George Flynn + Fredrick Ullen = New Work!

[lontano]

Over the past few years I've gotten to know composer/pianist George Flynn. His remarkable, complex and highly virtuosic 3-part work "Trinity (Kanal, Wound, Salvage)" really had a powerful effect on me from the first time I heard his own performance on CD. Not too long after we began sharing thoughts on music (and Trinity itself) he announced that Fredrik Ullen would be recording the work. Over time Fredrik delivered an absolutely majestic recording, and in an unusual move, it was decided to include the PDFs of the entire score as well as high-quality MP3s added to the (relatively short) 3rd CD in the set. This is demanding music, for listener and performer, but it is very well crafted and full of invention and emotion and is one of the great works of latter 20th c. piano music.

Just the other day I received email from Mr Flynn telling me that Mr Ullen will be premiering a new 30' long work, "Northern Lights", this August in Italy. I don't yet know what plans for recording the work are, but I thought I'd share George's thoughts on the work:

 When my wife Rita and I were in Sweden several years ago to attend Fredrik Ullén’s performance and recording of my music, I witnessed spectacular celestial phenomena at night that I assumed were northern lights, and decided to create a piano work for Fredrik with that title.  Over time I made some preliminary sketches, but did not begin serious work on the piece until 2008.  By then the piece had evolved in my mind from simply creating a sonic image that could poetically resemble ways that we might describe northern lights to including musical gestures and textures that could suggest feelings resembling those resulting from thoughts, images and memories awakened by such a nighttime experience.  In my mind this work had become an extended meditation - a musical revisiting of mental, emotional experiences - generated by the night phenomena; and thus, like many of my efforts, has been influenced by the writings of the philosopher Kenneth Derus, especially his ideas regarding the relationship of present experience and memory - specifically, the near-total dominance of memory experience in any present experience.

      Northern Lights is a continuous work, but can be described generally in three sections - the first and last fourths of the work (roughly) surrounding a larger middle half.  Northern Lights opens with a distant, “remote” sound, but becomes more present and forceful, even “threatening” before gradually subsiding, leading into the middle half of the work.  This second section at first is flowing and extravagant, exhuberantly exploring every register of the piano in a resonant manner, and is, perhaps the most obvious attempt to “portray” the breathtaking nature of northern lights.  The section then blends flowing and chordal textures, assuming a more calm and stable sense.  The final section of the piece is essentially meditative, and eventually assumes an attitude of serenity as the work ends, recalling, indirectly, the initial presentation of the musical material. 

      I am grateful that my good friend, the wonderful pianist Fredrik Ullén, has consistently encouraged me to write this work.  I am the first to admit Northern Lights is technically and poetically challenging, but I cannot think of a pianist more able to meet those challenges, and provide the listener with whatever compelling musical and emotional qualities the work might have.

George Flynn,

February, 2009

[retrouvailles]

I can't say that I am a huge fan of Flynn's massive work Trinity, but it is a work that definitely interests me. It has a bit more substance and emotion in it than the likes of Finnissy and Ferneyhough, in my opinion. I still have not warmed up completely to (dare I say it?) "New Complexity" composers, even though I do like a few things, and a few pieces. I would like to hear this new work when it is recorded. Hopefully it will come out on BIS, which is the excellent label that released Ullén's recording of Trinity a few years ago.

[ahinton]

I can't say that I am a huge fan of Flynn's massive work Trinity, but it is a work that definitely interests me. It has a bit more substance and emotion in it than the likes of Finnissy and Ferneyhough, in my opinion. I still have not warmed up completely to (dare I say it?) "New Complexity" composers, even though I do like a few things, and a few pieces. I would like to hear this new work when it is recorded. Hopefully it will come out on BIS, which is the excellent label that released Ullén's recording of Trinity a few years ago.

I rather share your thoughts on what I've heard of Flynn so far, although whilst I agree that BIS is indeed an excellent label, I do wish that they'd get on with releasing volumes 2 & 3 of Sorabji's Transcendental Studies which Fredrik Ullén recorded AGES ago now!..

Best,

Alistair

[pies]

a

[lontano]

I can't say that I am a huge fan of Flynn's massive work Trinity, but it is a work that definitely interests me. It has a bit more substance and emotion in it than the likes of Finnissy and Ferneyhough, in my opinion. I still have not warmed up completely to (dare I say it?) "New Complexity" composers, even though I do like a few things, and a few pieces. I would like to hear this new work when it is recorded. Hopefully it will come out on BIS, which is the excellent label that released Ullén's recording of Trinity a few years ago.

