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      Fanny Waterman, Doyenne of the Leeds Piano Competition, Dies at 100

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      AdvertisementContinue reading the main storySupported byContinue reading the main storyFanny Waterman, Doyenne of the Leeds Piano Competition, Dies at 100A British pianist and teacher, she helped establish one of the world’s most important piano showcases and then presided over it for decades.Fanny Waterman in 2010. Convinced that Leeds, her native city, was worthy of an international piano competition, she pushed hard to establish one and served as its guiding force for more than half a century.Credit…Andy ManningDec. 26, 2020, 3:31 p.m. ETFanny Waterman, the British pianist and teacher who co-founded the prestigious Leeds International Piano Competition and oversaw it as chairwoman and artistic director for more than five decades, died on Dec. 20 at a care home in Ilkley, Yorkshire. She was 100.Her death was announced by the Leeds competition.The idea of presenting an international music competition in 1960s Leeds, a gritty industrial city in northern England, seemed risky. But Ms. Waterman, a Leeds native who learned perseverance from her poor Russian immigrant father, believed in the vitality of her hometown and was certain she could draw support for the venture.“I dreamt it up one night, and I was so excited that I woke up my husband,” she said in a 2010 interview with The Jewish Chronicle. “He was born in London,” Ms. Waterman added, “and he said: ‘It won’t work in Leeds. It has to be in a capital city.’”But Ms. Waterman talked up the idea and raised funds from patrons, banks, businesses, the Leeds City Council and the University of Leeds. Her husband, Geoffrey de Keyser, a doctor, became a founder of the competition, along with her good friend Marion Harewood, a pianist who was then the Countess of Harewood (and was later married to the Liberal Party leader Jeremy Thorpe). The two friends also wrote “Me and My Piano,” a series of piano lesson books that remain top sellers in Britain.From the start, Ms. Waterman conceived of the Leeds competition, which is held every three years, as a means to foster musical values she had cultivated as a performer and teacher, placing musicianship, artistry and sensitivity over technical bravura.Music is a “wonderful discipline,” she said in the 2010 interview. “You can’t play a note without thinking, how loud, how soft, how soon, how late. It makes you think carefully and it gives you judgment.”Over the years the competition joined the ranks of the world’s elite contests, including the Van Cliburn, Tchaikovsky and Chopin. Such competitions are major springboards for careers in music, often an obligatory stop on a young performer’s progress; they have also come in for criticism for quashing creativity and individuality.As with all competitions, the administrators of the Leeds contest point not just to the list of their outstanding winners — among them Michel Dalberto, Jon Kimura Parker, Ian Hobson and Alessio Bax — as proof of success in identifying young talent, but also to finalists who became major artists. That group of luminaries includes Mitsuko Uchida, Andras Schiff, Lars Vogt and Louis Lortie.The first Leeds competition took place in 1963, with the composer and conductor Arthur Bliss as chairman of an eminent jury. It was an immediate success, with 94 entrants from 23 countries, though with one potentially embarrassing result: The winner was one of Ms. Waterman’s students, Michael Roll, raising the perception of favoritism. Ms. Waterman later said that he had deserved to win, and that the judges had strongly supported him.Ms. Waterman backstage with the cellist and conductor Mstislav Rostropovich, left foreground, and the pianist Murray Perahia, right foreground, in 1972, the year Mr. Perahia won the Leeds competition.Credit…Leeds International Piano CompetitionFor the third competition, in 1969, Ms. Waterman asserted herself after the Romanian pianist Radu Lupu placed fourth in the second round, which meant he would not advance to the finals. Deeply impressed by Mr. Lupu’s playing, Ms. Waterman insisted that the number of finalists be increased from three to five and vowed not to organize another competition unless he made the cut. She got her way, and Mr. Lupu wound up winning and went on to a distinguished career.The competition garnered wide attention in 1972 when the American pianist Murray Perahia, then 25, won first prize.In the last round, with the Royal Liverpool Philharmonic Orchestra, the other two finalists, Craig Sheppard and Eugene Indjic, also Americans, played Rachmaninoff’s Third Piano Concerto, a work that many young pianists have used to prove their virtuosic mettle.Mr. Perahia, already an audience favorite from performances of works by Schumann, Mozart, Mendelssohn and others, instead chose to play Chopin’s intimate, elegantly brilliant Piano Concerto No. 1 in the finals. He prevailed despite suffering terrible anxiety under the pressure, earning a cash prize of $1,850 and numerous recital and concerto engagements.Ms. Waterman was born on March 22, 1920, in Leeds, the second child of Mary (Behrman) Waterman and Meyer Waterman (the family name was originally Wasserman). Her mother was an English-born daughter of Russian immigrant Jews. Her father, born in Ukraine, was a skilled jeweler.Though the family struggled financially, her parents came up with enough money to provide young Fanny with piano lessons once her talent became clear. She practiced on an old upright piano and studied with a local teacher, while her brother, Harry, took violin lessons.At 18, she became a scholarship student at the Royal College of Music in London, studying with Cyril Smith. She performed Mozart’s Piano Concerto No. 23 in 1941 with the Leeds Symphony Orchestra, the same year she met Dr. de Keyser, then a young medical student, whom she would marry in 1944. With the birth of her first child, Robert, in 1950, Ms. Waterman decided to devote herself to teaching.Robert de Keyser survives her, as do another son, Paul, a violin teacher, and six granddaughters. Her husband died in 2001.Once the Leeds Competition got going, Dr. de Keyser became intimately involved, both in recommending lists of repertory and in writing up rules. “He was a doctor, but his knowledge of music was second to nobody,” Ms. Waterman said in 2010.In 1966 Ms. Waterman and her husband bought Woodgarth, a magnificent eight-bedroom Victorian house in Oakwood, a suburb of Leeds. She kept two fine pianos in its spacious drawing room, where she taught, made plans for the competition and presided over lively musical soirees that included guests like the composer Benjamin Britten and the tenor Peter Pears, as well as Prime Minister Edward Heath. Ms. Waterman sold the house this year.She was appointed dame commander of the Order of the British Empire in 2005. In 2015, at 95, she retired from the Leeds Competition. Yet in an interview with the BBC five years later, she revealed that she had stepped aside unwillingly.“I think they were misguided,” she said of the unnamed people who wanted her out, “because I had many, many years more to give of my own passion, my own knowledge and everything.”Still, she expressed pride over her accomplishments. “I do hope and pray,” she said, “that in another 100 years our competition will have the reputation it’s got now.”AdvertisementContinue reading the main story More

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      ‘Blue’ Gene Tyranny, Whose Music Melded Genres, Dies at 75

