music of Tom Johnson and Samuel Vriezen
Samuel Vriezen, piano
Edition Wandelweiser Records
In the interest of “full disclosure,” when I saw that Samuel Vriezen had begun a Kickstarter to fund his recording of Tom Johnson’s The Chord Catalogue I signed up and pledged money immediately. If you know me you probably know that I am a big fan of Johnson’s music and I was familiar with Johnson’s own recording of The Chord Catalogue. On the surface one might question if a second recording of all the 8178 chords found in a single octave was warranted but Vriezen’s technique brings out a new understanding of the composition. Yes, “all” Vriezen is doing is playing every combination of notes within an octave (first all the 2 voice combinations, then 3 voice, then 4, until the single 13-note cluster ends the piece) but Vriezen rides a peculiar edge between “all chords sound the same” and highlighting the rising chromatic lines which bring about an inherent amount of harmonic tension. Vriezen’s touch and blistering speed take the simple concept from a pedantic list into one of the most sustained examples of harmonic tension since Tristan und Isolde.
Vriezen’s articulation of the sinewy rising chromatic lines in each segment of The Chord Catalogue is then unwound and brought down for Vriezen’s own composition Within Fourths/Within Fifths. Vriezen describes the work as every combination of pitches a perfect fourth or fifth away from neighboring voices. The internal theory doesn’t de facto make a good composition, of course. Vriezen’s work does stand on its own as a slow and steady progression through expanding sonorous harmonies. The openness of the chords is the perfect tonic to the sheer density of the Johnson. The mad rush through chromatic lines is replaced with an almost complete lack of direction. Vriezen’s composition shows that there is still a lot to be done with fourths and fifths without making chords that sound like they belong in the TV theme of 70s cop shows.