Returnings

Eve Egoyan, Piano

Works by Ann Southam

Centrediscs CMCCD 17211

As musicians we are trained to listen with a critical ear, to automatically dissect, analyze, and evaluate each musical performance we encounter. Knowing that one will have to write about a musical experience brings all this training to the forefront, or at least it should. That didn’t happen for me—at least not initially.

My problem, if you can call it that, was that Ann Southam’s piano music was so beautiful and Eve Egoyan’s interpretation so exquisite, that I didn’t want to listen critically; I wanted to lose myself, disengage my analytical mind, and simply enjoy. In time I was able to cobble together notes for this review, but even after several hearings I must say that this desire to become lost in the music remains ever-present. What follows is my evaluation, such as it is, but if I haven’t yet convinced you to purchase this recording, I’m not sure that anything else I could write will.

Returnings represents perhaps the last musical statement of the phenomenal Canadian composer Ann Southam (1937-2010). She chose the pieces and their ordering for this CD in the last year of her life, and the album also includes the last two pieces she wrote, Returnings I and Returnings II: A Meditation. These pieces, along with Qualities of Consonance (1998) and In Retrospect (2004), were all written for the Eve Egoyan. (I might also add that the image on the cover is original artwork by Southam.)

The CD works marvelously as a whole, to the extent that you might find yourself hard-pressed not to consider this one single composition. Each of these four pieces seems to grapple with its own internal conflict: consonance and dissonance, minimalism and dodecaphony, or restraint and restlessness. What makes this conflict work, and what draws the listener, is that these conflicts never resolve. Southam merely presents these seemingly disparate ideas one against another and lets them be, never allowing one to dominate, and to great effect.

The second piece on the album, In Retrospect, is very reminiscent of a later work (also recorded by Egoyan), Simple Lines of Enquiry (2007). A single twelve-tone row is presented across the keyboard in small sections, and with generous use of the damper pedal, these tones are allowed to interact with one another and slowly build into chords. The pacing and balance of tone that Egoyan provides is spot on. The delicacy of her interpretation tells you that this is a pianist listening intently to every single sound she creates, and that each note is placed in a precise moment in time.

The third track is Qualities of Consonance, by far the most overtly virtuosic work on the CD. It is grounded in serene chords and ostinati, but is frequently interrupted by rapid passagework. Here, the conflict is seems to be presented by two separate pianists, as Egoyan contrasts these two elements extremely well. While her sensitive touch has been well noted in other recordings, here we are given a taste of her technical prowess and adept articulation. Yet this is never virtuosity for its own sake, as each gesture is executed with a clear sense of line.

That said, if there is any weakness on this CD, it is this piece. Despite the Egoyan’s exuberance of the difficult passages, I felt like there was more room for rubato and dynamic contrast in some of the lines of the more serene sections. Likewise, from a compositional standpoint Qualities of Consonance lacks the cohesion of so much of Southam’s other music, making it feel disjointed at times. That said, this remains a remarkable CD, and looking for weaknesses is a bit like deciding which is your least favorite 20-year-old scotch.

The first and last pieces on the album, Returnings I and II, are quite similar to one another. Here, the conflict is between a gentle rolling bass ostinato supporting consonant chords and another twelve-tone row. The row is presented at the outset of both pieces before the ostinato enters, at which point the notes of the row are presented between chords of the right hand. The effect is marvelous, as at times the row adds depth to the harmony and at other times clashes against it. Again, this conflict is never resolved, but allowed to play itself out, and the overall effect becomes one of great calm despite the dissonances that arise.

This sense of calm pervades all four pieces, and I cannot but help think of Southam’s passing when I listen to this CD. Her ability to find beauty in the unresolved dissonance and to allow things to be as they are seems like a beautiful metaphor for life. La vita è bella, and without caveat. It saddens me to think that this will be the last collaboration between two such talented artists, but as Egoyan writes, “each time I perform her music, Ann returns as a radiant resonance, with us, forever.”

I’ve no doubt that many more Southam recordings will be produced in the coming years, but as this contains her last compositions, performed by the pianist for whom they were written, I cannot help but feel a sense of finality when the album ends. I will listen often to this truly beautiful CD, and each time raise my glass to Ann. May she rest in peace.

-Andy Lee

Critical Models: Chamber Works of Mohammed Fairouz
Katie Reimer, piano; Claire Cutting, oboe; James Orleans, double bass; Jonathan Engle, flute; Maarten Stragier, classical guitar; Vasko Dukovski, clarinet; Rayoung Ahn, violin; Michael Couper, alto saxophone; Thomas Fleming, bassoon; Lydian String Quartet
Dorian Sono Luminus CD

Composer Mohammed Fairouz is one of a number of twenty-something contemporary classical composers who revel in the postmillennial polyglot atmosphere, where frequent shifts of stylistic demeanor are worn as badges of courage rather than markers of indecision. But writing convincingly in one style is challenging enough: chops-wise, a composer has to be loaded for bear in order to bring off the many signatures polystylists seek to incorporate.