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      AdvertisementContinue reading the main storySupported byContinue reading the main story‘Blue’ Gene Tyranny, Whose Music Melded Genres, Dies at 75A creator of modern music as a teenager, he later juggled a breezy pop sensibility with conceptual rigor. He was an important collaborator with the composer Robert Ashley.The pianist and composer “Blue” Gene Tyranny in performance at La MaMa in Manhattan in 2004.Credit…Hiroyuki Ito for The New York TimesDec. 23, 2020, 5:58 p.m. ETRobert Sheff, a composer and pianist who worked under the name “Blue” Gene Tyranny as a solo performer and a collaborator with artists including Iggy Pop, the composer Robert Ashley and the jazz composer and arranger Carla Bley, died on Dec. 12 in hospice care in Long Island City, Queens. He was 75.The cause was complications of diabetes, Tommy McCutchon, the founder of the record label Unseen Worlds, which released several albums by Mr. Tyranny, said in an email.His memorable pseudonym, coined during his brief stint with Iggy and the Stooges, was derived partly from Jean, his adoptive mother’s middle name. It also referred to what he called “the tyranny of the genes” — a predisposition to being “strongly overcome by emotion,” he said in “Just for the Record: Conversations With and About ‘Blue’ Gene Tyranny,” a documentary film directed by David Bernabo released in September.Music, Mr. Tyranny explained in the film, was a source of solace, but also a means “of deeply informing myself that there’s another world. Music is my way of being in the world.”A master at the keyboard and an eclectic composer who deftly balanced conceptual rigor with breezy pop sounds, Mr. Tyranny was active in modern music as early as his teenage years.From curating contemporary-music concerts in high school, he went on to participate in the groundbreaking and influential Once Festival of New Music in Ann Arbor, Mich., during the 1960s. He taught classes and worked as a recording-studio technician at Mills College, an experimental-music hotbed in Oakland, Calif., from 1971 to 1982. Arriving in New York City in 1983, Mr. Tyranny worked with Mr. Ashley, Laurie Anderson and Peter Gordon’s Love of Life Orchestra, while also composing his own works.Mr. Tyranny, who had been living in Long Island City since 2002, is survived by a brother, Richard Sheff, and three half siblings, William Gantic Jr., Vickie Murray and Justa Calvin.He was born Joseph Gantic to William and Eleanor Gantic on Jan. 1, 1945, in San Antonio. When Mr. Gantic, an Army paratrooper, was reported missing in action in Southeast Asia during World War II, Mr. Tyranny related in “Just for the Record,” his wife gave up their infant child for adoption.He was adopted 11 months later by Meyer and Dorothy Jean Sheff, who ran a clothing shop in downtown San Antonio, and renamed Robert Nathan Sheff. He began piano studies early in his childhood and took his first composition lessons at 11. By high school, he was performing avant-garde works by composers like Charles Ives and John Cage in an experimental-music series he jointly curated with the composer Philip Krumm at the McNay Art Institute in San Antonio.Invited by the Juilliard School to audition as a performance major, he demurred, insisting even then on being viewed as a composer. Instead he went to Ann Arbor, where he lived and worked from 1962 to 1971 and participated in the Once Festival. Mr. Tyranny’s works from this period, like “Ballad” (1960) and “Diotima” (1963), were abstract and fidgety, chiefly concerned with timbral contrast.Mr. Tyranny preparing for a concert at Bard College in Annandale-on-Hudson, N.Y., in 2006.Credit…Tony Cenicola/The New York TimesIn 1965, Mr. Tyranny helped found the Prime Movers Blues Band, whose drummer, James Osterberg Jr., would achieve fame as the proto-punk singer-songwriter Iggy Pop. Another founder, Michael Erlewine, later created AllMusic, which became a popular reference website to which Mr. Tyranny contributed, occasionally writing about his own work.In the late 1960s, Mr. Osterberg transformed himself into Iggy Pop and formed the Stooges. After releasing the album “Raw Power” in 1973, he invited his former bandmate to join him on tour. Mr. Tyranny accepted, performing with red LED lights woven into his hair.He also played in the bands of jazz composers like Bill Dixon and Ms. Bley, and in 1976 explored the intersections of contemporary classical music and rock with Mr. Gordon in a groundbreaking concert series in Berkeley, Calif., documented on a 2019 Unseen Worlds release, “Trust in Rock.”An association with Mr. Ashley, whom Mr. Tyranny had met in Ann Arbor and then followed to Mills College, flourished into a close, enduring collaboration. Mr. Tyranny’s best-known work likely was the role he created in “Perfect Lives (Private Parts)” (1976-83), Mr. Ashley’s landmark opera, conceived and eventually presented as a television series: Buddy, the World’s Greatest Piano Player. Their relationship was deeply collaborative. Presented by Mr. Ashley with a blueprint indicating keys and metric structures, Mr. Tyranny filled in harmonies and supplied playfully ornate piano writing.“Blue and Bob had this symbiotic relationship from back in Ann Arbor,” Mr. Gordon, who also participated in the creation of “Perfect Lives,” said in a phone interview. “The character Buddy is like the avatar for the music of ‘Blue’ Gene.”“What we commonly recognize as music in ‘Perfect Lives’ was ‘Blue’ Gene’s,” Mr. Gordon explained, “but the overall composition was Bob’s.” Mr. Tyranny would contribute in different ways to later Ashley operas, including “Dust” (1998) and “Celestial Excursions” (2003).In his own music, much of which he recorded for the Lovely Music label, Mr. Tyranny moved from early efforts with graphic notation and magnetic tape to compositions that drew from popular styles. Some selections on his debut solo album, “Out of the Blue” (1978), like “Leading a Double Life,” were essentially pop songs. “A Letter From Home,” which closed that album, mixed found sounds and dreamy keyboards with an epistolary text, spoken and sung, ranging from the mundane to the philosophical.He worked extensively with electronics and labored throughout the 1990s on “The Driver’s Son,” which he termed an “audio storyboard.” A realization of that piece, a questing monodrama set to lush timbres and bubbly rhythms, will be included in “Degrees of Freedom Found,” a six-CD boxed set of unreleased Tyranny recordings due on Unseen Worlds in the spring. Mr. Tyranny, who lost his eyesight in 2009 and gave up performing after 2016, helped to compile the set, hoping to give his disparate canon a coherent shape.Mr. Tyranny’s compositions divided critical response. “To this taste, Mr. Tyranny’s work too often skirts the trivial,” John Rockwell wrote in a 1987 New York Times review. But Ben Ratliff, in a 2012 Times review of the last new recording issued during Mr. Tyranny’s life, “Detours,” offered a different view: “Mr. Sheff represents a lot of different American energies.”He added, “He does not stint on beautiful things — major arpeggios, soul-chord progressions, lines that flow and breathe — and his keyboard touch is rounded and gorgeous, a feeling you remember.”AdvertisementContinue reading the main story More

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      Meet the People Who Can’t Bring You ‘Messiah’ This Year

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyMeet the People Who Can’t Bring You ‘Messiah’ This YearListen as nine performers guide you through the emotional arc of Handel’s classic, from comfort to grief to jubilation.Dec. 23, 2020, 11:46 a.m. ETEvery year, Handel’s “Messiah” is a communal ritual — a glittering parade of recitatives, arias and choruses that binds listeners and performers together in a story of promise, betrayal and redemption.But not this year. In 2020 the oratorio, if you listen to it at all, will be by necessity a private matter. And many artists for whom it is a beloved (and remunerative) staple remain almost entirely out of work.In this context, the emotional arc of “Messiah” — from comfort to grief to eventual relief — can feel more powerful than ever. Here, listen along as seven singers and two conductors offer a behind-the-music guide through the work.Brian Giebler, tenor: ‘Comfort ye’When you step up to the stage at the beginning of “Messiah,” every eye in the room turns to you. For the next three minutes you have complete command over everyone’s emotions.