American Mavericks | Blue Coast Music

American Mavericks

San Francisco Symphony - American Mavericks - Cover Image

American Mavericks

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Recorded and Mixed to 96kHz, 24-bit WAV PCM. The 9624 WAV files (9624 is our shorthand for 96kHz, 24-bit encoding) are the original digital file generation received from the artist or label. The DSD and FLAC files are considered second generation and made from conversions using our Blue Coast conversion methods. DSF and FLAC will offer the convenience of metadata that the WAV files will not.

Album Credits: 

Michael Tilson Thomas, conductor

Jeremy Denk, piano
Paul Jacobs, organ

Recorded live at Davies Symphony Hall — a venue of the San Francisco War Memorial and Performing Arts Center, City and County of San Francisco.

Synchrony recorded December 8–10, 2010. Piano Concerto, Concerto for Organ with Percussion Orchestra, and Amériques recorded March 3-17, 2012.

Producer: Jack Vad
SFS Media Manager: Andrew Eiseman
Engineering Support: Denise Woodward, Gus Polleck, Uwe Willenbacher, Jonathon Stevens
Post Production Support: Jonathon Stevens

Cover Photo: Golden Gate Bridge, San Francisco by Jeanette Yu
Jeremy Denk photo: Michael Wilson
Paul Jacobs photo: Christina Wilton
MTT photo: Terrence McCarthy
All other photos: Kristen Loken
# Play Song Title Duration

Henry Cowell - Synchrony:

1.

Synchrony

13:38

Henry Cowell - Piano Concerto:

2.

I. Polyharmony

3:48
3.

II. Tone Cluster

7:07
4.

III. Counter Rhythm

3:58

Lou Harrison - Concerto for Organ with Percussion Orchestra:

5.

I. Allegro

5:47
6.

II. Andante (Siciliana in the form of a double canon)

2:10
7.

III. Largo

6:56
8.

IV. Canons and Choruses (Moderato)

3:16
9.

V. Allegro (Finale)

4:51

Edgard Varèse - Amériques:

10.

Amériques (1927 version)

22:02

A central citizen of musical modernism, Henry Cowell drew musical influences from throughout the world and taught a legion of imaginative followers. When he was 16 he unveiled a piano piece that employed a device for which he is widely remembered: the tone cluster, in which adjacent notes are bundled into a self-standing sonority. In Cowell’s scores, these cloudy clusters often move from one to another much as notes in any melody would. We hear them in the billowing close-harmony of Synchrony, written in 1930 as a multimedia music-dance-and-lighting spectacular for Martha Graham (who, in the end, failed to complete her choreography). Cowell’s coeval Piano Concerto, doled out over two concerts in 1930, is also riddled with tone clusters; its middle movement even takes its title from them. Although their characteristic haze is a fingerprint of Cowell’s style, they are not all that these pieces are about. In the concerto, they are just one element the composer binds into an imposing sonic edifice rooted in the virtuosic piano concertos of the preceding century.

Lou Harrison was inspired by Cowell even before becoming his pupil in 1935. His Concerto for Organ with Percussion Orchestra owes its orchestration to the simultaneous arrival of separate requests for new pieces—one for organ, one for percussion ensemble. Harrison’s distinctive sound, derived from Asian percussion styles and exotic scales, here grows positively dazzling in both instrumental color and, at places, volume. Few works in his fertile output surpass this concerto in exhilarating melodies (with telling use of Cowell style clusters) and scintillating rhythms.

Cowell and Harrison were both prolific composers. Not so Edgard Varèse, but his 14 extant compositions include undisputed monuments of modernism. Amériques occupied him on and off for decades, and getting it performed proved an enduring frustration—not really a surprise for an immensely complicated work requiring 125 players. Notwithstanding the images suggested by its wailing sirens and tempestuous intensity, Varèse insisted that Amériques was “a piece of absolute music, completely unrelated to the noises of modern life” and “the impression of a stranger who asks himself about the extraordinary possibilities of our civilization.”

—excerpt from liner notes by James M. Keller

Mood Description:
Orchestral music by early 20th century American composers exploring new techniques, featuring piano and organ
Composer:
Henry Cowell, Lou Harrison, Edgard Varèse