Afternoon in Amsterdam

Afternoon in Amsterdam

released on LP

featuring Gavioli Draaiorgel "Jupiter"
recorded in Holland

From the liner notes:

The subtle pastel coloring of the aged buildings reflected in the canals' calm water; the incredible cleanliness of the worn sidewalks and streets; the happy sounds emanating from the big and colorful hand-cranked barrel organs along the Kalverstraat: these are Amsterdam in the sun-covered afternoons of any season, any year.

Music is important in the Netherlands. Amid the heavy traffic of Amsterdam, Rotterdam, Den Haag, and Scheveningen - traffic made difficult by the unending procession of bicycles and pint-sized motor cars - and in the green, soft, tranquil settings of rural Holland, one hears some sort of music no matter how early or late the hour. Radio Hilversum, the progressive, government-operated station, beams music to all of Europe through the day and night, and rarely do the concerts and operettas at Grote Zaal and Stadsschouwburg fail to attract turn-away audiences. Records are fast-selling items in the music stores, much as they are in North America; only a few weeks separate the arrival of a new pop tune on the American and Dutch hit parades.

The music contained here is like no other music anywhere. There are organs on every continent, but only in the Netherlands are there barrel organs like the massive but movable "Gavioli Draaiorgel Jupiter" instrument heard in this album. The astounding variety of pleasant sounds it produces are achived by a sort of paper folder, or book, whose leaves have, with unbelievable ingenuity, been carefully perforated to produce music when exposed to air pressure. The air, of course, is provided by the powerful organist patiently turning the heavy metal wheel at the organ's side. Another man stands near, collecting voluntary fees from the passersby; at intervals they trade chores. The guilders pile up for the two men, Everybody is happy.

Tracklisting:

Side 1

1.  Afternoon Songs: Amsterdam; On the Old Lindencanal; By Us in the Jordaan; Oh Saberdyosia  {3:03}

2.  Afternoon Songs: The Perl of the Jordaan; At the Foot of the Old Water Tower; The Condemned House  {3:02}

3.  Dutch Waltzes: Hand in Hand; Nobody Like You; On Saturday Afternoon  {2:55}

4.  Dutch Marches: King Football; KLM March; Stadium March  {2:51}

5.  Between Tunnel and Maas Bridge: Always Ships are Coming; Ketelbinkie; Were You Born at Rotterdam; By the Maas  {3:04}

6.  Between Tunnel and Maas Bridge: The Flag of Rotterdam; Anchors Aweigh; Great Rotterdam  {3:00}

Side 2

1.  Dutch Towns: Just Give Me Amsterdam; My Own Rotterdam; There is Only One Den Haag  {1:53}

2.  Dutch Tangos: I Like Holland; Ole Guapa  {2:24}

3.  Sea Songs: The Song of the Sea; Seaman, Oh Seaman; On the Turbulent Waves  {2:13}

4.  Dutch South African Songs: Sarie Marais; Mama, I'd Like to Have a Husband; The Little Shoemaker  {2:18}

5.  Star Songs: Just Look at the Stars Tonight; At Night by Starlight; When Stars are Twinkling in the Sky  {2:29}

6.  Dutch Mill Songs: The Mill at the Brook; Greetje from the Polder; There Near the Mill  {2:37}

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Black Angels

The Cikada Quartet - Black Angels

released on CD in 1995

recorded at the Academy of Music, Oslo, Norway: March 25-27, 1994


The Cikada Quartet:
Henrik Hannisdal - violin
Odd Hannisdal - violin
Marek Konstantynowicz - viola
Morten Hannisdal - violoncello


tracks 1-13 Black Angels composed by George Crumb

tracks 14-16 String Quartet Op. 28 composed by Anton Webern

tracks 17-18 String Quartet composed by Witold Lutoslawski

George Crumb - Black Angels

The score of Black Angels is inscribed in tempore belli, "in time of war." In 1970 that meant the Vietnam War and Crumb was later to explain that the work was "conceived as a kind of parable on our troubled contemporary world". There are aspects of Black Angels which can be construed as making oblique reference to that particular conflict: the vivid "electric insects", the liquid sonorities which form a gentle quasi-oriental backdrop, even the surrealistic juxtaposition of the two. But the work is not "about" Vietnam, nor even war itself, although it can certainly be interpreted as an anti-war statement. In Crumb's own words the "parable" is told in terms of "a voyage of the soul. The three stages of this voyage are: Departure (fall from grace), Absence (spiritual annihilation) and Return (redemption)". This mystical programme is underpinned by "the essential polarity - God versus the Devil", giving rise to a number of musical (and non-musical) allusions. In Black Angels, Crumb's preoccupation with some of the techniques and principles of the medieval age, characteristic of much of his work, is greatly in evidence. But the most immediate impression is that of its highly individual and graphic timbral effects. The Quartet is amplified, the use of an electrified quartet to heighten expressiveness rather than to manipulate the sound pre-dating the the recent trend for doing so by some twenty years. The work is also a catalogue of ingenious string techniques and requires each of the players to double on various percussion instruments from the more usual (maracas and tam-tams, the latter being bowed as well as struck) to the more outre (water-tuned crystal glasses and solid glass rods).