“Comfort ye” is my moment to take everyone’s anxiety, and pause for a second to reflect on why we’re here. You come after the overture, which is this almost chaotic moment, like everybody bustling about trying to get presents, or running to Carnegie Hall after a busy day of work. And then the beginning of “Comfort ye” is so solemn.What I’m after is a sense of calm. It’s all about long lines. Baroque ornamentation is fun, but here, it’s about taking time and not doing anything too flashy.Luthien Brackett, mezzo-soprano: ‘O thou that tellest good tidings to Zion’It’s a bubbling up of excitement, this secret you can’t wait to tell.It starts with exuberant champagne bubbles in the strings, and by the time you’re ready to sing you almost can’t contain your excitement. It’s like you’re addressing a friend who’s been grieving and maybe has been home alone for a while, and you come over and say, OK, get your coat on, we’re going to have a great time: “Get thee up into the high mountains!”There’s healing, as well. Those exuberant string notes with that wonderful contrast between the high and the low feel like a weight is being lifted. You have this energy you didn’t know you possessed. The aria goes straight into a chorus and everybody joins in.Joélle Harvey, soprano: ‘Rejoice greatly’The soprano performs in the Handel and Haydn Society’s 2020 version of “Messiah.”CreditCredit…Handel and Haydn SocietyThe music sounds like skipping through a meadow. I don’t know how you can say the words “rejoice greatly” without smiling. But the challenge is how to make the joy last so it doesn’t feel false or overdone. In the da capo section — on the words “Shout! Shout!” — instead of letting them get louder, I now make it more internal. Something to rev yourself up.Straight from the beginning, the phrases expand with each iteration. And the melismatic passages are exciting, almost like a game. Once you’re past the technical part of it, it’s very easy to find the playfulness in this aria. The da capo is ecstatic, with ornaments on top of ornaments.Reginald Mobley, countertenor: ‘He was despised’With its limited range and simple placement of notes, this is a piece that needs more than a park and bark. This is an aria that needs more than a big-haired Texan soprano spinning some tone for an expanse of quite a bit of an hour. You as the artist are the conduit: You have to be a prism for this incredibly heavy emotion that sets the stage for the Passion portion of “Messiah.”If you speed up the “A” section and slow down the “B” section — which usually sounds like a cavalry charge — then you can hear the flagellation, you hear Christ being tortured. My job is to transmit the personal horror and shame of being responsible.In 2014 I was singing the aria in Kansas City. This was the year of the Ferguson riots following the killing of Michael Brown. As I was singing, I thought of him and all the others who have been murdered by an unjust system. I thought, I get to be a survivor and tell the story of my brothers, my sisters, who were scorned and shamed and spited and spat upon. And I have to carry that shame: of what Americans should feel allowing the system to go on as long as it has.Joe Miller, conductor: ‘All we like sheep’What Handel is good at doing is creating amazing emotional contrast. At the very end of this piece is the crux of humanity: The iniquity of everyone is going to be laid on this one person. Up until then you have this comedy of sheep turning around and running away — I always think of an English sheepdog trying to round everyone up — and all of a sudden it comes down to this very profound moment.In the runs, everyone in the choir gets to weave and turn away. And then people sing “Everyone to his own way” over and over, and it’s all on one note, like everyone running into a fence and not knowing what to do.Jonathan Woody, bass-baritone: ‘Why do the nations so furiously rage together’I performed “Messiah” in Kansas City in December 2016. The recent election was on everyone’s mind. In between the dress rehearsal and the concert I read about a politician who, speaking about the Obamas, said something about Michelle returning to the Serengeti to live as a man. I read it on my phone and it broke my heart. In performance that day, what I was really doing was asking the people in the audience: Why do we hate each other, mistrust each other, dehumanize each other?I look around the world that we live in where we continue to treat people terribly. When Handel sets these rage arias, I get the sense that he understood that also. The world he lived in was not any less tumultuous than the one we live in today. I hear it in the music, in the intensity of the string figures, those 16th notes. I hear that angst.Kent Tritle, conductor: ‘Hallelujah’So much of the magic is the sheer jubilation that Handel conjures. The “Hallelujah” chorus sets out a firm, memorable exposition and then takes us to what is a short but extremely touching section about transformation. Then, through a sequence of sequentially rising pedal points on the words “King of kings,” he creates a sense of uplift, followed by a compaction of “Hallelujahs” as they barrel toward that cliff’s edge before the final absolute affirmation. It’s an incredible structure.When everyone in the hall rises from their seats it’s an amazing moment. You feel the energy shift in the house. And I see the glow on the faces of the choir as though they are a mirror reflecting what the audience is doing. Because of that choreographic moment, you get the sense that we are really on the same level. It’s magical and hair-raising.Jolle Greenleaf, soprano: ‘I know that my Redeemer liveth’I see this as an opportunity to share a message of hope and love during a season when it’s getting darker, when people are looking for meaningful connections and ways to manage their emotions through the holidays. I try to look out at the audience and make as many personal connections with the people there so that they can feel that there truly is hope, that I’m a vessel for that hope.The tune feels very expansive. It just glides in a way that you can add ornaments to it. Those ornaments help create the gold filigree that you would see in a tapestry. Of course there is acknowledgment of darkness: “Though worms destroy this body.” I was 35 when I was diagnosed with cancer. It made everything related to death feel more fresh and raw and scary. But there’s power in reclaiming that and singing about hope despite that fear.Dashon Burton, bass-baritone: ‘The trumpet shall sound’This aria is about awe in every possible form. There’s the reverent awe of someone shocked into paying attention, hearing this mystery that says that no matter who you are, you are going to be raised after death, and no matter what trials you’ve gone through, you will have everlasting life.And then it’s the amazing sense of awe you get from hearing a rare trumpet solo. I just love that sense of grandeur: Even though it is a triumphant piece there is such mystery and quietude.The “B” section is a moment for reflection. As if shocked by this awesome presence, you need to take a moment: What have I just experienced? It’s a joy to sing those lines in one breath, to heighten the drama and really cinch these incredibly long phrases together. And to come back to the “A” section, now highly ornamented with all the regalia of your own vocal prowess and the entire emotional experience of having gone through this story. Not only to see, but to share. It’s the greatest moment onstage to be able to say to the audience: This is for you and this is with you.AdvertisementContinue reading the main story More

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      A ‘Messiah’ for the Multitudes, Freed From History’s Bonds

