It is apparent from the beginning of Composer Bruce Wolosoff’s new NAXOS recording with the Carpe Diem Quartet – Songs without Words – that Mr. Wolosoff’s music fits into the fringe of a larger trend in contemporary American music: the fusion of popular and traditional idioms. Whereas one player in this movement, Bang-On-A-Can, attempts to distill the visceral dynamism of punk rock with instrumental amplification and driving rhythms, Mr. Wolosoff is more transparent, and explicitly references jazz, blues and pop styles. What is also clear within the first couple tracks of this album is the genre of Songs without Words: divertimento. Mr. Wolosoff’s sentimental melodies, circular harmonic progressions and repetitive structures update a brand of crowd-pleasing music dating back to Mozart’s Eine Kleine Nachtmusik. Along these lines, the liner notes describe Songs without Words as “amiably crossing musical borders”, and there are two principal musical regions Mr. Wolosoff explores through the prism of the Carpe Diem Quartet: blues and classic pop rock.
The first of these allusions is communicated through pentatonic and blues-based melodies and the typifying inflections one would expect from a blues guitarist or bluegreass fiddle player. The movement “Dancing on my Grave” is probably the best example of this in the whole set, and is a traditional blues jam with a rocking bass line with improvisatory melodies above it, culminating with a classic blues bass progression. In contrast, “The Letter” is the purest rock ‘n’ roll movement, and uses the I – vi – IV – V harmonic progression common to 1950s bubblegum pop ballads to exemplify the other category of Mr. Wolosoff’s musical references.
The remaining 16 movements in Songs without Words are somewhere in between these stylistic extremes. For example, “Cat Scratch Fever” references 1970s hard rock with its title and its use of parallel fifth ‘power chords’ in the cello’s ostinato bass line. Similarly, “Creepalicious” has much more abstract musical material than the other movements of the set but employs the same simple phrase structures, maintaining a strong connection to Mr. Wolosoff’s popular influences while distinguishing the movement’s content from its neighbors.