Critical Models, a portrait CD featuring Fairouz’s chamber music, reflects a composer with a fertile mind and considerable technical acumen. An omnivore, if a somewhat conservative one, Fairouz tends to favor neoclassical models: Stravinsky and Hindemith are frequent touchstones. One can hear their spectres in “Litany,” a bucolic piece for double bass and wind quartet. There’s also more than a whisper of Schoenberg in the angular passages of “Lamentation” for string quartet, a work played on the CD with particular ardor by the Lydian Quartet.

Perhaps via osmosis from his own studies at Curtis and New England Conservatory, Fairouz is fond of emulating the Postwar American conservatory set – Persichetti, Mennin, and Schuman – in their explorations of pandiatonism, mixed meters, and dissonant counterpoint.  One particularly hears these referents in his Six Piano Miniatures, idiomatic works that, apart from the poignant final movement, “Addio,” seem slighter than others on the disc, with the possible exception of the serviceable but often plodding Airs for solo guitar.

The title work is more formidable. A duo for alto saxophone and violin, it adroitly surveys each of the aforementioned stylistic categories singly in separate movements. Also included is a movement entitled “Catchword” that cannily references Nonwestern music. In each of these stylistic portraits, Fairouz seamlessly adopts a different compositional persona. While his versatility is admirable, one still awaits a thorough synthesis of these various demeanors into a durably individual voice.

On Thursday 1/19 at 8 PM, Fairouz presents “Resistance: Chamber and Vocal Music of Mohammed Fairouz” at Weill Recital Hall. Performers include Imani Winds, the Transatlantic Ensemble, soprano Mellissa Hughes, and clarinetist David Krakauer.

Contrechant
Reto Bieri, clarinet
Works by Berio, Carter, Eötvös, Holliger, Sciarrino, and Vajda

ECM New Series CD 2209

One of the best recital discs I heard in 2011 did not feature an instrument typically associated with the genre. Contrechant is a disc comprised of all contemporary works performed by Swiss clarinetist Reto Bieri. All solos: no piano accompaniment or contributions from other instrumentalists. But the proceedings are hardly monophonic or monochromatic. Even Luciano Berio’s  Lied (1983), which opens the disc with a phrase or so gently articulated “song-like” melody, does not remain a “single line” piece for long: this texture is complicated by repeated note ostinati and wide-ranging leaps.  While Lied isn’t as hypervirtuosic as the clarinet Sequenza, it proves to be an elegant introduction to the rigorous material that will be found on the disc, as well as the formidable technical skill and focused interpretative powers possessed by Bieri. Indeed, Contrechant is a showcase for the clarinet’s versatility and its extensive repertoire of extended techniques.

A case in point is “Lightshadow-trembling,” by Hungarian (now residing in the US) composer, conductor, and clarinetist Gergely Vajda. The piece spends a great deal of its duration requiring the clarinetist to perform pedal tones in conjunction with a compound melody and copious trilling, creating a far denser texture than many listeners would assume possible when presented with the mislabel “single line instrument.” After this sustained, breathless (or, rather, circular breathed) flurry, late in the piece, Vajda allows the clarinetist to attack single sustained notes: the resultant starkness is startling. This was the first piece I’ve heard from Vajda: I look forward to hearing more.

One of Vajda’s teachers, the acclaimed composer and conductor Peter Eötvös, contributes a very different work: Derwischtánz. It is lyrical and questing, with beautiful runs that start in the chalumeau register and cascade up to long, sustained, pianissimo notes in the instrument’s upper register to end each phrase. A few trills at the work’s close seem to serve as foreshadowing for Vajda’s later perambulations.

“Let me die before I wake,” by Salvatore Sciarrino revels in extended techniques, such as  multiphonics and whistle tones. But these never seem gimmicky; instead they give the clarinet an otherworldly, “sci-fi” ambiance that is quite haunting. Virtuoso oboist and composer Heinz Holliger knows a thing or two about wind instruments. His Contrechant (2007) cast in five short movements, takes up where Sciarrino leaves off, putting the clarinet through its paces, including extraordinary measures: slap tonguing, extended glissandi, vocalizations, microtones, and  altissimo register squalls. It is a bracing, yet dramatically compelling, ultra-modernist composition. More reflective, although still possessing considerable angularity and a wildly shifting demeanor, is Rechant (2008), a through-composed companion piece.