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyA ‘Messiah’ for the Multitudes, Freed From History’s BondsA polyglot, nonsectarian, gender-inclusive film from Canada remakes the Handel classic for today’s world.Half of the 12 soloists in “Messiah/Complex” are Indigenous, including Diyet van Lieshout, a mezzo-soprano from Yukon, who is filmed traipsing through the snow in her traditional mukluk boots.Credit…Alistair MaitlandDec. 21, 2020A gay Chinese-Canadian tenor struts through the streets of Vancouver, joyously proclaiming that “ev’ry valley shall be exalted” as the camera focuses in on his six-inch-high stiletto heels.A Tunisian-Canadian mezzo-soprano reimagines Jesus as a Muslim woman in a head scarf.In Yukon, an Indigenous singer praises the remote snow-covered landscape in Southern Tutchone, the language of her ancestors.“This is not your grandparents’ ‘Messiah,’” Spencer Britten, the tenor in heels, said in an interview. He and the other performers are part of “Messiah/Complex,” an iconoclastic new production of Handel’s classic oratorio, which draws on biblical texts to form a stylized narrative of suffering, hope and redemption.Spencer Britten, a gay Chinese-Canadian tenor, struts through the streets of Vancouver in this reimagined “Messiah.”Credit…Georgia Street MediaAn 80-minute film featuring a dozen soloists from all corners of the country, this unabashed celebration of Canadian multiculturalism has recast the work as a series of deeply personal video narratives. (The performance will be streaming through Jan. 7.)The brainchild of Joel Ivany, a Broadway-loving son of pastors, and his Toronto indie opera company, Against the Grain Theater, in collaboration with the Toronto Symphony Orchestra, “Messiah/Complex” seeks to revamp a Christmas favorite for a world upended by a pandemic and a renewed consciousness about the rights of Black people and other minorities.It mixes the sacred and profane as it journeys from Canada’s Far North to an urban hockey rink, engaging in a bit of high camp and translating passages into six languages, including Arabic, French, Dene and Inuttitut. The text Mr. Britten sings has been retooled as a coming-out anthem for a young man confronting his conservative Chinese relatives.The production may send some purists running. One comment on YouTube called it “blasphemy.” But the critical reception has been more enthusiastic; The Globe and Mail, a leading national newspaper, lauded a “daring interpretation” that nevertheless “might get a rise out of the ‘Hallelujah’ people.” (The stalwart “Hallelujah” chorus, by the way, is performed by the Toronto Mendelssohn Choir, whose members came together to record the vocals in a space divided into makeshift booths with shower curtains to observe pandemic health protocols. The group was later filmed lip-syncing it — socially distanced — in downtown Toronto.)At a time when opera houses and concert halls around the globe have been shuttered by the coronavirus and are battling to remain relevant, Mr. Ivany said he wanted to create a “Messiah” befitting the moment. He added that he hoped the online production, initially conceived for Toronto’s Winter Garden Theater, would attract a younger audience that didn’t usually come to the opera.“As the Black Lives Matter protests were happening across the world, the silence in the classical music world was deafening, and I thought, ‘What if every soloist in this “Messiah” was Indigenous, Black or a person of color?’” said Mr. Ivany, who previously staged “La Bohème” in a pub. Mindful, he added, that he was “a white man interpreting a piece by a dead European male,” he partnered with Reneltta Arluk, an Indigenous theater director based in Alberta.The mezzo-soprano Rihab Chaieb changed the words of her aria, “He was despised,” to “She is despised,” to evoke herself and her Muslim mother.Credit…Huei LinThis reimagining of Handel, Ms. Arluk said, was also a way to grapple with recent research suggesting that the German-born composer had investments in the trans-Atlantic slave trade. “We can’t control the actions of composers hundreds of years ago,” she said. “But we can claim Handel’s work in our voices.”“Messiah/Complex” is hardly the first adjustment to “Messiah,” which was reworked by Mozart in 1789 and has since been interpreted by rock guitarists and gospel and hip-hop artists. Handel himself was initially accused of sacrilege in some orthodox quarters for transposing the biblical text.“Can it make you angry that we dared to do such a thing, that we provoked you?” said Matthew Loden, the chief executive of the Toronto Symphony. “That is what art is supposed to do.”In Canada, where the global reckoning about systemic racism has spawned debate about the dearth of minority voices represented in popular culture, the production is also being seen as a cultural corrective of sorts. And all the more so since the government of Prime Minister Justin Trudeau has made a priority of reconciling with Indigenous peoples.In 2018 “Slav,” a theater production by the prominent Canadian director Robert Lepage, closed early at the Montreal International Jazz Festival following an outcry because a majority-white cast was portraying Black slaves. Indigenous artists also lashed out after another Lepage production, “Kanata,” which recounts aspects of Indigenous Canadians’ subjugation by white people, did not include any Indigenous Canadians in the cast.Ms. van Lieshout, in red coat, said that translating her aria into Southern Tutchone, her First Nations language, had been a way to “decolonize myself.”Credit…Alistair MaitlandHalf of the 12 soloists in “Messiah/Complex” are Indigenous. Diyet van Lieshout, the mezzo-soprano from Yukon, is filmed traipsing through the snow in her traditional mukluk boots. She said that translating her aria, “O thou that tellest good tidings to Zion,” into Southern Tutchone, her First Nations language, with the help of her 91-year-old grandmother had been nothing less than a way to “decolonize myself.”In the 1960s, she said, her mother, like other Indigenous children, had been taken from her family at the age of 5 and sent to a government-sponsored residential school run by the church, where she was forbidden to speak her language. (In 2015, a government commission said that such schools, which were in operation for over a century, “can best be described as ‘cultural genocide.’”)Ms. van Lieshout said she had struggled to reconcile her love of church music with the suffering her mother had endured. She said that singing “O thou that tellest” in her native tongue had “given me a reason to like Handel again.”Deantha Edmunds, an Inuk soprano who translated her part into her native Inuttitut, said showcasing Indigenous opera divas would also help combat the stereotype that people like her were more likely to be seen hunting than singing arias. In fact, she said, classical music had been brought to Inuit communities in her native Labrador, on Canada’s Atlantic coast, by European missionaries from Moravia about 250 years ago. She recalled how her father used to serenade the family over Christmas by singing “Silent Night” in English, German and Inuttitut.Deantha Edmunds, an Inuk soprano, translated her part into her native Inuttitut.Credit…Justin OakeyPerhaps the most intense intervention is that of Rihab Chaieb, a Tunisian-Canadian mezzo-soprano who has sung often with the Metropolitan Opera. She removed Jesus from her aria altogether, changing “He was despised” to “She is despised,” to evoke herself and her Muslim mother.Quebec recently passed a law banning teachers, and other public sector workers from wearing religious symbols like head scarves while at work. Ms. Chaieb said neighbors in Montreal had called her veiled mother a terrorist, inspiring this singer to use Handel’s music to express her estrangement.In her segment, Ms. Chaieb is portrayed in black and white as a dutiful daughter, drinking tea in her mother’s apartment. But when she is shown, in color, under a graffiti-splattered underpass in Montreal, her barely submerged pain gradually crescendos as she sings in her native French.“My reinterpretation of the ‘Messiah’ is about me feeling despised and rejected as a first-generation immigrant in Montreal,” she said. “Like me, Jesus felt wretched and despised. But by taking Jesus out of the equation and making it more personal, I have reclaimed the ‘Messiah’ as my own.”AdvertisementContinue reading the main story More

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      Swapping Songs With Chess Grandmaster Garry Kasparov

