Violist Wendy Richman, a founding member of the International Contemporary Ensemble, releases her debut full length recording of music she commissioned for voice and viola for one performer. Including premieres by Ken Ueno, Christian Carey, Arlene Sierra, Everette Minchew, José-Luis Hurtado, David Smooke, Jason Eckardt, Lou Bunk, and Stephen Gorbos, Richman significantly expands the repertoire for singing violist with this varied program.
|01||He Wishes for the Cloths of Heaven|
He Wishes for the Cloths of Heaven
|06||Palabras en alto|
Palabras en alto
|07||"to be held..."|
"to be held..."
|09||Song for Sendai|
Song for Sendai
Wendy Richman’s “vox/viola” chronicles her evolving project commissioning works for singing violist. From conventional textures of melody and accompaniment (Carey, Ueno), experimental scores exploring timbral variation in both instruments (Hurtado, Bunk), compositions oriented around creating intentional clashes and beatings in pitch (Minchew, Smooke), works incorporating electronics (Gorbos, Eckardt), to Arlene Sierra’s character piece, each work on “vox/viola” discovers innovative ways of taking advantage of the added parameter of Richman’s voice to create a unique sound world. The repertoire for singing instrumentalist is a growing one, and these nine pieces significantly expand the available works for viola in the genre.
“vox/viola” opens warmly with Christian Carey’s inviting He Wishes for the Cloths of Heaven. Setting a Yeats text, the work opens with a broad, processional solo viola introduction. The voice enters over a flowing instrumental line and rises in register over the course of the song, closing with a luminescent perfect fifth double stop. Stephen Gorbos’ Veiled is the first work including electronics on the album, and uses the different elements at play to explore textural and sonic distances. The vocal line chants wordless contours, the viola inhabits a more rhapsodic role, and the electronics create a shimmering, metallic environment which envelops both.Read More
Giacinto Scelsi’s Manto III stands as an iconic precursor in the genre of works for singing violist, and Richman acknowledges its influence on this project in her notes. Lou Bunk’s Scelsi Frammenti is a direct homage to Manto III, as he excavates a rarefied vocabulary of over-pressure timbres, scratches, and high partial harmonics on the viola and deconstructed syllabic fragments from the text in the voice. The result is an intimate work that draws the listener in to a fragile set of delicate sounds and expressive gestures. As the climax of the work approaches, we hear the most sustained textures in the composition, sinewy glissandi in the voice and viola.
David Smooke’s Extraordinary Rendition uses drones, microtonality, beatings between closely spaced intervals, and angular rhythms to create an exotic severity worthy of its politically referential title (“extraordinary rendition” being the term used by Western nations for the dubious policy of flying suspects to nations with less restrictive policies on torture for interrogation.) Though the text is not based on an existing language, the meaning of the quick gasps for air in the vocal part are impossible to misunderstand.
Arlene Sierra merges two sources of inspiration in Cricket-Viol, an imitation of a cricket’s natural chirping song, heard in the opening viola figures, and the Renaissance and Baroque viol, or viola da gamba, the forebearer of the modern instrument we hear here, heard later in open fifths and resonant passages. The voice glues the contrasting material together with descending wordless sighs. José-Luis Hurtado’s Palabras en alto returns to the rarefied textures of the Bunk, but this time integrating pitch, extended technique, and noise into hyper-expressive phrases. Ritualistic whispering is accompanied by skittering col legnos, percolating tremolandi, and groaning over-pressure sounds. There is some hint here of George Crumb’s affinity for spacious examination of silence and theatricality, but in Hurtado’s music, sounds are filtered through a distorting lens, occasionally coming at the listener in surprising and unexpected ways.
Jason Eckardt’s “to be held…” is a meditation on incrementally shifting, sustained pitches in the viola, voice, and electronics part (pre-recorded material of Richman as well). The texture is both static and dynamic at the same time as intervals are always expanding or contracting between the voices. After a five minute registral ascension, the piece suddenly halts for a brief moment of reflection before a coda that fades away on a high viola double stop.
Everette Minchew’s Gakka establishes an independent relationship between an impassioned, freely notated vocal line and a strictly metered viola part. The text is created from syllables in Richman’s name, and suggests a ritual ceremony. Gakka closes with the voice singing a poignant major seventh high above a viola unison drone. Ken Ueno writes, “Song for Sendai is a personal response to the mythical scale of devastation of Sendai, Japan, on 11 March 2011, the result of the Tōhoku earthquake and tsunami.” Ueno references Voltaire’s philosophical reckoning with the Lisbon earthquake of 1755, citing it as the conceptual foundational for the opening section of the work (“Voltairean contemplation”), set as a passacaglia, representing in his words, “a kind of psychological stasis.” The second half of the work is a simple song, titled “Boy’s Song”, from the point of view of a son who lost his mother to the sea in the tsunami. Wendy Richman’s “vox/viola” comes full circle from Christian Carey’s processional opening to Ueno’s resigned farewell, with a panoply of textures in between performed with equal mastery, troubadour songs if you will, sung by a chanteuse and her viol.
- D. Lippel
Wendy Richman has been celebrated internationally for her compelling sound and imaginative interpretations. As a soloist and chamber musician, she has performed at Carnegie Hall, Lincoln Center Festival, Metropolitan Museum of Art, Miller Theater, Mostly Mozart Festival, Park Avenue Armory, Phillips Collection, and international festivals in Berlin, Darmstadt, Helsinki, Hong Kong, Karlsruhe, Morelia, and Vienna. She is a founding member of the New York-based International Contemporary Ensemble (ICE) and a member of The Rhythm Method, a string quartet of four performer-composers that strives to reimagine the genre in a contemporary, feminist context.
