Music in Circles

On November 18, during their Sunday Concert at the PhillipsTrio Zadig performed a program of piano trio works by Maurice Ravel, Benjamin Attahir, and Leonard Bernstein (arranged by Bruno Fontaine). Director of Music Jeremy Ney reflects on Asfar by Benjamin Attahir, composed in 2016 and given its DC premiere at The Phillips Collection.


The 29-year-old French-Lebanese composer Benjamin Attahir trained in composition at the Paris Conservatory under teachers Marc-André Dalbavie and Gérard Pesson. His music received early support from the late Pierre Boulez, whose encouragement was formative to the composer’s development. Attahir’s already mature compositional voice does not, however, fit within a neat continuum of the generation of French composers after Boulez whose music is so closely embedded within the technological high-modernism and experimentalism of IRCAM (the musical research institution Boulez founded in Paris in 1977). Rather, Attahir’s music is more fluid, exploring the Middle Eastern influences of his own heritage, a broad tableau of French music old and new, and gestures toward 20th-century Russian neoclassicism. Impossible to pin down precisely, Attahir’s sound world is hybrid and elusive, interwoven with influences yet never divisible into discrete categorization. His diverse musical imagination has been championed by figures such as Daniel Barenboim, who premiered the composer’s 30-minute orchestral work, Al Fair, in September 2017 during a concert that marked the opening of the Pierre Boulez-Saal in Berlin.

Asfar for piano trio is emblematic of Attahir’s inventive collage-like approach to composition. It begins forcefully with an unsparing separation of the ensemble; powerful chords in the piano are set against coarse unison string statements. These two sonic densities—one percussive, one melodic—seem to be locked in a struggle to find a common voice.  Attahir sustains a hard-edged, jagged quality to the opening of the piece, which never falters in its consistent, driving pulse. A two-note melody, traded between instruments, tries to sustain a singing quality above an unsettling ostinato. Yet this fragment—barely melodic at all—cannot find a foothold within the relentless march of rhythmic intensity. A sudden stream of notes (repeated at octave intervals) moves down and then up the piano’s register, seemingly indicating a new direction. Yet it gets stuck, circling in on itself in a musical short-circuit. Attahir then creates an even wider closed loop, shocking the piece back to its origins in an unrelenting Attacca statement of the opening material.

The perpetuum mobile nature of Asfar then begins to fragment further, its rhythms becoming taut and constricted, with silence as well as sound beginning to mark the work’s sense of inner struggle. The episodic nature continues toward a central section that becomes more hushed and subdued, with flashes of what sounds like melodies inflected by Middle Eastern tonality. But what are they? Attahir’s gestures are so ambiguous and subversive that they resit being deciphered. The piece seems to conceal itself within a dense web of different ideas and motifs, each one vying for significance. The whole effect feels like a vast constellation of scattered memories, layering on top of each other in an aural palimpsest.

Attahir briefly draws the music toward a barely audible whisper, with the piano’s bass timbre flooded with the dark hue of reverberant harmonics. Drawing downward appears to bring us closer in, away from the shock and awe toward something more intimate, fragile, and revealing. Yet it proves merely a conceit as the inevitable, obliterating effect of the opening material returns. Bringing the piece to its close, Attahir toys with a final four note theme, which loops and eddies like a child scribbling circles on a page, or (perhaps) spirals around itself with the gestural ductus of artist Cy Twombly’s famous red Bacchus paintings.

Cy Twombly (1928-2011), Untitled, 2005. 128 x 194½ in (325.1 x 494 cm). This work was offered in the Post-War & Contemporary Art Evening Sale on 15 November 2017 at Christie’s in New York.

Cy Twombly (1928-2011), Untitled, 2005, 128 x 194 ½ in. This work was offered in the Postwar & Contemporary Art Evening Sale on November 15, 2017, at Christie’s in New York.

—Jeremy Ney, Director of Music at The Phillips Collection

Volunteer Spotlight: Tiffany Lin

In this series, Manager of Visitor and Family Engagement Emily Bray profiles volunteers within the museum. Phillips volunteers are an integral part of the museum and help in many ways: greeting and guiding guests through the museum, helping with Sunday Concerts, assisting patrons in the library, helping out with Phillips after 5 and special events, and so much more. Our volunteers offer a wealth of expertise and experience to the museum, and we are delighted to highlight several them.

Tiffany Lin, Phillips Music Volunteer

Tiffany Lin

What year did you start volunteering at The Phillips Collection?
2016

What do you see as the most valuable aspect of your volunteering?
I enjoy seeing patrons who attend music concerts week after week, season after season. The Sunday Concerts have cultivated a community for music enthusiasts in DC to gather and share an afternoon together. I often witness audience members leaving concerts more invigorated than they were coming into the concert.

What do you do when you are not volunteering at The Phillips Collection?
I’m a business analyst at the Carlyle Group where I’ve worked for five years. In the fall, I will be joining the MBA program at the Wharton School in Philadelphia.

What is your favorite room or painting here?
The Music Room holds a special place in my heart. I’ve spent many moments unintentionally holding my breath in the Music Room, captive to the music vibrating off the dark wood paneling.

If you had to choose one word to describe Phillips, what would it be?
Sanctuary

Share a fun fact about you!
I play a bell tower instrument called the carillon and have performed concerts in 10 states since 2013 as a member of the Guild of Carillonneurs in North America. Come hear me play this summer at the Netherlands Carillon in Arlington on June 30 and the McDonogh School on July 6.

Is there anything else you would like to share?
While I’ve enjoyed exploring other nearby venues for Sunday Concerts, I am excited to be back in the Music Room after the renovation is completed this year!

Bandonéon Basics with Phillips Music

Street Tango. Buenos Aires, La Boica 2011

I love when Phillips Music gets its hands on a musical instrument we’ve never featured before! This Sunday, we will have classical guitarist Jason Vieaux performing with Julien Labro, who is proficient in playing the accordion and bandonéon. Naturally this raises the question, to most of us, what is a bandonéon?

A bandonéon, in fact, is a type of concertina. Similar to the accordion, it is played by holding the instrument between both hands and pushing in or pulling out, while pressing the buttons with the fingers. Unlike an accordion, however, these buttons all correlate to individual notes, and so chords are played by pressing combinations of buttons at the same time. Bandonéons are often square or hexagonal in shape with beveled edges and unusually long bellows. I’ve found a decent photo of one (caption below) and a video with a very familiar refrain—La Cumparsita (when I think of tango, this is what I hear in my head).

Kathryn Rogge, Manager of Academic Programs & Phillips Music