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storySwapping Songs With Chess Grandmaster Garry KasparovMusic brought a critic and a guest together, in a conversation about Bach, Beethoven, chess and politics.Garry Kasparov, shown here in 1997, picked Beethoven’s Symphony No. 3 (“Eroica”) to share; our critic chose Bach’s “Goldberg” Variations.Credit…Ted Thai/The LIFE Picture Collection, via Getty ImagesDec. 18, 2020, 10:00 a.m. ETMusic, we all know, can bring people together. To stimulate a conversation between a music critic and a guest — in this case, the Russian chess grandmaster Garry Kasparov — about listening and life, there was one ground rule: Each participant suggests a single piece for the other to listen to ahead of the chat.I chose Bach’s “Goldberg” Variations. Mr. Kasparov picked Beethoven’s Symphony No. 3, “Eroica.”Born in Baku, Azerbaijan, Mr. Kasparov comes from a musical family: His paternal grandfather and uncle were composers, his grandmother was a pianist and his father studied the violin before becoming an engineer. A former World Chess Champion, Mr. Kasparov is now a political activist, a prominent critic of President Vladimir V. Putin of Russia and the chairman of the Renew Democracy Initiative. He spoke by phone from his home in Croatia, where he has spent the pandemic with his wife, Daria, and their two children. These are edited excerpts from the conversation.[embedded content]The two pieces we picked are interesting in the context of the pandemic. The Beethoven symphony has the social dimension of the full orchestra and the Bach is a solitary puzzle.The “Goldbergs” are not just one piece! It’s like an encyclopedia of music.I like that. There is that sense of trying out a problem according to different possibilities. I picked Bach for you, with all his fugues, because I think of chess as having similar qualities. The elegance of algorithms and the beauty that comes out of processes that actually obey very strict rules.For me it was a new experience. I don’t listen to much music before Mozart. It was quite a discovery to understand that Bach introduced many future themes. From the chess or computer world, I would use the term founding father. I am amazed by people who are ahead of their time.Listening to the “Goldbergs” I was struck by what I see as parallels with the way pieces move in chess. Even in the opening Aria, there is this very methodical movement in the left hand, while the right hand has much more freedom.I’m not sure. I see the Aria as something godly, heavenly — but then it goes back to earth. It’s this combination.What do you make of the fugues in strict counterpoint? These lines that interlock in a way that is both a beautiful mechanism and has this creative freedom to it.Well, it’s about variety. I read the legend that Bach wrote it for his patron to fight insomnia. But it doesn’t strike me as something that helps people go to sleep. The first 10 variations, he’s basically demonstrating his power as a composer. But then he shifts to something that is more interesting. In many of the variations we can hear the herald of new music. I have one favorite: Variation 25. It’s Chopin. It’s the first Ballade. And I love Chopin.What is it that attracts you to that? I hear a lot of melancholy in that variation.It’s not sadness. It’s a kind of realism. The world is as it is, and we have to accept it. It makes me feel comfortable. I also like Variation 13. It draws you into this water of music. And for energy and style I would pick number 16. In Variations 14 and 29, Bach is a virtuoso à la Liszt.I get the sense that the connections I made to chess don’t feel true to you at all. Did you find anything that you could relate to the game?It’s more how the music relates to me, Garry Kasparov, the person. I left the professional game years ago. Sure, the “Goldbergs” are an encyclopedia. It’s a demonstration of what could be done. It was prescient.I was also curious to ask you about artificial intelligence, and to what extent beauty can come out of a closed system with its own rules. Can a machine make moves that are elegant or is the human spark required? There are efforts that try to teach machines to write music, even in the style of Bach.A machine can learn rules, whether it’s chess or music. Offered a variety of options, it can eventually come up with something. But creativity has a human quality: It accepts the notion of failure.The way machines approach a problem is always about the bottom line: “This move is good because it offers the best return.” But creative beauty is not to go against the rules, but beyond the known pattern.You’re setting up a nice transition to the Beethoven symphony you picked. So much of that is about changing received patterns and disrupting expectations. He has accents in the wrong place that take you off guard and build drama. A machine would never see the advantage of breaking those rules.In a closed space a machine will beat humans. But when we are talking about art, the lines are blurry. We enjoy the journey into the unknown.In Beethoven’s period, music was structured around the development of a theme. It encounters an opposing theme and out of that a story unfolds. I was curious if you could connect that to a chess game. In the sense that the opening determines a lot, but that it’s in the encounter with your opponent that the game develops.Sorry to disappoint you again. I view this from a different angle. They wrote the music because they heard it in their heads. It’s pure genius. They can make very complicated constructions. But it’s flow. It’s intuition. That’s also my playing style. That’s the only time I can make a parallel to my playing. I know when a move is right.With Beethoven I see it as heroic. But it’s different from Wagner. That’s mythology. It comes from another world. With Beethoven it’s human.At a granular level the “Eroica” has this energetic play with the idea of disruption — creating crises and then rushing forward again. Are there parallels you can draw to your political activism, with how to effect change?Now you hit the right button. It’s more about my political engagement. You have to pretend to be heroic. But our fight is not for some mythological object or carving our name in the history books; it’s about other humans and improving the world we live in. And that’s a shift. The “Eroica” is very rich with this shift.I appreciate you being honest and rejecting my high-flung theories about counterpoint and chess. It shows that what one person reads into music is not necessarily what’s there at all. It was fun to try out these ideas with you.Thank you for forcing me to listen to the “Goldberg” Variations. Now I have a greater appreciation of Bach. I was very surprised by how modern it feels.It might have something to do with transparency. Because in Bach’s keyboard music the structure is visible, the same way in really good modern architecture form just follows function.I could use another analogy. These days I’m doing a lot of Lego with my five-year-old. You have a plan and then you have the Legos. And you can always see the structure.AdvertisementContinue reading the main story More

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      Even When the Music Returns, Pandemic Pay Cuts Will Linger

