Chamber Music of John Burge
Ensemble Made in Canada
On his latest recording for Centrediscs, Canadian composer John Burge presents three pieces that showcase different members of Ensemble Made in Canada. Pas De Deux features violinist Elissa Lee and cellist Rachel Mercer, both playing soaring lines that serve to propel the proceedings. They then work themselves back in short angular bursts.
String Theory is another duo that has been arranged for several string instrument/piano combinations. This version is for viola and piano, played by violist Sharon Wei and pianist Angela Park. Passionate, throbbing glissandos abound in this Neoromantic work, as well as dazzling double stops and richly voiced piano chords.
Commissioned by the ensemble for their entire number, the Piano Quartet opens with repeated chords in a minimalist gesture. Contrapuntal writing interrupts this. It is only in the third movement of the piece, after a long three-movement arch (alternating slow-fast-slow tempos) has been established, that we hear this ostinato return to be resolved. Thus for Burge, minimalism is not a stylistic determination, but a musical gesture: one signature in a batch of them to be used, contravened, and ultimately unwound.
Artful composing and fine players: a good match.
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Poèmes pour Mi
Bruun Hyldig Duo (Hetna Regitze Bruun, soprano; Kristoffer Hyldig, piano)
Naxos CD 8.573247
Hetna Bruun is billed as a soprano here, but she routinely sings as a mezzo. Given that Olivier Messiaen’s song cycle Poèmes pour Mi was composed for a Wagnerian soprano, Marcelle Bunlet, to sing, Bruun’s voice has the perfect combination of requirements to do it justice: a warm vocal color and a mezzo’s timbre with fine control of an extended upper register. Similarly, Kristoffer Hyldig combines traits at the piano, playing with power where needed and acting elsewhere as a reserved colorist. The 1936 composition is a love letter to Messiaen’s first wife Claire Delbos (nicknamed “Mi” because she played the violin and its top string is tuned to “E”). The CD includes another song cycle dedicated to Delbos, Chants de Terre et de Ciel (1938), one that celebrates the birth of their son Pascal in 1937. It is astonishing to be reminded that, even though both of these cycles are from relatively early in Messiaen’s career, they demonstrate most of the signatures of his mature musical language, harmonically and rhythmically. Vocalise-Étude is also included here. Of the three it is the least successfully performed, as it sits a bit higher than Bruun’s comfort zone. Still, all told, this is an impressive disc of Messiaen’s vocal music that reminds us of the prodigious feats he was capable of even early on in his career.
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Cedille Records CD 90000 157
The “M” word: minimalism: oft-quoted, sometimes maligned, often misunderstood, and seldom accepted as a self-descriptor by composers. We get into ever more thorny ground as we begin to contemplate “post-minimalism:” does it describe chronology, influence, or some kind of murky musical terrain? If we are to use the descriptor for chronology, even Philip Glass suggests that his pieces departed very early from minimalism. So what are listeners to do with a release such as Filament, on which there is a 17-minute long piece of process music (Two Pages by Glass) that clearly makes much out of comparatively little? Further, what do we call pieces by the younger generation of indie classical composers (another loaded term), clearly enamored with repetition, who make up the bulk of this disc? Perhaps it is better to avoid the style tags altogether and instead say that each of the pieces on Filament is composed by a creator fascinated with repetition, but each one in a different way.
Bryce Dessner channels the instrumentation and affect of murder ballads of the Nineteenth and early Twentieth Centuries to create the rustic ostinatos of Murder Ballades. Written for a celebration of Philip Glass’s 75th birthday, Nico Muhly’s Doublespeak is designed to hearken back to the “obsessive repetition” of the 1970s, but it does so in a powerfully articulated fashion. Son Lux’s contributions, abetted by the vocals of Shara Worden (My Brightest Diamond), are brief remixes of material from the album. Filament’s high point is a high octane and highly coordinated performance of Glass’s Two Pages. A single, propulsive line that can be played by any combination of instruments: the elements couldn’t be more minimalist in conception, but the execution is anything but.