Flynn's "Trinity" is certainly not part of the "New Complexity" genre. It shares nothing in common stylistically with the likes of Finnissy or Ferneyhough or Barrett, et al. The 2nd part (of 3) was the first composed, back in 1968, and is the most anguished, brutal section. It was an anti-war (Vietnam) expression, as is the entire set is anti-war in general. I did say the music is complex, but it is written in a very personal idiom that is organized with tone-rows and such but is very free in developing something of a stream-of-consciousness expression. I've studied (not performed) "contemporary music" of all sorts, from minimalism to the rigid serial works of mid-century, works of sublime beauty to insane complexity. I've been doing it since the early 1970's, so maybe I have a greater tolerance, or ease of access to Flynn's language, but I vigorously praise his solid compositional style, particularly in "Trinity" and another very demanding work recorded by Geoffery Madge, "Derus Simples", a musical expression of philosopher/Sorabji-reviewer, concert-promoter/(friend)/etc Kenneth Derus theory of memory and the human experience.

So we all have our opinions. And anyone interested in Sorabji certainly can appreciate Frederik Ullen's devotion and ability to perform both Sorabji and Flynn with the greatest of skill and artistry. And I'm not alone in wondering when those other 75 Transcendental Etudes will finally be released!    (or how I will be able to afford the cost of the score!  Nothing negative toward Alistair, his prices for Sorabji scores is extremely fair, and I applaud him for that!  But 800+ pages isn't cheap no matter how you look at it...

Peace to all,

Lontano

[retrouvailles]

Flynn's "Trinity" is certainly not part of the "New Complexity" genre. It shares nothing in common stylistically with the likes of Finnissy or Ferneyhough or Barrett, et al. The 2nd part (of 3) was the first composed, back in 1968, and is the most anguished, brutal section. It was an anti-war (Vietnam) expression, as is the entire set is anti-war in general. I did say the music is complex, but it is written in a very personal idiom that is organized with tone-rows and such but is very free in developing something of a stream-of-consciousness expression. I've studied (not performed) "contemporary music" of all sorts, from minimalism to the rigid serial works of mid-century, works of sublime beauty to insane complexity. I've been doing it since the early 1970's, so maybe I have a greater tolerance, or ease of access to Flynn's language, but I vigorously praise his solid compositional style, particularly in "Trinity" and another very demanding work recorded by Geoffery Madge, "Derus Simples", a musical expression of philosopher/Sorabji-reviewer, concert-promoter/(friend)/etc Kenneth Derus theory of memory and the human experience.

Hmm, there is a lot of stuff here that I didn't know about the work. I haven't seen the score, so I haven't studied the work in depth. On the surface, it does resemble "New Complexist" works, but one must remember that the term "New Complexity" is a flawed one and has a very broad and loose definition to it. I have only studied contemporary music for about 10 years now (I'm not even close to being as old as you are, I'm sure), but I have found Flynn's language to be easier to absorb than I had thought before listening to the work (I was largely going off rumors of it's complexity), and I had found that it seemed to be a bit more personal than Finnissy, Ferneyhough, etc. To know its anti-war roots also helps out a bit. One cannot forget that with contemporary music, as opposed to a good bit of common practice music, it is sometimes necessary to know the background of a work in order to "get" what the composer is trying to convey. That all being said, I will try out Trinity again.

And I'm not alone in wondering when those other 75 Transcendental Etudes will finally be released!    (or how I will be able to afford the cost of the score!  Nothing negative toward Alistair, his prices for Sorabji scores is extremely fair, and I applaud him for that!  But 800+ pages isn't cheap no matter how you look at it...

A little suggestion to Alistair: it would be nice if the Transcendental Etudes (other than the Hamelin edition) were offered in smaller volumes, rather than in one volume that would surely break the bank! I would like to see some of the later, larger etudes (like the Passacaglia), but there is just no way I could afford the cost of the complete Transcendental Etudes. Maybe you should release them in a way similar to the way Ullén is releasing them on disk (hopefully at a quicker, more reliable pace!).

[pies]

a

[ahinton]

UPLOAD AND POST THE SCORE

I don't issue orders to you either.

Best,

Alistair

[ahinton]

A little suggestion to Alistair: it would be nice if the Transcendental Etudes (other than the Hamelin edition) were offered in smaller volumes, rather than in one volume that would surely break the bank! I would like to see some of the later, larger etudes (like the Passacaglia), but there is just no way I could afford the cost of the complete Transcendental Etudes. Maybe you should release them in a way similar to the way Ullén is releasing them on disk (hopefully at a quicker, more reliable pace!).

We no longer issue the Hamelin handwritten edition, although we still credit him for his work in what we do issue, as it was used towards the creation of the typeset version that now forms part of a typeset whole.

Since that edition was completed (by several editors, although 80 of the 100 were done by Alexander Abercrombie, who has also edited a lot more Sorabji and is currently working on the Fifth Sonata), we have always been willing to consider offering excerpts from this score as we, too, appreciate that it is massive and accordingly expensive. We don't advertise it broken down into smaller chunks because then if anyone asks for any particular group of studies we can quote and oblige.