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyEven When the Music Returns, Pandemic Pay Cuts Will LingerThe coronavirus crisis is leading many performing arts unions to agree to concessions, but some fear it could change the balance of power between labor and management.The Metropolitan Opera says that it will need long-term pay cuts if it is to survive after the pandemic, but its workers, many of whom have gone unpaid since April, are resisting.Credit…Victor Llorente for The New York TimesDec. 17, 2020Updated 7:22 p.m. ETWhen the coronavirus outbreak brought performances across the United States to a screeching halt, many of the nation’s leading orchestras, dance companies and opera houses temporarily cut the pay of their workers, and some stopped paying them at all.Now, hopes that vaccines will allow performances to resume next fall are being tempered by fears that it could take years for hibernating box offices to rebound, and many battered institutions are turning to their unions to negotiate longer-term cuts that they say are necessary to survive.The crisis is posing a major challenge to performing arts unions, which in recent decades have been among the strongest in the nation. While musicians at some major ensembles, including the New York Philharmonic and the Boston Symphony Orchestra, have agreed to steep cuts that would have been unthinkable in normal times, others are resisting. Some unions fear that the concessions being sought could outlast the pandemic, and reset the balance of power between management and labor.“Historically, labor agreements in the performing arts have been moving toward more money and better conditions,” said Thomas W. Morris, who led major orchestras in the United States for more than three decades. “And all of a sudden that isn’t an option. It’s a fundamental change in the pattern.”Nowhere is the tension between labor and management more acute than at the Metropolitan Opera, the largest performing arts organization in the nation. Its artists and other workers, many of whom have been furloughed without pay since April, are resisting an offer by management to begin receiving reduced wages of up to $1,500 a week again in exchange for long-term pay cuts and changes in work rules. After failing to reach an agreement with its stagehands, the company locked them out last week, shortly before more were scheduled to return to work to begin building sets for next season.But musicians in a growing number of orchestras are agreeing to long-term cuts, recognizing that it could take years for audiences and philanthropy to bounce back after this extended period of darkened concert halls and theaters.The New York Philharmonic announced a new contract last week that will cut the base pay of musicians by 25 percent through mid-2023, to $115,128 a year from $153,504. Then some pay will be restored, but the players will still earn less than they did before the pandemic struck when the contract expires in 2024. The Boston Symphony Orchestra, one of the richest ensembles in the nation, agreed to a new three-year contract reducing pay by an average of 37 percent in the first year, gradually increasing in the following years but only recovering fully if the orchestra meets at least one of three financial benchmarks. The San Francisco Opera agreed to a new deal that halves the orchestra’s salary this season, but later makes up some ground.Unions play a major role behind the scenes at many arts organizations. The contracts they negotiate not only set pay, but also help establish a wide range of working conditions, from how many permanent members an orchestra should have to how many stagehands are needed backstage for each performance to whether Sunday performances require extra pay. It is not uncommon to see major orchestras abruptly end rehearsals mid-phrase — even when a famous maestro is conducting — when the digital rehearsal clock shows that they are about to go into overtime.Workers and artists say that many of these rules have improved health and safety and raised the quality of performances; management has often chafed at the expense.Many nonprofit performing arts organizations, including the Met, faced real financial challenges even before the pandemic struck. Now, they say, they are fighting for their survival, furloughing or laying off administrative staff and seeking relief from unions.After stagehands at the Metropolitan Opera rejected calls for a new contract with long-term cuts, management locked them out.Credit…Victor Llorente for The New York Times“Unions are very reluctant to make concessions; it goes against everything trade union strategy has told them for 100-plus years,” said Susan J. Schurman, a professor of labor studies and employment relations at Rutgers University. “But clearly they understand that this is an unprecedented situation.”But at some institutions, including at the Met and the John F. Kennedy Center for the Performing Arts in Washington, workers are accusing management of trying to take advantage of the crisis to push for changes to their union contracts that they have long sought.Peter Gelb, the general manager of the Met, wants to cut the pay of workers by 30 percent, and restore only half of those cuts when box office revenues recover. He hopes to achieve most of the cuts by changing work rules. In a letter last month to the union representing the Met’s roughly 300 stagehands, Local One of the International Alliance of Theatrical Stage Employees, he wrote that “the health crisis has compounded the Met’s previous financial fragility, threatening our very existence.” He also wrote that the average full-time stagehand cost the Met $260,000 last year, including benefits.“For the Met to get back on its feet, we’re all going to have to make financial concessions and sacrifices,” Mr. Gelb told employees in a video call last month.There are 15 unions at the Met, and while the leaders of several of the biggest have said that they are willing to agree to some cuts, they are pushing back on changes that would outlast the pandemic and redefine work rules that they have long fought for — especially after so many workers, including the orchestra, chorus and legions of backstage workers, have endured many months without pay. The Met’s orchestra, which is represented by Local 802 of the American Federation of Musicians, said in a statement that management was “exploiting this temporary situation to permanently gut contracts of the very workers who create the performances on their global stage.”Leonard Egert, the national executive director of the American Guild of Musical Artists, which represents members of the chorus, soloists, dancers, stage managers and others at the Met, said that unions recognized the difficult reality and were willing to compromise. “It’s just that no one wants to sell out the future,” he said.Musicians at the New York Philharmonic, and at other orchestras, have agreed to lasting pay cuts to help their institutions recover after the pandemic. Credit…Hiroyuki Ito for The New York TimesIn Washington, the stagehands at the Kennedy Center are fighting a similar battle. David McIntyre, president of Local 22 of the alliance, said he had been in contentious negotiations with the Kennedy Center for months over its demand for a 25 percent pay cut, something that is hard for the union members to stomach after many of them have gone without pay since March.Management is also asking for concessions such as an elimination of time-and-a-half pay on Sundays, he said, a change that would be permanent rather than limited to the pandemic. The union stagehands are particularly indignant because the Kennedy Center received $25 million from the federal stimulus bill passed in March.“They’re just trying to get concessions out of us by leveraging a pandemic when none of us are working,” Mr. McIntyre said.A spokeswoman for the Kennedy Center, Eileen Andrews, said that several of the unions that it works with already accepted pay cuts, including the musicians with the National Symphony Orchestra, and that the recovery from the pandemic needed to be accomplished through “shared sacrifices.”Organizations have lost tens of millions of dollars in ticket revenue, and the outlook for the philanthropy that they rely on for their survival remains uncertain. As union negotiations proceed within the grids of video calls rather than around the typical stuffy board room tables, both sides recognize the financial fragility.In some respects the pandemic has altered the negotiating landscape. Unions, which normally have tremendous leverage because strikes halt performances, have less at the moment, when there are no performances to halt. Management’s leverage has changed as well. While the Met’s threat that it would lock out its stagehands unless they agreed to cuts carried less menace at a moment when most employees were not working anyway, its offer to begin paying workers who have gone without paychecks since April in exchange for long-term agreements may be hard to resist.At some institutions, memories of the destructiveness of recent labor disputes have helped foster cooperation during this crisis. At the Minnesota Orchestra, where a bitter lockout kept the concert hall dark for 16 months starting in 2012, management and the musicians agreed on a 25 percent pay cut through August. Some orchestras that have recently experienced labor strife, including the Baltimore Symphony Orchestra, where the players were locked out in 2019, came together during the pandemic.Credit…Shawn Hubbard for The New York TimesAnd the Baltimore Symphony Orchestra, which had its own hard-fought labor dispute last year, managed to reach agreement on a five-year contract this summer, cutting the pay of players sharply at first before gradually increasing it again.The last time a national crisis of this magnitude affected every performing arts organization in the country was during the Great Recession, when organizations sought cuts to offset the decline in philanthropy and ticket sales, triggering strikes, lockouts and bitter disputes.Meredith Snow, the chair of International Conference of Symphony and Opera Musicians, which represents players, said that labor and management mostly appeared to be working together more amicably than they did then — at least for now.“There is more of a recognition that we need to be a unified face to the community,” said Ms. Snow, a violist for the Los Angeles Philharmonic, “and that we can’t be squabbling or we’re both going to go down.”“You come together,” she said, “or you sink.”AdvertisementContinue reading the main story More

