titan of industry, and after sending scores of enemies to their watery graves — even after genocidally pledging to foster “the kind of mess that historians will love forever” — Helena still has to deal with those who doubt her ruthlessness. When the pirate discovers some young stowaways aboard her vessel, she learns that they have studied her violent exploits at college. They’re not impressed, calling her “overrated” to her face.It’s one of the best jokes in this opera. And it was hardly the only punchline in the four-act, over-five-hour evening, which had young audience members laughing out loud in the aisles of the museum’s joyously oversold hall.In the role of Helena, the soprano Eva Esterkova deployed a secure vibrato — including in piercing, high-tessitura phrases — that channeled the character’s unflappability. On the whole, the performance came off as a significant milestone in Braxton’s opera career, thanks to some revelatory work by a cast of 12, the Prague Music Performance Orchestra and the conductor Roland Dahinden, a longtime Braxton collaborator. Officially a concert performance, the show had enough video projections and lighting design choices to foment some stage magic, too.Roland Dahinden led the Prague Music Performance Orchestra in the performance.Marek BoudaThis “Trillium X” also served as a reminder of the broader “Trillium” series, an ambitious cycle that Braxton has said will eventually include 36 discrete acts — all of which can then be freely recombined from one production to the next. They have been produced by his own Tri-Centric Foundation on shoestring budgets in the United States. But this performance in Prague demonstrated just how much American opera companies, and audiences, are missing in neglecting this project.You may catch a scrappy outfit like Experiments in Opera delving into the “Trillium” operas at a black box theater, like that company did earlier this year. Braxton’s foundation produced a semi-staged version of “Trillium J” in 2014: a vivacious performance that was released as a Blu-ray, alongside a studio-recorded version. But, sadly, major classical music presenters have shown little interest in this work.That might have something to do with a broadly held perception that Braxton is too abstruse for the mainstream. Since the 1960s, he has long been reputed for the complex, overlapping nature of his many creative guises: as an experimental composer, as a student of jazz and an improviser, and, starting in the 1980s, a creator of music dramas.In the “Trillium” operas, the music seems to always be in flux, moving from pleasingly sour drone states to singsong marches and riotous blasts of orchestral pandemonium. Nor do the plots stay put. As in other “Trillium” works, each act of “Trillium X” featured the same singers, and the same character names, but placed them in entirely different situations. Braxton has expressed affection for the operatic cycles of Wagner and Stockhausen, but with no linear narrative, this is far from the “Ring.”Alongside all the complexity — and here is the too-often undersold part — this stuff is a lot of fun, too. In the semi-staging of “Trillium J,” which is also available on Vimeo, you can see how much the soprano Kamala Sankaram enjoys playing (in her character’s own words) a “helpless maiden who happens to own 400 nuclear weapons stockpile containers — not to mention the chemical gas warfare options.”Featuring the soprano Kamala Sankaram.After the first act on the high seas in “Trillium X,” the second act begins with singers hiding out from robots that have taken away humans’ voting rights, and their ability to get credit. Act III, titled “The Three Sisters,” depicts the joint wedding of a trio of celebrity bank robbers. (Esterkova was once again a key presence during that section’s gun-toting delirium.) The fourth act begins in the White House’s war room, before moving to the site of a Roman orgy.Dahinden’s orchestra responded to the score’s tumultuous moments with precise intonation and enviable balance. But the violins also sound sympathetic and sweet in the second act, as human characters lamented the way they’d allowed robots to slowly take over the world.Video projections (Barbora Jagrova and Tobuke are credited for the lighting and visual designs) that show robots patrolling a doomed, lamp-lit cityscape were both comic and chilling. When one live human singer proposed a détente with the robots, he was greeted with pretaped sounds from the robots, which declared on repeat: “YOU. ARE. WRONG.”Those robot chants, as well as cannon blasts and nuclear explosions in other acts, were delivered by speakers. Singers, too, were amplified. But the sound mix didn’t feel artificial; each portion of the orchestra was audible at all times. In the second act, brass exclamations contributed to an interpolated Braxton piano composition performed by pianist Hildegard Kleeb. (Since Braxton has written that “all compositions in my music system can be executed at the same time/moment,” the insertion of this material — like Composition No. 30 for piano solo, or Composition No. 257, which included the brasses — was fair play.)Braxton’s own Tri-Centric Orchestra deserves more opportunities to play this music in American halls. But the Prague Music Performance Orchestra proved that it can also pull off a credible “Trillium” show; thankfully, the program for Tuesday’s concert advertised the ensemble’s plans to record “Trillium X” and present the live premiere of “Trillium L” in 2025.So this language is not too complex to be learned. This orchestra’s founder and director, Jan Bartos, said in an email that the concert had come together with a week of rehearsal and a budget of about $100,000.More performances of this music, and at a similarly high level, should be possible. A question, then, now hangs over the United States: Who will take on “Trillium” next?Trillium XPerformed on Tuesday at the DOX Center for Contemporary Art in Prague. More

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      Anthony Braxton, Experimental Music Master, Gets His Due

