music of Lansing McLoskey
- Specific Gravity 2.72 performed by the newEar ensemble
- Sudden Music performed by Rebecca Duren, soprano; Alan Oscar Johnson, piano
- Requiem v.2.001 performed by Stony Brook Contemporary Chamber Players
- Processione di lacrime (pavan) performed by Philipp A. Stäudlin, saxophone; Zoya Tsvetkova, violin; Scott Woolweaver, viola; Joshua Gordon, cello
- Quartettrope performed by Stony Brook Contemporary Chamber Players
I find myself at a slight loss when trying to describe the music of Lansing McLoskey. Elements of just about every major stream of contemporary American concert music get wrapped together in different amounts in different pieces. A little minimalism here, some neo-romanticism there, atonal expressionism woven throughout, and colorful orchestrations to wrap it all together. McLoskey’s musical eclecticism doesn’t suffer from a lack of focus; each piece hangs together according to its own rules. I was about to say that McLoskey seems to be the rare composer without an obsession but instead it seems more apt to say that McLoskey is pan-obsessive. An equal opportunity obsessor.
The opening work, Specific Gravity 2.72, splashes with color at first while a slow-moving and determined melody unfurls against the more extroverted material. The second movement, “November Graveyard,” replaces these waves of gestures from the ensemble with more subdued and resigned harmonies. The quiet and static aspect of McLoskey’s language is prominently displayed in Processione di lacrime for saxophone and string trio. A single harmonic sigh underlies the whole seven minutes while forlorn melodies emerge from the ensemble and then fade into the background. The saxophone might be seen as the “odd instrument out” here but the instrument is perfectly balanced in performance and composition.
One of McLoskey’s better known compositions, Requiem v.2.001, takes up the center of the disc. This one piece probably does the most to summarize the various aspects of McLoskey’s musical language. Punchy grooves underscore long melodies in the first movement. Thick harmonies and darker colors make for a moody second movement. The violin solo “Trope [virus]” is frenetic and edgy, heightened by the extremely nasal mute sound. “Eulogy” recalls the opening groove from the first movement but maintains the more aggressive and forward trajectory initiated by the solo violin movement. The final “Epitaph – Obit.” discards the energy using colors and harmonies similar to the second movement.
While the formal designs of McLoskey’s music isn’t always taken from a traditional model, his music maintains satisfying and recognizable dramatic shapes. The four song collection Sudden Music gives McLoskey a place to show his adept understanding and setting of text, creating lines and harmonies which, while a bit more reserved than the rest of the music on this disc, still sound like his harmonies.
The final work, Quartettrope, uses the Webern quartet for violin, clarinet, tenor saxophone, and piano as a touchstone for McLoskey’s own original work. The first movement starts with the full first movement of the Webern original with McLoskey fusing his music onto the end in true trope fashion. The second movement begins with original McLoskey material and progresses towards the second movement of the Webern. This is not commentary on the Webern nor an attempt at stylistic camouflage; it is extremely clear when and how McLoskey’s music stops and the Webern starts. The idea behind the piece is rather interesting and the execution is rather compelling. More than anything, Quartettrope summarizes the mercurial nature of McLoskey’s voice and his compositional craft to put it all together.