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      The 25 Best Classical Music Tracks of 2020

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyThe 25 Best Classical Music Tracks of 2020Listen to our critics’ favorites from a year in which much of the energy in music came from recordings.Credit…The New York TimesAnthony Tommasini, Zachary Woolfe, Joshua Barone, Corinna da Fonseca-Wollheim, David Allen and Dec. 17, 2020Thomas Adès: Berceuse from ‘The Exterminating Angel’“In Seven Days”; Kirill Gerstein, piano (Myrios)The composer Thomas Adès and the pianist Kirill Gerstein’s artistically fruitful friendship has given us two essential albums this year: the premiere recording of Mr. Adès’s Concerto for Piano and Orchestra, featuring Mr. Gerstein and the Boston Symphony Orchestra (Deutsche Grammophon); and this one, which includes a solo arrangement of the harrowing and slippery Berceuse from Mr. Adès’s opera “The Exterminating Angel.” JOSHUA BARONEBerceuse from “The Exterminating Angel”Myrios◆ ◆ ◆Bach: Cello Suite No. 4, GigueBach: Complete Cello Suites (Transcribed for Violin); Johnny Gandelsman, violin (In a Circle)From the beginning of this movement, ornamented with the insouciance of folk music, it’s difficult to resist tapping along with your foot. That urge doesn’t really leave throughout the rest of the six cello suites, lithely rendered here on solo violin by Johnny Gandelsman. This is Bach in zero gravity: feather-light and freely dancing. JOSHUA BARONESuite No. 4, GigueIn a Circle◆ ◆ ◆Beethoven: Symphony No. 2, Allegro moltoBeethoven: Symphonies and Overtures; Vienna State Opera Orchestra and others; Hermann Scherchen, conductor (Deutsche Grammophon)The few new Beethoven symphonies released in this, his 250th birthday year, have largely offered more evidence for the drab state of interpretive tastes today. Not so the rereleases — above all this remastered and exceptionally bracing cycle that was eons ahead of its time when it first came out in the 1950s. Scherchen’s Beethoven — like this Second Symphony with the Royal Philharmonic Orchestra — is fast, sleek and astonishing detailed, as exciting as anything set down since. DAVID ALLENSymphony No. 2, Allegro moltoDeutsche Grammophon◆ ◆ ◆Nadia Boulanger: ‘Soir d’hiver’“Clairières: Songs by Lili and Nadia Boulanger”; Nicholas Phan, tenor; Myra Huang, piano (Avie)After Lili Boulanger, the gifted French composer, died in 1918 at just 24, her devoted older sister Nadia suffered doubts about her own composing and turned to teaching. On this lovely recording, the tenor Nicholas Phan performs elegant songs by both sisters, ending with Nadia’s misty, rapturous “Soir d’hiver,” a 1915 setting of her poem about a young mother abandoned by her lover. ANTHONY TOMMASINI“Soir d’hiver”Avie◆ ◆ ◆Chopin: Piano Concerto No. 1, RomanceChopin: Piano Concertos; Benjamin Grosvenor, piano; Royal Scottish National Orchestra; Elim Chan, conductor (Decca)There’s pianism of historic caliber on this release, and another mark of Mr. Grosvenor’s breathtaking maturity, even though he is still in his 20s. Summoning playing of pure poetry, he lavishes on these concertos all his lauded sensitivity, innate sense of pace and effortless way with phrasing. He’s matched bar for bar by Ms. Chan, an impressive young conductor who makes an occasion of orchestral writing that in other hands sounds routine. DAVID ALLENPiano Concerto No. 1, RomanceDecca◆ ◆ ◆Duke Ellington: ‘Light’“Black, Brown and Beige”; Jazz at Lincoln Center Orchestra with Wynton Marsalis (Blue Engine)If Ellington’s 1943 Carnegie Hall performance of his “Black, Brown and Beige” remains matchless, its radio broadcast sound has dated, making the crispness of this faithful recent rendition worth savoring. Sterling interpretation and production values permit a fresh look at “Light,” including the elegant way Ellington weaves together motifs heard earlier in “Black,” just before a rousing finish. SETH COLTER WALLS“Light”Blue Engine◆ ◆ ◆Eriks Esenvalds: ‘Earth Teach Me Quiet’“Rising w/ the Crossing”; the Crossing (New Focus)Earlier this year, when singing together became just about the most dangerous thing you could do, Donald Nally, the magus behind the Crossing, our finest contemporary-music choir, began posting daily recordings from their archives. He called it “Rising w/ the Crossing,” also the title of an album of a dozen highlights. There’s David Lang’s eerily prescient reflection on the 1918 flu pandemic, performed last year, and Alex Berko’s stirring “Lincoln.” But I keep returning to Eriks Esenvalds’s dreamily unfolding appeal to the Earth, its text a prayer of the Ute people of the American Southwest: a work of true radiance, fired by the precision and passion of this spectacular group. ZACHARY WOOLFE“Earth Teach Me Quiet”New Focus◆ ◆ ◆Antoine Forqueray: ‘Jupiter’“Barricades”; Thomas Dunford, lute; Jean Rondeau, harpsichord (Erato)This is Baroque music as hard-rock jam: driving, intense, dizzying, two musicians facing off in a brash battle that raises both their levels. It is the raucous climax of an album that creates a new little repertory for lute and harpsichord duo, with arrangements of favorites and relative obscurities that highlight Thomas Dunford and Jean Rondeau’s sly, exuberant artistic chemistry. ZACHARY WOOLFE“Jupiter”Warner Classics◆ ◆ ◆Ash Fure: ‘Shiver Lung’“Something to Hunt”; International Contemporary Ensemble; Lucy Dhegrae and Alice Teyssier, vocalists (Sound American)I try not to be fussy with audio quality. But if anything calls for an exception, it’s this long-awaited collection of music by Ash Fure — works that experiment with how sounds are made and felt. So before hitting play, gather your focus, along with your best headphones or speakers, for an intensely visceral listening experience. JOSHUA BARONE“Shiver Lung”Sound American◆ ◆ ◆Handel: ‘Pensieri, voi mi tormentate’“Agrippina”; Joyce DiDonato, mezzo-soprano; Il Pomo d’Oro; Maxim Emelyanychev, conductor (Erato)A shot of venom, boring its way into the brain: There are some arias that aim to soothe anxiety, but for pure cathartic transference of all the anger, fear and impotence that 2020 has sparked, this aria — “Thoughts, you torment me” — by the title character of Handel’s “Agrippina” is the ticket. The fiercely dramatic Joyce DiDonato brings her multihued mezzo and over-the-top embellishments to the music, while the period-instrument orchestra pushes things along with raw-edged insistence. CORINNA da FONSECA-WOLLHEIM“Pensieri, voi mi tormentate”Erato◆ ◆ ◆Handel: Harpsichord Suite No. 4, AllemandeHandel: Suites for Harpsichord; Pierre Hantaï, harpsichord (Mirare)Handel’s eight suites for harpsichord, published in 1720, haven’t always gotten as much attention or respect among performers as the keyboard works of Couperin, Rameau or, especially, Bach. Sometimes they’ve been viewed more or less as training exercises: good for technique but not quite sublime. Pierre Hantaï, known for his vivid Scarlatti, dispels the slightly derogatory preconceptions with suave danciness and lucid touch. ZACHARY WOOLFEHarpsichord Suite No. 4, AllemandeMirare◆ ◆ ◆David Hertzberg: ‘Is that you, my love?’