Anton Webern - String Quartet Op. 28

If Webern's Quartet was not actually written "in time of war" it was certainly written in circumstances not far removed, the Nazi Anschluss leading to the conducting appointment Webern had held with Austrian Radio since 1927 being "liquidated" in 1938, the year in which Op. 28 was completed. Webern had already begun sketching the Quartet when a commission arrived from Elizabeth Sprague Coolidge, the American patron who also commissioned Schoenberg's third and fourth quartets, giving Webern the welcome opportunity to accept it for a work he had already commenced.

"The worse it gets the more responsible our task", Webern once wrote about the conflict into which his country was forced, yet nothing could be further from Crumb's extrovert response to the world around him than this supreme example of "pure", abstract music. (Ironically and tragically Webern was to suffer more than most composers because of the "time of war", killed by an American soldier days after the end of the Second World War in what was probably a case of mistaken identity.) The very sound of the work is austere - no harmonics or col legno effects (found in other compositions by Webern), let alone the pyrotechnics of Crumb's piece.

There is, therefore, minimal distraction from the "primacy of pitch" and the twelve-tone technique which articulates it. Webern's compositional development had followed a parallel path to that of his mentor and teacher, Schoenberg, the rich late-romanticism of his early work giving way to the atonality of the years around the First World War and the fully fledged serialism he was ultimately to adopt. By the late 1930s this in Webern's hands had become a fascination with canons, palindromes and symmetry, not as in Crumb's work for symbolic or expressive reasons, but as a means of creating even greater musical integration.

Witold Lutoslawski - String Quartet

"The tempo is approximate as are all rhythmical values. Each performer should play his part as though he were alone... As the vertical result of the juxtaposition of the four parts of this work is not completely fixed, there can be no score." Lutoslawski's indications in his String Quartet, written in 1964 for a commission from Swedish Radio, mark the logical culmination of the trend for using aleatoric (random) procedures which had started with his Jeux venitiens of 1961 and characterised the works of his middle period (Paroles tissees, Symphony No.2, Livre pour orchestre). It was in 1960 that Lutoslawski heard John Cage's Piano Concerto and it was this which brought to his attention the potential of using chance as a compositional technique. So, the String Quartet takes the form of a series of "mobiles", varying in length from a few seconds to as long as a couple of minutes, within which "particular players perform their parts quite independently of each other. They have to decide separately about the length of pauses and about the way of treating ritenutos and accelerandos". The transition from one section to another is realized in various ways and sometimes requires a fairly complex system of signals between the players.

However, how does this square with a composer who wrote, "I firmly believe in a clear delineation of duties between composer and performers, and I have no wish to surrender even the smallest part of my claim to authorship of even the shortest passage of music which I have written"? How can he claim in the String Quartet that "if each performer strictly follows the instructions in the parts, nothing could happen which has not been foreseen by the composer"?

Lutoslawski himself has explained this apparent contradiction in what he has said or written of the Quartet on a number of occasions. "It is not a question of diversity between performances; nor is it a question of the element of surprise; nor of freeing myself from a part of the responsibility for the work and placing it on the performers." It is clear that whilst Cage may have been a catalyst in Lutoslawski's embracing of the possibilities of chance techniques, his aesthetics and his use of aleatoricism provided no deeper influence than that. "The aim of my endeavours has been merely to attain a definite sound result. This result is impossible to attain in any other way especially as regards rhythm and expression." (Nicholas Rampley)

Tracklisting:

Departure

1.  Black Angels: Threnody I: Night of the Electric Insects  {1:22}

2.  Black Angels: Sounds of Bones and Flutes  {0:44}

3.  Black Angels: Lost Bells  {0:56}

4.  Black Angels: Devil-Music  {1:38}

5.  Black Angels: Danse Macabre  {1:03}

6.  Black Angels: Pavana Lachrymae  {1:02}

Absence

7.  Black Angels: Threnody II: Black Angels  {2:50}

8.  Black Angels: Sarabanda de la muerte oscura  {1:00}

9.  Black Angels: Lost Bells, Echo  {1:17}

Return

10. Black Angels: God-Music  {3:22}

11. Black Angels: Ancient Voices  {1:02}

12. Black Angels: Ancient Voices, Echo  {0:21}

13. Black Angels: Threnody III: Night of the Electric Insects  {3:50}


14. String Quartet Op. 28: Massig  {3:36}

15. String Quartet Op. 28: Gemahlich  {1:43}

16. String Quartet Op. 28: Sehr Fliessend  {2:36}

17. String Quartet: Introductory Movement  {9:57}

18. String Quartet: Main Movement  {16:23}

(MP1) or (FL1)

