Kimberly Cole Luevano (Clarinet), Midori Koga (Piano), Lindsay Kesselman (Soprano)
Bright Angel: American Works For Clarinet And Piano
Fleur De Son
Fleur De Son’s recently released “Bright Angel: American Works For Clarinet And Piano” is an album that does right by new music in this country. It champions important composers who currently enjoy a range of notoriety through amazingly performed works that are strong and indicative of contemporary styles without sacrificing their reverence for tradition. There are two offerings by current big-namers Joan Tower and Libby Larsen and two more by accomplished and ascending Roshanne Etezady and Abbie Betinis whose path to dominance in new music’s near future will only be eased by their triumphant representation on this CD.
Of course, at the heart of any recording’s success or faaiure is the tremendous quality of its performers, and “Bright Angel” features three of today’s most fabulously gifted interpreters of contemporary music. Clarinetist Kimberly Cole Luevano and pianist Midori Koga appear throughout the disc, and Soprano Lindsay Kesselman joins them for Ms. Betinis’ song cycle Nattsanger. Their performances are exquisite as is their ensemble chemistry, which is demonstrated in moments like the opening of Ms. Etezady’s Bright Angel, when Ms. Luevano draws her sound out of a high, quartal or quintal harmony in the piano, or in the last movement of Nattsanger, when Ms. Kesselman’s scream of madness emerges from a high, screeching clarinet line.
As I alluded before, the pieces on “Bright Angel” are fairly centrist in their style, that is, they are certainly not aesthetically anachronistic, but are also not highly experimental or aggressive. Frankly, every work is extremely appealing, and represents the kind of music I wish could more frequently act as an ambassador of contemporary music to broad audiences. For example, Roshanne Etezady’s Bright Angel (which receives its recording world premiere on this CD) opens the album with warm lyricism and enthralling moments of virtuosity. Inspired by the architectural drawings of nineteenth century American architect Mary Jane Colter, Bright Angel possesses clear musical images of the West, which are conveyed clearly and thoughtfully through the grand tenderness of Ms. Etezady’s musical language.
Next up is Abbie Betinis’ Nattsanger (also a world premiere recording), which is a dramatic yet approachable song cycle on Norwegian texts depicting various stages of the night. Nattsanger presents dark, beautiful music that is skillfully orchestrated, namely in the way the clarinet and soprano play off each other’s similar colors and range. The performers are used conventionally with the exception of the fourth and eighth movements, where the texts’ underlying surrealism is most apparent. Here we find the clarinet and soprano used by themselves in a nervous duet (the fourth movement), and the aforementioned scream, which essentially ends the piece (the eighth movement). These are anchors of extremity, both in terms of the music’s expressive force, but also in the work’s symmetrical structure.
Joan Tower’s Fantasy (…those harbor lights) and Libby Larsen’s Licorice Stick further underscore the skill and craft of the composers and performers featured on “Bright Angel”. Fantasy is appropriately impulsive in character and mysterious in its expression. The prominence of the clarinet and piano’s roles are constantly shifting as they trade off prominence and, at times, share it – particularly when the musical explodes with energy about a third of the way through, rollicking through winding scales and arpeggios for most of the remaining music. Licorice Stick is less expansive an endeavor as Fantasy but nonetheless powerful. The most extensively aggressive work on the disc, Licorice Stick shows off the clarinet’s flare for bombast by drawing on its heritage as a jazz instrument (I’m about 90% sure there’s a Rhapsody In Blue quote) with pitch bends, trills and screaming altissimo lines. Throughout the shredding clarinet solos, the piano punches through with driving bass lines that make the piece stagger along the way to its loud, stumbling conclusion.