Inspired by diaries, letters, and personal accounts from the 1860s, Rappahannock County is a music-theatre work which movingly and dramatically commemorates the 150th anniversary of the American Civil War. The location of the Rappahannock River as a border between north and south is a metaphor for the region's many conflicts. Performed by a cast of five singers who play over 30 rôles, the piece brings this dramatic historical period to life in songs which express the devastating impact of the Civil War on all of the people who endured it.

PentaTone presents the World Premiere recording of Gordon Getty's 'Plump Jack'. Following the pattern of literary inspiration in his song cycle 'White Election' which features the poetry of Emily Dickenson, Getty now uses as his muse Shakespeare's beloved character, Falstaff.

When Michael Gordon's Timber, scored for six amplified wooden 2-by-4s, premiered in 2009, it brought the physicality and endurance of percussion performance to a new level. In the liner notes for Slagwerk Den Haag's recording of the piece, released on Cataloupe Music in 2011, Gordon described a connection to the work of shamanist author Carlos Castaneda, whose self-imposed spirit journey in the desert could wipe the brain clean and "bring on visions." Newly recorded by Mantra Percussion and reworked by an A-list of producers and DJs, Gordon's deep exploration into the extreme possibilities of rhythm gets the full electronic treatment on Timber Remixed. This album contains six key remixes by Squarepusher, Oneohtrix Point Never, Tim Hecker, Johann Johannsson, Fennesz and Hauschka.

"• Commissioned by the New Music Bassoon Fund. • Seven-piece Rushes Ensemble features the top bassoonists in the U.S., including Dana Jessen. • Performances booked for March 2014 in Boston (3/26), Philadelphia (3/28) and Montclair, NJ (3/29), with more TBD. • Extensive three-month marketing, press and social media campaign. • Promotional videos currently posted on YouTube (youtube.com/watch?v=umhQdxwn26M) and Vimeo (vimeo.com/51771906). "

Composed by Michael Gordon in 2022, Field of Vision was first presented as a large-scale site-specific work for the Sunken Garden and the surrounding grounds at the Caramoor Center for Music and the Arts in Katonah, NY. Performed on specially constructed and tuned percussion instruments, industrial metals, wood, and gongs, the piece is meant to produce a complex spectrum of overtones and resonances. The large number of percussionists, and the vast performance field, is meant to highlight a sweeping perspective and the architectural movement of sound. "We want to induce a quasi-meditative, almost ecstatic state - for performer and audience alike - where attention sharpens and dissolves, and thoughts focus and drift," Gordon explains. "In the end, I think the music emerges as an exploration of space itself. Who can tune space? The answer becomes collective: the performers, the instruments, the listeners."

Since forming in 2011, Gamelan Yowana Sari has been a performing Balinese Art Ensemble in residence at the Aaron Copland School of Music at Queens College, NYC. Under the direction of Michael Lipsey and Fred Trumpy, Yowana Sari have toured Bali multiple times, studying and performing under the master composer and musician I Dewa Ketut Alit in Pengosekan, Bali. In 2024, the group commissioned new works from Michael Gordon and Evan Ziporyn, which were performed alongside compositions by Dewa Ketut Alit, Vivian Fung, and Kyle Miller at Bang on a Can's Long Play Festival and MASS MoCA Summer Music Festival. Following these concerts, the ensemble returned to Bali to study and perform with Dewa Alit's Gamelan Salukat, as well as to record this album at the famed Wiswakarma Museum.

Featuring limited edition packaging in a real wooden box with heat stamped cover design, Timber is composed by Michael Gordon, co-founder of Bang on a Can and Cantaloupe Music. Timber is an evening-length tour de force. Scored for six graduated wooden Simantras percussion instruments devised by French composer Iannis Xenakis the work brings the physicality, endurance and technique of percussion performance to a new level. In this new work, Gordon shapes the music in both polyrhythmic and dynamic waves of textures often each players' hands are in separate rhythmic 'worlds', each traversing a different dynamic contour from loud to soft to loud, similar in some respects to his solo for percussion, XY.

Gordon Chin is one of Taiwan’s leading composers, and increasingly honored by commissions and performances from major ensembles in North America, Asia and Europe. Featuring an array of exotic Chinese percussion instruments, Symphony No. 3 ‘Taiwan’ is a dramatically powerful work cast in three movements that explore his native country’s turbulent history. Specific literary quotations from Shakespeare, Blaise Pascal and Samuel Johnson elucidate the expressive moods of the three-movement Cello Concerto No. 1.