The Music of Lou Harrison

Lou Harrison - The Music of Lou Harrison

released on CD in 1991, originally released on vinyl in 1971

tracks 1-7 performed by the Oakland Youth Orchestra, Robert Hughes - conductor

tracks 8-11 performed by Beverly Bellows

tracks 12-13 performed by Lou Harrison

tracks 14-16 performed by William Bouton - violin along with Richard Dee - cheng, William Colvig - sheng and fang-hsiang, Lou Harrison - piri, Helen Rifas - harp

Pacifika Rondo

Pacifika Rondo was written for the East-West Center at the University of Hawaii and received its premiere there in May 1963. Each movement refers to a section of the Pacific Basin except for the sixth, which is a protest against the bomb and its contamination and destruction of Pacific Life.
"The Family of the Court" largely refers to Korea and its court life; "Play of the Dolphins" is in a sense mid-ocean music and the sound of the psalteries suggests the movement of waves and the dancing of dolphins.
"Lotus" is a tribute to Buddhism, a 'temple' piece; "In Sequoia's Shade" refers to California, particularly to its colonial days. The fifth movement (an 'Homage to Carlos Chavez') looks to Mexico and Netzahualcoyotl, the Aztec emperor, a king of great wisdom and goodness. "From the Dragon Pool" refers to the Sinitic Area and particularly China in which the dragon is considered benevolent.
I have been told to try several of the ways in which I think classic Asian musics might of themselves, and together, evolve in the future, and have combined instruments of several ethnics directly for musical expression.
In composing Pacifika Rondo I have thought, with love, around the circle of the Pacific.  (Lou Harrison)

Four Pieces for Harp

These are occasional works. The Serenade was written in a letter to Frank Wigglesworth, for him, when he was learning guitar in Rome, and it was originally for that instrument. Beverly's Troubadour Piece was first composed at a party in which Bob Hughes, Jerry Neff and I wrote little pieces for Beverly Bellows to play (at once) on my now troubadour model harp. Again, the harp solo from Music for Bill and Me is from a group of pieces for my friend William Colvig and me to play. Avalokiteshvara is from a larger work celebrating the Amitabha trinity - in it the Bodhisattva is heard as it were in a "nimbus" of bells. (Lou Harrison)

Two Pieces for Psaltery

I composed my Psalter Sonata (my first piece for psaltery) after studying the instrument with Liang Tsai Ping, the great Chinese chong-master, to whom the piece is dedicated. One actually could see "one and a quarter moons" in the sky of Mars, and this piece was written to entertain Robert Hughes.  (Lou Harrison)

Music for Violin with Various Instruments
European, Asian & African

Composed for Gary Beswick, who gave its first performance at San Jose State College in 1967. The whole round world of musics and instruments lives around us. I am interested in a "transethnic," a planetary music.  (Lou Harrison)

Tracklisting:

1. Pacifika Rondo: The Family of the Court  {5:18}

2. Pacifika Rondo: A Play of Dolphins  {4:12}

3. Pacifika Rondo: Lotus  {2:52}

4. Pacifika Rondo: In Sequoia's Shade  {2:26}

5. Pacifika Rondo: Netzahuaucoyoti Builds a Pyramid  {2:22}

6. Pacifika Rondo: A Hatred of the Filthy Bomb  {2:53}

7. Pacifika Rondo: From the Dragon Pool  {4:03}

8. Four Pieces for Harp: Serenade for Frank Wigglesworth  {1:54}

9. Four Pieces for Harp: Beverly's Troubador Piece  {1:32}

10. Four Pieces for Harp: From Music for Bill and Me  {3:21}

11. Four Pieces for Harp: Avalokiteshvara  {2:23}

12. Two Pieces for Psaltery: Psalter Sonata  {2:32}

13. Two Pieces for Psaltery: The Garden at One and a Quarter Moons  {2:40}

14. Music for Violin with Various Instruments: Allegro Vigoroso  {3:17}

15. Music for Violin with Various Instruments: Largo  {4:19}

16. Music for Violin with Various Instruments: Allegro Moderato  {3:08}

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