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Jenny Olivia Johnson
Don’t Look Back
Innova Recordings CD 925
Wellesley professor Jenny Olivia Johnson presents a program of synth-inflected songs on Don’t Look Back, her debut recording for the Innova imprint. Like many good indie classical songwriters, her formula combines beautiful sounds with stark lyrics: I like to think of it as the “Corey Dargel effect.” Very fine interpreters sing the songs: Megan Schubert, P. Lucy McVeigh, and Amanda Crider. Johnson’s performances as percussionist and electronic musician are seamlessly melded with instrumental contributions by some of the luminaries from the current indie classical scene: violinist Todd Reynolds, cellist Peter Gregson, flutist Jessica Schmitz, clarinetist Eileen Mack, and pianist Isabelle O’Connell among them. Conductor Nathaniel Berman leads the ensemble in assured renditions of the material. While plenty of composers are reveling in the electro-acoustic playground, there aren’t too many that have the orchestrator’s ear and sense of pacing possessed by Johnson. Recommended.
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Innova Records CD 928
To celebrate his thirtieth wedding anniversary, composer Mark Applebaum composed three pieces for percussion ensemble. They can be played successively or simultaneously. Each celebrates a different decade of the couple’s marriage Applebaum isn’t the only composer who has created works that have this capacity, but here it is no mere musical trickery. Each of the pieces adds a different layer of textures and rhythmic contour. When they are overlaid in various permutations, one hears startlingly fresh variations. I’m particularly taken with the ones that incorporate the “Third Decade” segment, filled as it is with succulently shimmering sounds. “30” is a CD of imaginative music by a composer who is brave enough to be willing to let us in on his creative process.
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Three String Sonatas
Centaur CD CRC 3266
Composer Andrew Rudin worked on his three string sonatas in stages, premiering initial versions and then substantially revising them. He has also orchestrated two of the three into concertos (the violin and viola sonatas). The consummate craftsmanship is evident. These are pieces where every note counts and there is an evident emotional quality behind every gesture.
Although the connection to Debussy is seldom overt, Rudin cites his cello sonata as a touchstone. The four movements are structured so that each one gains a minute of runtime, moving from a lithe two minute “Proclamation” to a lyrical five minute long “Consolation.” The balance and pacing of the piece’s design is supported by the clarity and strong ensemble interplay of the performance by cellist Samuel Magill and pianist Beth Levin.
Written in memory of George Rochberg (the piece includes a quote from Rochberg’s Second Symphony), Rudin’s Viola Sonata has enjoyed a staunch advocate in Brett Deubner. Indeed, according to Rudin the violist made many valuable suggestions during the work’s genesis. Deubner also gave the premiere of the viola concerto based upon the work with Orchestra 2001. Joined here by the talented pianist Marcantonio Barone, the violist brings out the many demeanors and techniques present in the sonata – from lithe pizzicatos to angular melodic gestures – with nuance of dynamic shape and enviable accuracy.
Rudin’s Violin Sonata is cast in a single movement, marked “Amabile.” Within it is an imaginative formal design in which materials return recast with different demeanors. Thus, as Rudin describes it, “they are often heard in a manner that inverts their original emotional quality, so that what was wistful becomes angry, what was playful becomes nostalgic, etc.” The piece is given an extraordinarily detailed and passionate performance here by violinist Miranda Cuckson and pianist Steven Beck. If one is seeking music that balances technical rigor with strong emotional impact, they need look no further than Rudin’s sonatas.
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A Sequence by Manfred Eicher
ECM New Series 2454/55 2xCD
For over thirty years, producer Manfred Eicher has been one of the greatest champions of Estonian composer Arvo Pärt. Indeed, the very first ECM New Series release was Pärt’s Tabula Rasa. It seems only fitting that Eicher and ECM would celebrate the composer’s eightieth birthday in handsome fashion. With Musica Selecta, a double-CD retrospective, they certainly have done so.
Called “A Sequence” by Manfred Eicher, it includes seminal early pieces such as Cantus in Memory of Benjamin Britten and Für Alina as well as more recent ones such as Alleluia-Tropus and Da Pacem Domine. Performers often associated with Pärt’s work – conductors Dennis Russell Davies and Tõnu Kaljuste and groups the Hilliard Ensemble, the Estonian Philharmonic Chamber Choir, and the Tallinn Chamber Orchestra – are represented. It goes without saying that, with such an embarrassment of riches from which to choose, the performances are all exemplary: some iconic. While this serves as an excellent starter kit for those previously unacquainted with Pärt’s music, even those who have some of the New Music CDs would still benefit from hearing Eicher’s sequencing. It is thoughtful and musical: compositional in scope and sympathy. Recommended.