Note: World Premiere Recordings

Groundbreaking new-music sextet Eighth Blackbird, winners of four Grammy Awards for their previous Cedille Records albums, are heard in the world-premiere recording of a collaborative, all-instrumental program of intensely rhythmic works written expressly for the Chicago-based ensemble by the founders of the celebrated Bang on a Can composers collective. Each piece on Singing in the Dead of Night takes its name from Paul McCartney’s lyrics to The Beatles song “Blackbird” — but this music exists in another realm altogether. Pulitzer Prize winner Julia Wolfe’s title track conjures a dark, silent solitude from which creative inspiration emerges. Michael Gordon’s music melds “the nervous brilliance of free jazz and the intransigence of classical modernism" (The New Yorker). In “the light of the dark,” he evokes the wild spontaneity of an uninhibited, late-night jam session. Pulitzer Prize winner David Lang’s three-movement “these broken wings,” a “glamorously beautiful suite” (The Guardian), takes flight via Eighth Blackbird’s boundless stamina and high-voltage virtuosity. Eighth Blackbird sequences the component pieces in the unconventional, composer-approved concert order they’ve employed since the collaborative work’s 2008 premiere: They play the Gordon and Wolfe works in between movements of the Lang, whose piece thus frames the program.

If there now exists a Second New York School to follow on from the first formed by Cage and his colleagues in the 1950s, then its members would surely comprise Michael Gordon, David Lang and Julia Wolfe. This triumvirate has gone further than any in creating a heady polystylisiic mix combining elements of high and low, minimal and maximal, strict and improvised, global and local. Traces of both the polymetric language of totalism and the free-form eclecticism of Zorn may be heard in this music, allied with a post-Stravinskian style of rhythmic muscularity and high-velocity dissonance characteristic of maverick Dutch composer Louis Andriessen.

All of which leads on neatly to Gordon's latest release, a portrait opera of sorts, drawn using texts taken from proto-expressionist painter Vincent van Gogh's letters to his brother Theo. Gordon's predilection for suspending sustained vocal lines above pulsing, often visceral loops and patterns is certainly reminiscent of the Dutch minimalist, while his emphasis on developing two- or three-part textures from single lines evokes Frederic Rzewski.

But the most striking feature of this dark, desolate and often disturbing work is its manifold use of repetition as a means of evoking the kind of madness which so plagued van Gogh's life Like the Dutch artist's fragile mental condition, Gordon's music often appears to be on the edge of chaos but never quite looses control. Indeed, compared with earlier works (such as the wonderfully insane Sunshine ofyour Love) Gordon treats this harrowing subject with more than a modicum of restraint. One is often reminded in the music of van Gogh's arresting description, set towards the end of the work, of "a vague figure fighting like the devil in the midst of the heat".

-- Gramophone [6/2008]

GETTY Usher House • Lawrence Foster, cond; Christian Elsner ( Poe ); Etienne Dupuis ( Roderick Usher ); Philip Ens ( Dr. Primus ); Lisa Delan ( Madeline Usher ); Gulbenkian O • PENTATONE 5186451(SACD: 67:05 Text and Translation)


I wanted to review this CD because I am enough of a Gordon Getty fan that I like to hear everything he has written, and I knew that this Poe story was famous for its atmosphere and that even Debussy was setting it to music when he died.


Imagine my surprise, then, to open the booklet and discover that Getty rewrote Poe’s story. The unnamed narrator/protagonist who visits Roderick Usher is now Poe himself. Roderick’s painful reaction to light and noise is downplayed. Madeline, who only appears in the hallway as a semi-ghostly apparition in the story, is now an “agent of redemption,” though she only moans and groans and doesn’t have any lines. The evil agent is now Dr. Primus, a character only spoken of (not by name) but never seen or heard in the Poe story.


Just so I could get a handle on this new adaptation, I went online and read Poe’s original story, which I had not seen before. As Getty points out, it is mostly mood: the first five of its 12 pages describe the bleakness and desolation of Usher house, its servants and inhabitants, before anything much ever happens. The original story’s plot is as follows:


The unnamed narrator rides on horseback to visit his old childhood friend Roderick Usher (no trains come near the place). Roderick is emaciated and nervous. Light of any kind annoys him, as well as sounds, with the sole exception of his own guitar playing, to which he accompanies himself with rotten old poems sung to his own made-up melodies. Apparently the House of Usher is somewhat but not entirely inbred, and both Roddy and his sister Madeline (fraternal twins) are the sole surviving heirs. Maddy, too, suffers from the nervous disorder, but not being as strong as Roddy her end seems a bit closer. The narrator only sees Maddy once, walking through the hallway. A few days later, and Roddy announces her demise. He has her placed in a coffin in the basement but doesn’t want to embalm or bury her right away, as he feels the family quack might be able to perform an autopsy and discover the cause of the nervous condition. A few days later, a dark and terrible storm engulfs the house. The narrator/Poe tries to calm Roddy down by reading him a story about a knight named Ethelred who barges into the domain of an old hermit, who appears to be protected by a dragon on his doorstep. Every noise mentioned in the story—the clang of sword on breastplate and the death throes of the dragon—seems to be heard by him from somewhere inside the house. Eventually Roddy tells the narrator that they had accidentally buried Maddy alive, that he has heard her trying to get out of the basement for a few days but that he didn’t have the nerve to go down and let her out. She finally appears at the doorway, bloody and emaciated, and falls on her brother before expiring. The shock makes Roddy expire too. Bye-bye to the House of Usher.


Aside from the plot changes, Usher House is now more than just a place where dusty old people read dusty old books. It has now become a repository of learning, a place where the family has “brought together tracts, monographs, manuscripts of the greatest interest and rarity,” with pride of place belonging “to our mediaeval archives….The whole house is designed for learning.” This is, indeed, a major change from the original story.


Unlike Plump Jack, Getty’s music here can stand on its own as a listening experience without the need to see the action. It is tonal but not “obviously” melodic; as the late Moondog (Louis Hardin) might have said, “I am considered avant-garde in rhythm but old-fashioned in harmony,” but Getty uses neighboring tonalities in a very creative manner, whereas Moondog did not. Moreover, the music morphs and develops in interesting ways.


Elsner, the tenor singing Poe, has a nice timbre but a persistent wobble, and his diction is only intermittently clear. Dupuis, our Usher, has a more solid voice but only slightly clearer diction. Both, however, present their characters well and they are fine musicians. There is a certain strophic character about the sung lines in the first scene, and the orchestration is exceedingly clever, supporting the voices or commenting on the drama in turn. When Roderick suggests having a ball, for instance, the rhythm changes to 3/4 time and a quirky waltz melody arises; when he talks of the landscape around the house as being desolate, the orchestra reflects this in both its melodic and timbral treatment. This sort of thing continues throughout the opera, the sign of an assured composer who understands his art and knows exactly how to morph and change the music, not only in such a way that it supports or echoes the drama but also to keep the listener on the edge of the seat. This is first-class music.


Then comes the first of several major deviations from Poe: Roderick refers to a book called Exon Domesday which is not in the original story. In this book, King Edward the Confessor ordered that Usher House be destroyed “stone from stone, and the stones cast in Usher Tarn.” Roderick’s father bought back the land, drained it, exhumed the stones, and brought them over to America to rebuild the house. (This does, however, seem like a lot of work when you could buy limestone cheaper over here. I doubt if there was any intuitive “learning” in the original stones.) Nevertheless, Getty’s ability to set text to music is indeed remarkable. Absolutely none of the libretto is written in what one would call musical meters, no rhyming or other poetic devices are consciously used, yet the music has a wonderful lilt to it that carries the words with perfect equanimity.


The mood changes of the orchestra continue as Madeline is introduced: a lighter, headier sound, created by a few high percussion instruments such as a glockenspiel. Dr. Primus insists that Madeleine take her medicine, as “She is getting so much better.” Shades of Dr. Miracle from Les Contes d’Hoffmann ! Poe then sings a song that he recalls Roddy having written and Maddy having sung when they were children at school. The song has exactly the kind of odd, quirky sound that one might expect a modern composer to use to re-imagine Renaissance music. (This song is recorded with the tenor at a bit of a distance and in an echo chamber; not too surprisingly, the wobble dissipates somewhat at a distance, and Elsner sings a lovely pianissimo high G that floats beautifully.)


And here is where Getty ties in his fictional doctor with Usher’s fictional “medical archives:” Roderick firmly believes that these ancient books will help the doctor cure her of her illness. (Apparently, no one ever told him how pathetic and ignorant the medical profession was back in the bad old alchemy days.) Yet almost immediately after saying this, he begs Poe to leave the next morning and take Maddy with him to put into a clinic, surrounded by “the best doctors,” which Roddy will pay for. Suddenly, the attendant (a speaking role) introduces the “guests” for the ball, Roderick’s relatives and ancestors. When Maddy enters, the guests shrink from her presence as “vampires from a crucifix.” The music then rises to a loud and rather grotesque dance rhythm for a short bit before settling back into a minuet. This minuet then becomes grotesque as Madeline dances, dazed, and then falls. Dr. Primus indicates that she is dead; Roddy collapses in grief, and Poe comforts him.