This is Bieri’s second recording of Elliott Carter’s Gra (1993), one of the ‘early’ works of the now 103 year-old composer’s ‘late’ period. It is one of a number of relatively brief single movement piecess that Carter penned during the 90s and 00s and, I believe, one of his best. In Gra, for the most part  Carter eschews the special effects employed by the aforementioned composers; he instead displays absolute command, both of the instrument’s idiomatic capabilities and of a rigorously compressed harmonic and gestural language. The piece’s exquisite pacing and, for Carter, relatively new found directness of expression, make it one of the great works for solo clarinet. Since his first recording of the piece, Bieri’s interpretation has grown, is ever more sure-footed and specific in all of its details: I’m glad he recorded it a second time. Let’s hope ECM invites him back to make another CD. Pairing him with one of the label’s many talented pianists could make for a deadly duo disc.

Daniel Stearns
Golden Town
Spectropol CD

Spectropol Records is a small outfit dedicated to short runs of adventurous music, including xenharmonic (microtonal) composers, electroacoustic experimenters, avant improv performers, ‘out’ instrument builders, and those specializing in field recordings.

Where can one reasonably locate Daniel Stearns?  On Golden Town, his latest full length release, he readily fits most of the categories above. Combined with distressed soundscape recordings – bleak windswept places seem to be a frequent environment – are brittle whiffs of guitar drones, tendrils of electronics, edgings of psych-tinged noise, and deep rumbling bass. Stearns calls these “waking dreams,” but I’m not sure one would describe the visions unleashed alongside his potently dystopian pieces to be anything short of spooky nightmares. Still, while you may want to bring a flashlight along, “just in case,” Stearns’s Golden Town is a weirdly appealing, often engrossing, sonic experience.


GOLDEN TOWN by daniel stearns

BassoonMusic   

Peter Kolkay, bassoon

with Alexandra Nguyen, piano

CAG Records

• BassoonMusic – George Perle
• The Dark Hours – Judah Adashi
• Andy Warhol Sez – Paul Moravec
• Three Songs – Russell Platt
• Seven Desert Elegies – John Fitz Rogers
• Journey – Katherine Hoover

Bassoonists rarely feel the love in the contemporary music world. It seems like all the attention went towards the flute, clarinet, and saxophone leaving the double reeds to lurk in the corner of Baroque or 19th century repertoire. Sometimes they’ll break out the Zappa quote but for the most part the bassoon seems to be ignored outside of the Common Practice Period. This disc by bassoonist Peter Kolkay buts the breaks on that kind of thinking and reminds us that one of the most iconic and recognizable figures that gave birth to “contemporary music,” if you will, was a bassoon solo. How apt that the disc begins with George Perle’s BassoonMusic, an unaccompanied piece that uses the opening measures of Le sacre du printemps as one of its primary gestures. Amidst the Stravinsky quotes and transformation lies other contrasting materials that, if they aren’t directly from other famous bassoon excerpts, sound as if they were. Peter Kolkay is all over the instrument, his tone and articulations perfectly matched to the demands of the material. Not only is this work first on the disc, it is also the oldest work on the CD dating from way back in 2004. Kolkay has a brilliant lineup of pieces that show great composers are making extremely compelling cases for composers to write bassoon music (and for performers to play more modern stuff).

Judah Adashi’s The Dark Hours from 2007 is a meaty three movement work. The music is austere, lyrical, and rich with extended tonal harmonies. Even when very little is happening on the surface, my attention is always held fast by the music. Andy Warhol Sez by Paul Moravec is a series of playful miniatures separated by spoken Warhol quotes. Each miniature works well with neither too much or too little material and they reflect the various quotes nicely. I was a little turned off by the actual spoken quotes, though. I would have preferred to just hear the music and save the quotes for reading material.

Unaccompanied music returns with Russell Platt’s Three Songs, all short lovely movements that contemplate simple melodic shapes. The stark Seven Desert Elegies by John Fitz Rogers is held together more by a lugubrious ensemble momentum than virtuosic pyrotechnics. The duo coalesces into a single voice quite well on this piece. There are more fireworks in the shorter movements of Katherine Hoover’s Journey but again the bulk of the piece is based upon tender lyrical lines and a continuity of sound with the piano. Kolkay’s tone is entrancing. Not only do I listen to his melodic line, I get lost in the layers of overtones that emerge. Alexandra Nguyen’s piano work is fluid, gentle, and effortless. These two make quite a pairing and I look forward to hearing more releases by them.

Caprichos Enfaticos
by Martin Bresnick
So Percussion; Lisa Moore, piano
Cantaloupe Music CD

It takes chutzpah to base a musical composition around an iconic piece of visual art. Francisco Goya’s Los Destastres de la Guerra (“The Disasters of War”) is a book of etchings that captures the human toll of combat (as well as its toll on the rest of creation) with a visceral impact that has seldom been equaled. Using it as the basis for a musical piece, even going so far as to use Goya’s own phrases for movement titles? A composer who does so better bring the goods or they will likely be dwarfed by comparison. Fortunately, Martin Bresnick’s Caprichos Enfaticos is eminently capable of complementing its powerful source material. Indeed, it’s one of his most affecting pieces to date, one in which there is a fluid progression from traditionally inspired material to more dissonant and abstract expression.