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Franklin Cox is an indefatigable and prolific figure, both as a performer and as a musicologist. This, the second volume in his “New Cello” series, focuses on European composers. Using Klaus Huebler’s Opus Breve as a refrain, this rondo of nine performances encompasses a great deal of what’s happening in second modernity. Particularly fine are the brief but richly detailed Dove’s Figary of Michael Finnissy, Richard Barrett’s 2-bowed essay Dark Ages, and Claus-Steffen Mahnkopf’s La vision d’ange nouveau. The latter piece is based on an essay by Walter Benjamin written in response to a work by Paul Klee. It is not only rich in literary allusions, but multifaceted in its musical reference points as well, ranging from hyper-virtuosity to string effects to linear and rhythmic polyphony. Cox makes these pieces sound, well not easy, exactly, but more attainable than they truly are by lesser cellists. Still, if that helps them to secure a foothold in the contemporary cello repertoire, even with many hours spent in the practice rooms to obtain it, so much the better.
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Musik mit Musik
Nadar Ensemble, Daan Janssens, conductor; Ensemble LUX:NM; Ensemble Mosaik; Ensemble Modern, Johannes Kalitzke, conductor
Johannes Kreidler’s music is Darmstadt’s most persuasive response yet to hip hop’s sample and mixing DJ. On his in hyper intervals, snatches of voices and backbeat percussion intersect with aphoristic interludes of violin, piano, and clarinet from the Nadar Ensemble. Cache Surrealism takes a similar approach. Female voices in an R&B sample gain the lead, but the instruments seem to “fight back” with greater intensity from the get-go, occasionally banishing the samples from the soundstage. In addition to the sampling of voices, there is a substantial keyboard part and synthetic components with which the ensemble contends. The group here, from Ensemble LUX:NM, is a baritone saxophone, accordion, and cello. Having the accordion as part of the ensemble creates some interesting textures that refract against the samples. The drums reappear on Fremdarbeit, this time live from percussionist Roland Neffe. Here there is also a live keyboard to add an in person layer of synthesis to the proceedings. Meanwhile, Ensemble Mosaic’s flutist Bettina Junge and cellist Mathis Mayr interrupt with single notes and digressive lines. Product Placements is a short solo for electronics that jitters its way through various sampling techniques.
The disc’s finale, Living in a Box, pits Kreidler’s sampler against more substantial forces: the Ensemble Modern. The principle is still the same: fragmentary samples and skittering percussion are juxtaposed with instrumental interjections. Here, however, the instrumental component is writ large, making the potential for different live groupings exponentially greater. When Kreidler’s most verbose synthetic cut-ups combine with tutti passages, the results sound thrilling. Certainly not a release for the “decaf only” listener, Kreidler is instead a hyperkinetic force with which to be reckoned.
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Musiques Suisses CD
Daniela Müller, violin; Petra Ackermann, viola; Karolina Öhman, cello; Tamriko Korsaia, piano
Fabio Oerhli, Jonas Tschanz, alto saxophones; Christan Kohi, tenor saxophone; Stefan Rolli, baritone saxophone, alto saxophone
Jürg Frey, famous as a member of the Wandelweiser Collective, is given an excellent portrait CD on the Musiques Suisses imprint. Memoire, horizon for saxophone quartet is the longest piece on the disc, clocking in at a little over half and hour. It features sustained lines for saxophone, gradually shifting from consonant verticals to chords with added dissonant notes that spice up the proceedings.
Six pieces on the program are from the Extended Circular Music series. The chordal structures here are often more consonant, but there still is a slow moving pace to the proceedings. That said, the sounds never fully die away; there isn’t the kind of space for silence that one hears in some other composers’ music. Instead, chords gently saturate the sound space, treading evenly without a sense of dynamically articulated direction. It is hard to select standouts, as these feel “of a piece,” but I am quite fond of Extended Circular Music No. 2, for solo piano; it has some beautiful sonorities.
The second longest piece on the disc, Architektur der Emfindungen, for piano quartet, once again finds the piano initially taking the lead, providing upper register melodies and repeated notes while the strings supply undulating lines and chordal accompaniment. Eventually, roles reverse, and the strings get their turn in the lead while the piano plays a chordal accompaniment. By the piece’s conclusion, the transformations in ensemble groupings and instrumental roles have left us amid a panoply of changes in role, direction, and instrumental coloration. A fascinating introduction to a composer with a strong individual voice.
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