“The Wake World”; Maeve Hoglund, soprano; Samantha Hankey, mezzo-soprano; Elizabeth Braden, conductor (Tzadik)With his playfully convoluted 2017 fairy tale opera “The Wake World,” David Hertzberg demonstrated that voluptuous, sweeping elements of grand opera could be reimagined for today. In the work’s swelling, shimmering climactic duet between a young seeker and her fairy prince, Ravel meets Messiaen, and Wagner meets Scriabin; the music is spiky, original and wondrous strange. ANTHONY TOMMASINI“Is that you, my love?”Tzadik◆ ◆ ◆Nathalie Joachim: ‘Dam mwen yo’“Forward Music Project 1.0”; Amanda Gookin, cello (Bright Shiny Things)Even when brief and minimalist, Nathalie Joachim’s compositions cross complex ranges of emotion. Here, in a piece for cello (and vocals recorded by its composer), the somber cast of mood at the opening is complicated by a change in gait. The effect is akin to what you might feel inventing a new dance on the spot, while trudging through otherwise grim surroundings. SETH COLTER WALLS“Dam mwen yo”Bright Shiny Things◆ ◆ ◆George Lewis: ‘As We May Feel’“Breaking News”; Studio Dan (Hat Hut)Boisterous riffs and counter-riffs seem to suggest improvisatory practices; after all, this veteran artist has explored those practices. Yet George Lewis’s 25-minute joy ride is fully notated. And it was written for an Austrian ensemble which appreciates the chug and wail of Duke Ellington’s train-imitation music, as well as the rigors of extended-technique modernism. SETH COLTER WALLS“As We May Feel”Hat Hut◆ ◆ ◆Meredith Monk: ‘Downfall’“Memory Game”; Meredith Monk & Vocal Ensemble; Bang on a Can All-Stars (Cantaloupe Music)For almost 60 years, the composer and performer Meredith Monk has created works mainly for herself and her close circle, so it’s been an open question what will happen to those intricate, idiosyncratic pieces when she’s gone. This album of sympathetic but not slavish new arrangements — collaborations with the Bang on a Can collective — offers tantalizing experiments. The clarinetist Ken Thomson gives the hawing vocals of “Downfall,” part of Ms. Monk’s post-apocalyptic 1983 evening “The Games,” seductively sinister instrumental surroundings. ZACHARY WOOLFE“Downfall”Cantaloupe Music◆ ◆ ◆Tristan Perich: ‘Drift Multiply,’ Section 6“Drift Multiply” (New Amsterdam/Nonesuch)Music emerges out of snowdrifts of white noise on this mesmerizing track. Tristan Perich is one of the most innovative tinkerers in electronic music, creating works of vibrant mystery. In “Drift Multiply,” 50 violins interact with 50 loudspeakers connected to as many custom-built circuit boards that channel the sound into one-bit audio. The result is a constantly evolving landscape where sounds coalesce and prism, where the violins both pull into focus and blur into a soothing ether. CORINNA da FONSECA-WOLLHEIM“Drift Multiply,” Section 6New Amsterdam◆ ◆ ◆Joseph C. Phillips Jr.: ‘Ferguson: Summer of 2014’“The Grey Land”; Numinous (New Amsterdam)Joseph C. Phillips Jr.’s “The Grey Land” is a stirring, stylistically varied mono-opera that draws on its composer’s reflections on being Black in contemporary America. The longest movement on the premiere recording makes an early textual reference to Barber’s “Knoxville: Summer of 1915” while dramatizing an expectant couple’s unease in the wake of the death of Michael Brown. SETH COLTER WALLS“Ferguson: Summer of 2014”New Amsterdam◆ ◆ ◆Prokofiev: Piano Concerto No. 2, Andantino“Silver Age”; Daniil Trifonov, piano; Mariinsky Orchestra; Valery Gergiev, conductor (Deutsche Grammophon)The thoughtful pianist Daniil Trifonov explores the music of Russia’s so-called “silver age” of the early 20th century on a fascinating album that offers various solo works and concertos by Scriabin, Prokofiev and Stravinsky. The spacious yet fiendishly difficult first movement of Prokofiev’s Second Piano Concerto is especially exciting. ANTHONY TOMMASINIPiano Concerto No. 2, AndantinoDeutsche Grammophon◆ ◆ ◆Rameau: ‘The Arts and the Hours’“Debussy Rameau”; Vikingur Olafsson, piano (Deutsche Grammophon)Few musicians craft their albums with as much care as Vikingur Olafsson, whose “Debussy Rameau” is a brilliantly conceived, nearly 30-track conversation across centuries between two French masters. There is one modern intervention: Mr. Olafsson’s solo arrangement of an interlude from Rameau’s “Les Boréades” — tender and reverential, a wellspring of grace. JOSHUA BARONE“The Arts and the Hours”Deutsche Grammophon◆ ◆ ◆Jean-Féry Rebel: ‘Le Chaos’“Labyrinth”; David Greilsammer, piano (Naïve)In his riveting, aptly titled album “Labyrinth,” the formidable pianist David Greilsammer daringly juxtaposes pieces spanning centuries, from Lully to Ofer Pelz. The theme of the album is captured in Jonathan Keren’s arrangement of Rebel’s “Le Chaos,” which comes across like an early-18th-century venture into mind-spinning modernism. ANTHONY TOMMASINI“Le Chaos”Naïve◆ ◆ ◆Rebecca Saunders: ‘Still’“Musica Viva, Vol. 35”; Carolin Widmann, violin; Bavarian Radio Symphony Orchestra; Ilan Volkov, conductor (BR-Klassik)A renowned figure on Europe’s experimental music scene, Rebecca Saunders builds teeming systems of shimmying severity from the sparest melodic materials. In this live recording of her violin concerto, Carolin Widmann excels in fulfilling the score’s contrasting requirements of delicacy and power. Helping judge the balance is the conductor Ilan Volkov, an artist American orchestras might consider working with. SETH COLTER WALLS“Still”BR-Klassik◆ ◆ ◆Schubert: ‘Des Fischers Liebesglück’“Where Only Stars Can Hear Us: Schubert Songs”; Karim Sulayman, tenor; Yi-heng Yang, fortepiano (Avie)Intimate, sweet-toned and more easily given to dry humor than its powerful keyboard successors, the fortepiano should be a natural choice for Schubert lieder. Yet recordings such as this exquisitely personal recital — with the clear-voiced tenor Karim Sulayman and the sensitive pianist Yi-heng Yang — are still rare. Listen to them weave a storyteller’s spell in this song about a nighttime tryst in a fishing boat, and marvel at the emotional arc they weave with the simplest of gestures. CORINNA da FONSECA-WOLLHEIM“Des Fischers Liebesglück”Avie◆ ◆ ◆Ethel Smyth: ‘The Prisoner Awakes’“The Prison”; Experiential Orchestra and Chorus; James Blachly, conductor (Chandos)Ethel Smyth, suffragist and composer, is among several female composers receiving fresh, deserved attention as the classical music industry tackles its diversity problem. If they all receive recordings as perfect as this account of her last major work, we will all benefit. Half symphony, half oratorio, “The Prison” includes this striking chorale prelude, with dark and light in the same bars, at its heart. DAVID ALLEN“The Prisoner Awakes”Chandos◆ ◆ ◆Anna Thorvaldsdottir: ‘Mikros’“Epicycle II”; Gyda Valtysdottir (Sono Luminus)A subterranean hall of mirrors lures in the listener in this deeply affecting three-minute track. Gyda Valtysdottir’s cello takes on the guise of a modern-day Orpheus and the spectral sounds of the underworld as she layers her performance on top of two prerecorded tracks. As this protagonist cello line sighs, heaves and slackens, the taped parts add fragmented scratch tones, whispers and tremors, evoking terrain both alluring and treacherous. CORINNA da FONSECA-WOLLHEIM“Mikros”Sono Luminus◆ ◆ ◆Joseph Wölfl: Piano Sonata in E, Allegro“The Beethoven Connection”; Jean-Efflam Bavouzet, piano (Chandos)No finer recording has emerged from the Beethoven celebration than this, and it has not a single work by Beethoven on it. Mr. Bavouzet’s inquisitive look at the musicians who were composing at the same time as their colleague and competitor features Muzio Clementi, Johann Nepomuk Hummel, Jan Ladislav Dussek — but it’s the forgotten Joseph Wölfl, who once battled Beethoven in a duel of keyboard skills, who comes out best, in this immaculate, charming sonata. DAVID ALLENPiano Sonata in E, AllegroChandos◆ ◆ ◆[embedded content]AdvertisementContinue reading the main story More