The next scene, then, represents a clean break in time and mood from the previous portion of the opera. Maddy is being buried in the family crypt; the coffin is sealed as the mourners leave. Dr. Primus suggests that since the line of Ushers seems to be coming to an end, Poe might wish to join them in the observatory (non-existent in the original story) the following night to discuss who might take the valuable collection of knowledge in the house. Oddly enough, by this point in the recording, Elsner’s voice has become firmer and less wobbly—probably a different day of recording.


The next scene is in the observatory. Philip Ens, the singer performing Dr. Primus, is a well-known bass specializing in modern music who has performed at the Metropolitan Opera (Tiresias in Stravinsky’s Oedipus Rex, among other roles), but his voice has picked up a loose vibrato by the time of this recording. Dr. Primus tells Poe that much of the knowledge housed by the Ushers was real knowledge of the kind opposed by Roman law and then by the Catholic Church, that Madeline refused to learn it, but that he (Primus) wishes to pass it on lest it be lost forever. The suggestion is, then, very strong, that Poe is the one to continue the knowledge of Usher House. Primus suggests that they meet again in three nights, when the “haze of miasma that rises from the tarn and enfolds this house” will be lifted at that time by an “illumination” that will come with a storm.


Poe and Roderick are in the latter’s apartments three nights later. Poe confesses to Roddy that Primus wants to make him heir to the Usher knowledge. Roderick says that he expected as much, but warns him to beware of Primus. Poe tells Roderick what Primus told him, of the storm and the illumination. Roderick mentions that this is All-Hallows’ Eve (again, a detail different from the original story). Roderick suggests that “Dr. Primus” is an ancient ancestor of his, who must find a vessel to continue “the covenant with the Elders” made 14 centuries earlier. And Roderick also suggests that there is another dread, something frightful, that he fears, and has obsessed him for hours, but he cannot put it all into words. Poe offers to withdraw, but Roddy begs him to stay, to see it through and help him if he can. And, yes, Poe reads the “Mad Tryst” of Sir Launcelot Channing and his knight Ethelred, as in the original story. The sounds described elsewhere are heard, and intrude on their mood, but Roderick has a different explanation for them. In this version, Primus has confronted Madeline in the armory below, but the sister—who, as in the original story, was not yet dead—has thrown him aside “like an empty sack,” thus destroying the evil of Primus and the elders. (At long last, the voice of Madeline is heard, singing a wordless line or two from far away.) Eventually, Madeline appears at the doorway of the parlor, runs to Roderick, embraces him, and they both fall dead. According to the libretto’s instructions, “The house is heard more than seen to collapse … in the darkness except for quick flashes of light.” Poe then returns to the role of narrator, saying that he “fled aghast” from that chamber and the mansion. Usher House is done with.


While Getty’s rewriting of this fictional story for dramatic purposes is imaginative and creative, my personal feeling is that an already somewhat incredulous tale has been taken to the level of Gothic fiction, of undead ancestors and “forces of evil” that border on vampire and ghoul stories. Yet the opera is highly entertaining, and I was entranced by Getty’s spectacular ability to create such a wonderful atmosphere and sustain it for 67 minutes. This is a real tour de force, certainly the best and most sustained musical creation of his I have heard, and as such I recommend your listening to it.


FANFARE: Lynn René Bayley

The meeting of legendary Kronos Quartet and ground-breaking composer Michael Gordon has the feel of inevitability about it, but while both have been powerhouses in contemporary music from the 1980s onwards, it wasn’t until 2000 that Gordon wrote his first piece for string quartet, Potassium. Mutual respect and admiration has resulted in a productive collaboration, and this CD brings us the results.

Clouded Yellow uses a certain amount of electronic manipulation of the quartet sound, from the bird-like falling sounds in the opening and some textural effects later on, but the strings are distinctive enough. The ‘flying’ feel in the music relates to a title that refers to a species of butterfly that migrates to England.

Potassium takes some of its ‘blown-out’ sound from an earlier work, Industry for cello and electronics. The strings are sent though distortion filters in the opening, their downward and upward glissandi a heightened sequence of cadences that hold both angst and a counterbalancing sense of logical inevitability. At the halfway point a related but new energy starts up, with violin glissandi now fast and punchy over ostinato notes from viola and cello. This takes on a magical tonal aspect, out of which the opening glissando ‘theme’ emerges with new meaning. Too much beauty cannot be allowed to survive for long however, and the previous energy bursts in to deliver a spectacular coda, the final gesture of which is a kind of musical reaching for the skies.