Hailed by The New York Times and The Washington Post for her “absorbing,” “fresh and idiomatic” performances with “a brawny vitality,” Wendy collaborates closely with a wide range of composers. She presented the U.S. premieres of Kaija Saariaho’s Vent nocturne, Roberto Sierra’s Viola Concerto, and a fully-staged version of Luciano Berio’s Naturale. Upon hearing her interpretation of Berio’s Sequenza VI, The Baltimore Sun commented that she made “something at once dramatic and poetic out of the aggressive tremolo-like motif of the piece.”
Though best known for her interpretations of contemporary music, Wendy enjoys performing a diverse range of repertoire. She regularly performs with NYC’s Orpheus Chamber Orchestra and has collaborated with fortepianist Malcolm Bilson, the Claremont and Prometheus Trios, and members of the Cleveland, Juilliard, and Takács Quartets. She has also been a frequent guest with the viola sections of the Atlanta Symphony, Minnesota Orchestra, and St. Louis Symphony.
Wendy is on the string faculty of New York University (NYU Steinhardt), where she teaches viola, chamber music, and a class on extended string techniques. She has also held teaching positions at the University of Tennessee, University of Alabama, and Cornell University, as well as NYU Summer Strings, Walden School Summer Young Musicians Program, Sewanee Summer Music Festival, and Music in the Mountains Conservatory.
Wendy earned degrees from Oberlin Conservatory (BM), New England Conservatory (MM), and Eastman School of Music (DMA).
She studied viola with Carol Rodland, Kim Kashkashian, Peter Slowik, Jeffrey Irvine, and Sara Harmelink, and voice with Marlene Ralis Rosen, Judith Kellock, and Mary Galbraith. vox/viola is her debut solo album.
While I have heard string players vocalize along with their instruments, Richman’s debut solo album is the most sustained investigation of the practice I can recall. Richman, the founding violist for the International Contemporary Ensemble, commissioned all nine pieces, demonstrating not only superb taste in composers but an adventurous spirit that has her going all-in on whatever they dish out. It’s no surprise that her viola technique is beyond a compare, but her voice is equally controlled and flexible, whether as a honeyed mezzo on the British Isles folk of Christian Carey’s He Wishes For The Cloths Of Heaven (based on lines from Yeats), or gasping and ululating on demanding pieces by Lou Bunk and Everette Minchew. At some of the darker moments, the late work of Nico may come to mind, or even Diamanda Galas. The sequencing of the album is quite brilliant, too, giving you the feeling of being led through an experience, rather than being manhandled by the stylistic twists and turns. This is true right to the end, as the last track is Ken Ueno’s stately Song For Sendai, almost coming full circle to the mood of the Carey piece. On the whole, a triumph. Listen and hear a genre being born.
— Jeremy Shatan, 1.11.2020
For vox/viola, her debut solo album featuring recent work for viola and voice, violist/vocalist Wendy Richman has chosen a most appropriate duet partner: herself. Richman, a founding member of the International Chamber Ensemble who specializes in new performance techniques, is an accomplished performer on voice as well as viola, as she amply demonstrates on this collection of engaging works engagingly performed.
The works appearing on the album were commissioned by Richman as part of an ongoing effort to build a substantial contemporary repertoire for vocalist/violist. Modern work for singing violist traces back to Giacinto Scelsi’s Manto III of 1957, an inventive composition that joined extended string performance techniques to a sung text drawn from the Delphic oracles. Composer Lou Bunk’s (b. 1972) Scelsi Frammenti (2010) self-awarely carries Scelsi’s work forward by setting a text of broken consonants and vowels over a viola part based on Bunk’s improvisations on a homemade bowed instrument made of Styrofoam and cardboard. The piece captures and refracts the radicalism of Scelsi’s vocabulary with a series of scratches, creaks, and harmonics on the one side, and sustained vowels and stuttering consonants on the other.
Also inspired by Manto III is “to be held…” by Jason Eckardt (b. 1971) a work composed in 2012 for viola, voice, and prerecorded media. The title is taken from poet Charles Olson’s manifesto “Projective Verse,” which articulated a notion of measuring the poetic line by the length of a breath; the sung text derives from poet Robert Creeley’s “The Language.” The piece comprises a slow, microtonal counterpoint made up of elongated sung, played and played-back tones that approach, meet and diverge in slowly moving sound masses that build and sustain tension before culminating in an extreme upper register fadeout. The first part of Extraordinary Rendition (2010) by David Smooke (b. 1969) also uses long-period microtonal movements, but then turns dramatically to staccato phrasing for bow and hard consonants. José-Luis Hurtado’s Palabras en alto exploits changes in dynamic range as a way to frame and throw into sharp relief the color contrasts and expressive force inherent in a mobile series of extended gestures for strings and voice.
The above works represent just some of the highlights of the album; the other compositions, by Christian Carey, Stephen Gorbos, Arlene Sierra, Everette Minchew, and Ken Ueno, exhibit a wide and stimulating range of creative approaches to having voice and viola interact through a single performer. All are certainly worth hearing.
— Daniel Barbiero, 2.18.2020