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n March 27–29, 2015 the American lasted ive minutes, yet consisted of an assortment
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textures became sparse again, as the voices and more of an improvisatory feel to it. Then,
faded out, one by one. after a while, the lengthy introductory passage
Austrian composer, currently living in was succeeded by the main section, containing
New York, Georg Friedrich Haas presented a faster tempo and the standard combination of
his piece for solo bassoon, “For Johnny a melodic line (playing Turkish folk melodies
Reinhard,” subtitled “in 128-tone scale, and their virtuosic elaborations) and a lively
bassoon solo,” which he wrote in only three accompaniment.
days. It was given its world premiere by Johnny “Three Cornered Hat” for theremin,
Reinhard on the bassoon. The piece was rather fretless guitar and bassoon, composed by the
extended in duration and had a very technical writer of these lines, was given its premiere
and cerebral sound to it, featuring a variety of performance byYonat Haftka on the theremin,
extended notes of various durations, spaced Michael Hafftka on the fretless guitar and
a very short intervals from each other, some Johnny Reinhard on the bassoon. The piece
of which contained multiphonics. Despite was written in response to a request by
the etude-like features of the piece, the main Michael Hafftka and consisted entirely of
objective of which seemed to demonstrate these graphic notation. The performers gave their
very small intervals at close proximity of each own personal interpretation of the graphic
other, the piece had a certain unusual and curious score, albeit following the instructions in it
kind of expressivity and dramaturgy in it, which of when the individual instruments should
became discernible upon close and attentive come in or stop playing and when to raise or
listening to it. The latter quality was enhanced lower their pitches. Although the performers
by the steady rise and fall of the dynamics played in a non-equal-tempered tuning,
present in the piece. While the beginning of the they brought a great amount of diatonic
piece was all in one register of the bassoon, the harmonies (with microtonal alterations) and
middle of the piece included a few spots where folk-music elements to the piece. This was
the register was sharply changed, which added counterbalanced by the non-standard textural
to the dramaturgical qualities of the music. combination of three unusual instruments, the
Towards the end of the piece, ample use was combined blend of which, especially enhanced
made of the high register of the bassoon. All by glissandi in the theremin and bassoon and
of these features of the piece were splendidly the reverberating chords in the guitar, and the
demonstrated by Johnny Reinhard’s superbly orderly way they entered their lines or stopped
virtuosic performance. playing provided for the expressive and
Two pieces for guitar by Turkish composer dramaturgical qualities of their performance.
Aşik Veysel Şaturoğlu – “Kara Toprak” The piece had a mysterious, nocturnal mood
(“Black Earth”), presented in an arrangement and an exotic sound world.
by Ricardo Moyano, and “Uzun Ince Bir “Neo-Makam” by Tolgahan Çoğulu and
Yoldayim” (“I am on a Long and Narrow Johnny Reinhard, was basically a combined
Way”) – were performed by Istanbul-based improvisation for guitar and bassoon, lasting
guitarist, Tolgahan Çoğulu. The irst piece was about four minutes in duration, loosely
moderately fast and had the lavor of Turkish following the style of Turkish makam, albeit in a
ethnic folk music for guitar, successfully very free rendition. The performance alternated
combining diatonic harmonies with microtonal between those sections where there was a
temperaments and a standard melody- predominance of a melody-accompaniment
accompaniment texture with incursions of texture, successfully recreating a Turkish ethnic
technical, virtuosic quasi-lamenco lourishes. musical style, with other sections, where the
The second piece began in a slower tempo, two instruments played freely, not paying close
containing a greater share of rubato rhythms attention to each other, attempting to create
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exotic textures, coming close to depicting would blend in. This resulted in a coordinated
sounds of nature. and contrasting performance of an improvised
David Galt performed the world premiere piece, albeit containing contrasting musical
of his piece “Garbled Numbers: a Diptych” sections. The coordination of the performers
on the didjeridoo, the famous Australian folk was so good, that the music ultimately had the
instrument, resembling a big tree trunk. The sound of a written-out composition, rather than
very appearance of this exotic instrument, as an improvised performance.