Fredrik has already recorded up to around no. 63 and there are therefore two CDs still in the can to be released; that's down to BIS rather than him!

Best,

Alistair

[minor9th]

Fredrik has already recorded up to around no. 63 and there are therefore two CDs still in the can to be released; that's down to BIS rather than him!

Best,

Alistair

Robert von Bahr just told me (via an SACD forum!) that volume 2 of the Etudes will in BIS' hands in 2 to 3 weeks (BIS-CD-1533). It is not, however, in SACD format.

[ahinton]

Robert von Bahr just told me (via an SACD forum!) that volume 2 of the Etudes will in BIS' hands in 2 to 3 weeks (BIS-CD-1533). It is not, however, in SACD format.

Many thanks for this information! We had been in touch both with him directly and with Fredrik Ullén some while ago but your news is obviously of more recent origin. Let's hope that volume 3 will not be far behind. I do not yet know when the remainder will be recorded.

Best,

Alistair

[gep]

Many thanks for this information! We had been in touch both with him directly and with Fredrik Ullén some while ago but your news is obviously of more reecent origin. Let's hope that volume 3 will not be far behind. I do not yet know when the remainder will be recorded.

Best,

Alistair

I'd say we've all been kept waiting very long now, so Vol. 2 would be very welcome by now! Considering there will be some 6 or 7 volumes in all (I guess?) I do hope things speed up a bit!

Any interesting things on the Altarus horizon? Seems a while since the last new CD was presented....

[ahinton]

I'd say we've all been kept waiting very long now, so Vol. 2 would be very welcome by now! Considering there will be some 6 or 7 volumes in all (I guess?) I do hope things speed up a bit!

Any interesting things on the Altarus horizon? Seems a while since the last new CD was presented....

A new CD of Feinberg songs has just been released - all recorded premières, I believe and some that have never apparently been performed in public before...

Best,

Alistair

[lontano]

https://i64.photobucket.com/albums/h181/zemyk4e/flynn.jpg

This is a short snippet, showing at least one technique: holding down the lowest 9 notes with the sostenuto pedal. I the large single movement work "Derus Simples" the performer is forced to use some of the most complex pedaling I've ever seen on any score which adds to its already highly demanding notation. While Madge performs the work well, he lets the tempo drag in the central, highly chordal and most difficult, section; but it would be virtually impossible not to drag. Fredrik Ullen might be able to pull it off, but I don't believe it's on his agenda.

[pies]

The guy that scanned the first page of the score posts here occasionally; he might have more excerpts.  I forgot his username.

[lontano]

George Flynn has a new CD (Southport label) entitled "American City". It has 3 works. Wind ensemble, orchestra and choral forces are employed. You can sample the music at Amazon.com.

[lontano]

The "New Work" in the Subject is NOT what I'm reviewing here. It is a new CD of George Flynn's on the Southport label [S-SSD 0129].

This new CD is what I'm listening to now. It will take some time to digest it. So far the toughest work to process (and that's often a good thing ) is the first (title) work: "American City", and it's a 24 min work for wind ensemble and piano (not quite a concerto, as the piano shares both virtuous solo work as well as ensemble work (probably a hard workout for the soloist, in this case Amy Briggs (pno), who has devoted much of her career to performing the music of living composers)). This is challenging music, but far from "so abstract only a professor would appreciate".

I admit I have had a negative bias (I don't know why) for wind ensemble works, so I'm doubly pressed to further comprehend this work. It is dense harmonically, and that density flows rather naturally with the rhythm of the work, so there are anchors one can drop (if necessary) for points of direction, but in all "American City" is not nearly as complex as the title itself!  How can a composer capture more than a tiny shred of the complexity of a major city? Charles Ives took a wonderful (at it's time) snapshot of "Central Park in the Dark". 

The 2nd work is "The Density of Memory" (for clarinet trio and orchestra), and initially this is far easier to access, reminiscent of L. Berio's style. The title throws me towards Salvadore Dali's "Persistence of Memory" (the painting with clocks and watches in various states of "anti-clockwork"), but the piece is robust, and not as dense as I'd have expected. My niece (clarinet major in grad school, in Chicago) might even enjoy this. George Flynn is a very fine composer and pianist, and teacher as well, and there's a lot of music he's written that deserves to be performed. The man's getting on in years (aren't we all), and has a few recording projects in the works, and I hope people will begin to purchase his music and embrace it as their own.

There is one more work on this new CD for mixed choir, vocal soloists and brass, that I've not yet explored: "St. Vincent's Words". I may critique it later.

That's it for now! I hope to engage a few more people to explore the music of George Flynn!!

Lontano