The Sad Park is a legacy of the tragic events of 11th September 2001 when the World Trade Centre towers in New York were destroyed in that infamous terrorist attack. A recording is used of children’s voices from pre-school children who lived in the shadow of the towers, recounting what they had seen and experienced. In the first of four movements the voice is stretched into a haunting whale-song over which the quartet weaves chords in an ostinato rhythm. The second movement is partly fragmented, but its repetitions inspire a lyrical keening from the strings. The voice is given a momentary clarity on which the strings comment with related material out of which voices return with a rhythmic character that takes us into the third movement. The voices here are stretched beyond recognition, to my ears developing an introvert but everlasting cry. The final movement throws in extra effects for the quartet, an octave pedal adding extra bass and distortion turning the music into something akin to a weighty rock-band. The association with voices and string quartet takes us instantly to Different Trains by Steve Reich, and the one probably wouldn’t exist without the other, but Michael Gordon’s treatment is disturbing and personal – a highly effective expression of new life in the midst of horror and death.

Exalted for string quartet and choir is performed here with the Young People’s Chorus of New York City, on whose website we are told that the text used is “the English translation of the first word of the Mourner’s Kaddish, one of the most important and central prayers in the Jewish liturgy written 2500 years ago in Aramaic, the language spoken at that time. The text of Exalted, a lament in memory of Mr. Gordon’s father, consists entirely of the Kaddish’s first four words–Yi-ga-dal, v’yis ka-dash, sh’may, and ra-bo.” This connects to each of the other pieces here for one reason or another, but in particular to The Sad Park as “it very much draws a line to the people who died in the towers.” This is a passionate lament, filled with a drive and energy that only lets up in the final dissolution into descending clusters in the voices.

This is a thought provoking release, but one that sees the Kronos Quartet still on top form, and Michael Gordon’s creativity very much an unstoppable force. Poetic, powerful and moving by turns, this is a release no self-respecting contemporary music fan should be without.

– MusicWeb International (Dominy Clements)

Mysteria Fidei represents the culmination of a six-year collaboration between Chicago-area composer David M. Gordon and Far Song, a husband-and-wife art song duo from South Carolina. Featuring three sacred chamber works, Mysteria Fidei explores the notion of “searching amidst life’s many difficulties—searching for understanding, searching for rescue, searching for hope, searching for fulfillment, searching for joy, searching for God.” Along the way, it deconstructs hymns spanning nearly two millennia and recontextualizes them within our polarized, fear-stricken, and increasingly isolated 21st-century milieu. Mysteria Fidei begins gently, with an elegiac prayer for peace. The short Swedish art song Fader, stilla våra andar draws on a hymn by Gordon’s great-grandfather, Frank Earnest, and pays homage to his cultural and spiritual roots by setting its words in Swedish. Though its plaintive strains gradually build in intensity, they belie deep pain roiling just below the surface. It is not until the opening of the second work—Consolation New—that the pain is laid bare. Scored for a single pianist simultaneously playing two microtonally-tuned pianos, Consolation New is “a meditation on suffering and the nearly universal desire for liberation from it.” Based upon an early 19th-century shape-note hymn of the same name, the piece is at turns aggressive, desolate, and contemplative, weaving a dense and ominous—yet strangely seductive—harmonic web. At the heart of Mysteria Fidei is Mysteria Incarnationis, a large song cycle for soprano, violin, prepared piano, and various auxiliary percussion, string, and wind instruments. Featuring texts by fourth-century poet/theologian Ephrem the Syrian and sung in ancient Syriac, Mysteria Incarnationis ponders the manifold complexities of Christ’s incarnation. Ephrem’s richly paradoxical verses are set to music that is at once ancient, exotic, and otherworldly.

When Michael Gordon's Timber, scored for six amplified wooden 2-by-4s, premiered in 2009, it brought the physicality and endurance of percussion performance to a new level. In the liner notes for Slagwerk Den Haag's recording of the piece, released on Cataloupe Music in 2011, Gordon described a connection to the work of shamanist author Carlos Castaneda, whose self-imposed spirit journey in the desert could wipe the brain clean and "bring on visions." Newly recorded by Mantra Percussion and reworked by an A-list of producers and DJs, Gordon's deep exploration into the extreme possibilities of rhythm gets the full electronic treatment on Timber Remixed. This album contains six key remixes by Squarepusher, Oneohtrix Point Never, Tim Hecker, Johann Johannsson, Fennesz and Hauschka.