well as the outlandish sound of it brought in The second concert of the festival on
a very colorful atmosphere. The composer- March 28 started with an introductory speech
performer was pronouncing words into the by Johnny Reinhard, joined by Skip La Plante,
instrument, which were names of numbers. a composer, who is also a builder of original
However, due to the fact that they were spoken instruments, for which he writes music. The
into the instrument, the pronunciation was concert program opened up with a premiere of
distorted and unrecognizable, yet provided for Skip La Plante’s piece for solo viola, called
the non-standard type of textural development “Just Viola,” played by Anastasia Solberg, a
of the piece, consisting almost entirely of these remarkable violist, who performed throughout
sound reverberations of the spoken words. all the years of the festival, beginning with
The irst concert inished with the world its very irst concert (on March 7, 1981). The
premiere of Johnny Reinhard’s piece “Trip I,” title, obviously, presented a pun, implying that
which was performed by an ensemble of Johnny this viola piece was written in just intonation.
Reinhard on the bassoon, Richard Carr on the The piece was based on an “undertone
violin, Todd Brunel playing several clarinets series,” which is essentially an inversion of
alternately, Tolgahan Çoğulu playing microtonal the overtone series. The irst movement of
guitar, Michael Hafftka playing fretless guitar, the piece possessed simplistic rhythms and a
Jeroen Paul Thesseling on the fretless bass, memorable diatonic melody, altered with non-
and Yonat Hafftka on the theremin. This was a standard tunings, possessing the qualities of a
joint jam improvisation of all the performers, folk ballad. Its melodic writing almost made the
staying within 128 tuning. Johnny Reinhard impression that this was a piece for solo voice.
announced that this piece was the irst part of a The latter quality was enhanced to a great degree
triptych of three improvised pieces, each one of by Anastasia Solberg’s performance, which
which was supposed to be performed on each successfully caught the quasi-vocal intonation
of the three concerts of the festival, all of which of the piece. The second movement possessed
together were to form a single integral “cycle” a more edgy rhythmic feel to it, albeit, without
in 128 tuning. The performance combined the losing its singable diatonic qualities. The third
qualities of loose simultaneous playing by movement focused on arpeggiated movement,
musicians, not guided by any written musical elaborating on the microtonally altered diatonic
score to coordinate them, together with a arpeggios, to which gradually more and more
very harmonious blended and rhythmically scalar movement was added.
coordinated performance, the instrumentalists The world premiere of Johnny Reinhard’s
successfully sensing each other’s playing “Knin Calimari” for microtonal guitar set in
and blending in with the ensemble. The latter 128 tuning was performed by Turkish guitarist
quality was enhanced by steady pulsating Tolgahan Çoğulu, whom Reinhard met in August
rhythms prevailing through the entire 2014 in Knin, Croatia, where he organized a
performance, though successfully avoiding tour of his microtonal festival, and for whom
the sense of monotony. After certain periods he wrote it. The piece had a contemplative
of time one or several players would bring in a mood and, for the most part, sparse textures and
new musical idea, to which the other musicians rhythms, consisting essentially of short irregular
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rhythmic fragments. It had a very through a certain degree, jazz and spirituals. The text
development, very characteristic of a fantasy, narrated a story of a hobo girl named Annie,
with continuous successions of heterogeneous who was homeless and who traveled from one
rhythmic and harmonic units. At the same city to another, without being able to ind a
time, it did not resemble an improvisation for home. The sad mood of the text corresponded
the instrument, since its development was a very well to the emotional feeling depicted
very coherent one. It made ample use of this in the music. Towards the end of the piece
new tuning, since the harmonies successfully the tempo became somewhat faster, and the
blended together elements of diatonicism and dynamics got louder, the aim of which was to
chromaticism in such a way that the boundary provide a greater pungent quality to the tragic
between both was not discernible. story and music. After this, the initial slow
Following this, Johnny Reinhard performed tempo and sad mood returned.
