LEí“N: Bailarín; Singin’ Sepia; Axon; Arenas d’un Tiempo; Satiné; Horizons. David Starobin, guitar; Tony Arnold, soprano; Continuum; Mari Kimura, violin; Speculum Musicae; Quattro Mani; NDR Sinfonie Orchester/Peter Ruzicka. Bridge 9231. 56 minutes.
Tania Leí³n writes music in a lyrically Modernist vein. Her music is colorful and virtuosic, but the virtuosity is filtered through the composer’s strong sense of “play”, the kind of “serious lightness” that informs much recent Modernist art. This sampler of Leí³n’s solo, vocal, chamber, and orchestral music from Bridge Records begins with guitarist David Starobin’s winning performance of Bailarín. The composer’s Cuban background is evident in the piece, but not in a heavy-handed or clichéd way. Bailarín is lithe, attractive, and idiomatically written.
There is virtually complete expressive identification between music and poetry (by Rita Dove) in Singin’ Sepia, a cycle of songs on slavery and its diasporic effect. The music, for soprano, clarinet, violin, and piano/four-hands, is, by turns, joyous and reflective. Tony Arnold’s performance is rich and intimate.
Axon is a remarkable piece for violin and interactive computer. Both instruments “dance” and sing. The material is spiky and rhythmically alive (those adjectives can be applied to all of the composer’s music). Mari Kimura is a talented violinist. She gives a fine performance of this difficult piece.
The program closes with three instrumental works (Arenas d’un Tiempo, for clarinet, cello, and piano, Satiné, for two pianos, and Horizons, for orchestra) that show off the composer’s stylistic interests, especially rhythmic invention, and expressive skills. The performances here, and on the disc as a whole are first-rate. I’ve heard Tania Leí³n’s name many times, but this is the first opportunity I’ve had to heard of her music. I hope to hear much more of it, and soon.