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      Anthony Braxton’s music is difficult to program even among forward-thinking institutions. Leave it to the scrappy companies to get the work done.Anthony Braxton’s music is inherently theatrical. It’s also serious, and hilariously entertaining.It is not, however, performed with a frequency that befits Braxton’s stature, in a glaring, countrywide omission. More on that in a bit, but first: When seasoned practitioners of his work gather to explore some of his most overlooked pieces, which is happening this weekend at the Brick Theater in Brooklyn, that should qualify as a major event.On Thursday night at the Brick, the scrappy Experiments in Opera company pulled off a delirious debut performance of what it’s calling “Anthony Braxton Theater Improvisations.” The one-hour show proved delightful; and the small, cozy venue was rightfully sold out. The run continues through Saturday, so grab one of the remaining seats while you can.Those who can’t make it can still dig into this side of Braxton’s music, thanks to how doggedly he documents his projects. The Experiments show deserves attention, and perhaps documentation, given the way it provides a new lens on a corner of Braxton’s more conceptual side.The trumpeter Nate Wooley.Clark Hodgin for The New York TimesRob Reese served as both narrator and director.Clark Hodgin for The New York TimesThe evening is based on Opuses 279-283 in Braxton’s catalog: comedic efforts written for a narrator and an improvising instrumentalist. Back in 2000, Braxton — playing a range of saxophones and clarinets — recorded several of these works with a young stand-up comedian, Alex Horwitz.In Composition No. 282, that narrator is called upon to read the day’s newspaper (with an option to crumple it for timbral effect), while the instrumentalist improvises. In No. 281, bebop-like phrases run underneath one-liners and observational humor.But with just two people, the recording’s charm sometimes peters out. The Experiments show maintains higher energy, and brings three artists to each performance: a narrator-actor (Rob Reese, who also directed); another scene partner and soprano (Kamala Sankaram, a veteran of Braxton opera recordings); and an instrumentalist (on Thursday, the trumpeter Nate Wooley, who participated memorably in some larger Braxton ensembles during the 2010s).Before the show, the saxophonist James Fei, who performs on Friday’s set, told me that Composition No. 279 is essentially a compendium of jokes. That piece didn’t make the cut in Braxton’s recording with Horwitz from 2000, but it was featured in the Experiments show.Holding a top hat, Reese paced among the audience members and asked some of them to pick a card from inside it. A card might carry one of Braxton’s “language music” organizational prompts (like “intervallic formings”), paired with a genre of joke from Composition No. 279 (like “Republican/Democrat jokes.”)While Wooley and Sankaram worked with strident, leaping intervals, Reese delivered a joke that tended toward the school of the one-liner king Henny Youngman (to whom Braxton dedicated Composition 282). I roughly transcribed one of the jokes this way: “Why are Democrats always in favor of gun control? Because they keep shooting themselves in the foot.”On the page, this may not seem like much. But set against a duet of wildly leaping figures, it all produced a dazzling novelty that also reinvigorated a vintage form; the borscht belt never sounded so endearingly strange.Reese, who collaborated with Sankaram on her imaginative opera “Miranda,” also improvised some scenic work at the front of the stage with her. Some of their material was less obviously connected to the Braxton compositions as previously recorded but felt in the right spirit — as did Wooley’s improvisations away from his horn. In the background of one scene between Reese and Sankaram, the trumpeter sat against the brick wall at the stage’s rear. While lit with the penumbra of a spotlight aimed elsewhere, he coolly mimed the smoking of a cigarette with a kazoo.And since Braxton has written that “all compositions in my music system can be executed at the same time/moment,” the troupe reveled in that possibility. At one point, Wooley relished the languid, bop-tinged opening theme of Composition No. 23D, originally recorded on the album “New York, Fall 1974.”Then Sankaram swung into one of the meatier passages written for her in Braxton’s Composition No. 380 — the opera “Trillium J,” which was recorded and performed in 2014 at Roulette in Brooklyn. In one scene, Sankaram plays the role of “Miss Scarlet,” a “helpless maiden who happens to own 400 nuclear weapons stockpile containers — not to mention the chemical gas warfare options.”Coloratura singing, written for those lines? That’s funny. In the full opera — which is available on Blu-ray and as a paid download on Vimeo — the moment of humor that Sankaram really sells can whiz by amid all the orchestral complexity. But it had new verve when she brought it back around in the improvisational maelstrom of Thursday’s more intimate set.Some of the assorted instruments used during “Anthony Braxton Theater Improvisations.” Clark Hodgin for The New York TimesAll of this spoke to the unexplored potential of Braxton’s oeuvre. His catalog of over a half-century’s compositions and his playing on reed instruments are both rightfully talked about with awe, as is his record as a mentor. Wave after wave of celebrated player-composers, including George E. Lewis and Mary Halvorson, have cut their professional teeth in his ensembles. Aaron Siegel, the executive director of Experiments in Opera, has also served as a percussionist in those groups. In opening remarks on Thursday, he credited Braxton as one of his company’s original mentors.Braxton has won a Guggenheim Fellowship and a MacArthur Foundation grant, and an NEA Jazz Masters award. If you talk to leaders of forward-thinking orchestras and opera companies, you’ll often hear (off the record) about their desire to program Braxton’s ambitious pieces — the ones that carry traces of bebop and Karlheinz Stockhausen, of Hildegard von Bingen and American folk dances.But it’s evidently difficult to make happen. When the Pulitzer Prize-winning composer David Lang was young and working with the New York Philharmonic, he tried pushing Braxton’s orchestral music on his superiors. No dice. Perhaps that’s because Braxton asks players to improvise as well as pay attention to complex notated material.So, for now, we have to rely on smaller organizations like Experiments in Opera to find the right balance and bring Braxtonia to life properly. And this week, they’re nailing it. More