Georg Friederich Haas’ solo bassoon piece Berlin-based composer Philip Gerschlauer
“For Johnny Reinhard” a second time, had three just intonation pieces performed,
repeating it from last night. The second titled, respectively, “Mr. P,” “April” and
performance had a more conident mood about “October,” with the composer playing the
it, and thus the mood of the piece sounded more alto saxophone, Gabriel Zucker playing the
balanced. Unlike the previous night, when keyboards, Marty Kenney on the double-bass
Reinhard played the piece sitting down, this time and Nathan EllmanBell at the drums. The piece
he played it standing up. The unusual technical had a constant foundation of accompaniment
aspect of piece, consisting for the most part of of double bass and drums, mostly in a regular
lengthy notes apart by miniscule intervals, made motor fashion, albeit softly and subtly, while
the second performance just about as interesting the saxophone and keyboard provided the
and intriguing to hear as the irst, sounding melodic and harmonic development. There
almost as a new piece, notwithstanding the was a strong element of jazz, albeit modiied,
fact that they were separated only by one day, in the style of the music – this was enhanced
and that there was no element of improvisation by the roll of the drums and the glissandos and
present here, which would have greatly varied rhythmically agile melodic lies played by the
each performance. saxophone. The beginning of the irst piece
“The Ballad of Hobo Annie” by “Mr. P” had a sad and morose mood, though
Meredith Borden was sung by the composer towards the middle, it became livelier, though
(herself an excellent soprano, who regularly not shedding its minor mode color. Towards
sings microtonal music), who also played the the very end of the piece the music returned to
autoharp. This piece followed the tradition its solemn mood and slow tempo. The second
of Harry Partch’s piece “U.S. Highball” for piece, “April” had a very noticeable change of
recitation and chamber ensemble, since it key, albeit, also one in a minor tonality, and
also was set to a text about a hobo traveling followed just about the same dramaturgical
through many cities throughout the United design as the irst movement. It had a
States. However, in its mood, the music was most recognizable rhythmically punctured
totally unlike the Partch piece, since it was melody, deinitely in a jazz style, which was
plaintive and lyrical. Beginning with a sad continuously repeated in sequence and varied.
sounding melody in a minor mode, altered The third piece, “October” made use of some
microtonally, intermingled with irregular unusual and colorful textures available for
arpeggios, the harp part established its this set of instruments. It began with a more
accompaniment function, providing chords intensively dramatic mood and harsh textures,
to a minor-mode melody sung by the soprano and then switched to more subdued dynamics,
in a style resembling American folk and, to regular rhythms and jazz melodies.
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reverberating sonorities in the low register with addition of the other instruments. It began with
short pizzicato-like sounds in the high register. a relatively fast and rhythmically deined pace,
After a while, the bassoon entered, playing a then proceeded in a bit more moderate tempo
stretched out plaintively sounding melodic with great emphasis on the non-standard
line with a microtonally altered diatonic minor sonorities available on the instruments, both
harmonic center. The music continued to develop separately and blending with each other. After
along that line, with the bassoon enriching its a much slower section, the music turned to the
timbral palette with adding notes in the high moderately fast tempo of the beginning, albeit
register, incorporating frullato, glissandos and with greater emphasis on the exotic sonorities
rhythmically recognizable igures. than before, after which it became slower and
The third piece of Johnny Reinhard’s faded out towards the end.
triptych “Trip III” proceeded immediately Altogether, the American Festival of
after Thesseling’s piece, without any pause. Microtonal Music, as organized in March 2015,
The players were: Johnny Reinhard on the presented a bright assortment of music from
bassoon, Jeroen Paul Thesseling on the different countries and pertaining to different
fretless bass guitar, Todd Brunel playing styles and genres, which greatly pleased
several clarinets and bass clarinet alternately, the audience attending the three concerts,
Anastasia Solberg on the viola, Michael Hafttka expanded the horizons of their perception of
on the fretless guitar and Philipp Gerschlauer music and enriched their musical experience by
on the alto saxophone. The change of piece exposing them to a rare, high quality trend in
was recognizable due to the faster tempo and contemporary music.
Anton Rovner
PhD in Music Composition from Rutgers University
(New Jersey, USA), Candidate of Arts (PhD)
from the Moscow State Conservatory,
faculty member at the Department
of Interdisciplinary Specializations for Musicologists
of Moscow State P. I. Tchaikovsky Conservatory
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