A particular reference point is a chain dance that originated in Provence, called the farandula, or farandole. Its 6/8 phrases are juxtaposed with bellicose marches played on snare drums and interspersed with ruminative and achingly piteous interludes for piano and pitched percussion.

Cast in eight movements, the piece mirrors the trajectory of Goya’s etchings from a semblance of order and civilization to chthonic brutality.  In successive iterations, the gestural language of the farandole and folk-like thematic material is overwhelmed by a noisier environment: populated with a diverse battery of percussion instruments and a correspondingly chaotic phraseology.

In live performances, Caprichos Enfaticos is accompanied by video projections created by Johanna Bresnick and based on the Goya works. So Percussion and pianist Lisa Moore inhabit the music with a persuasive, commanding, and detailed performance on record: one can only imagine its powerful impact coupled with Goya’s artworks in a live setting.

Not only was chutzpah an ingredient of this project, but so was a seamless collaborative spirit. Meet the Composer commissioned this piece for So Percussion and Moore, and it is a truly inspired partnership. One hopes that it is merely the beginning of a long musical relationship.

Susanna Phillips (soprano)
Myra Huang (piano)
Paysages
Bridge Records
http://www.bridgerecords.com/catpage.php?call=9356

I’m pretty sure French vocal music wouldn’t be considered the type of music one would blast in one’s car.  Well, I was. Until I listened to, and most definitely blasted in my car, Susanna Phillips’s debut solo album Paysages.

Easily one of the best solo vocal albums of the year, Paysages gives the listener more than a collection of songs; within it is music so purely fluid, breathtaking, and surreal that a listen is more of a journey to a separate world than an addition to an existing one. Phillips has included three composers on the album: Debussy, Fauré, and Messiaen. While all three are French, lived in similar time periods, and use comparable sounds occasionally, each composer brings out a different perspective in their choice of texts and music, and Phillips takes advantage of this. She is able to take each song, which posses unique destinations and atmospheres, and create a true collection, something that is varying but connected.

The first six tracks on the album are Debussy’s “Ariettes oubliées,” or “forgotten songs,” composed between 1885 and 1887. The song cycle is said to have marked Debussy’s evolution from a more traditional composer to one of his own style. Like many of Debussy’s pieces for voice, the vocal lines are natural and feel as if they permanently reside along with the clouds of ambiguous sound the piano creates. The poetry for this collection, by Paul Verlaine, reaches insightful observations through painting-like images (“It weeps in my heart like the rain over the village. What is this exhaustion that penetrates my heart?”).

Phillips latches on to Debussy’s liquid phrases and seems effortless from the moment she allows her voice to flow out to the last trickles of sound. “C’est l’extase,” the first track on the album, is a wandering yet determined. Included are sounds ranging from calm phrases to cries that curve like feathers in air.  In contrast, “Chevaux de Bois” is like a train on a track with its steady pace and subtle sforzandos.  Myra Huang, Phillips’s accompanist, handles the piano parts perfectly as well. Because of Debussy’s finesse with the instrument, the piano parts are pieces in and of themselves (such as the arpeggios in “Green”). However, with the balance that Huang offers, they allow the voice to be in the appropriate position at each moment.

Messiaen’s “Poémes pour Mi,” with their more dissonant, east-of-France-inspired sounds, show both the musical atmosphere in France after Debussy (though it originally was not accepted fully) and Phillips’s ability to make their slightly unsettling timbres beautiful in their own way. The vocals of Messiaen (written by the composer himself for his first wife, nicknamed “Mi”) are more introverted than Debussy’s and Fauré’s choice of poetry. The music reflects this; the dissonance of the piano and the repetitive tones of the voice seem more like a conversation with oneself than a presentation to another. “Paysage” begins with a ghost-like flutter and includes murmurs of rain-like piano. “Epouvante” is sly and angry. The piano is mushy and assertive, and Phillips’s cries and partially-a cappella statements are chilling. Along with Phillips, Huang gives Messiaen’s pieces the creepy, echo filled accompaniment they need. Because Fauré and Debussy’s songs have generally more soft and delicate sounds, “Poémes pour Mi” give the album just the right amount of angst.

Rounding out the broad representation of French composers on Paysages is Fauré, the composer who resided in the transition from Romanticism to the 20^th century’s modernism. The four songs by Fauré on the album aren’t a cycle, but give the listener a sense of his finesse with voice and Phillips’s ability to stand out in these iconic French songs.  The poetry from Charles Jean Grandmougin and Romain Bussine is gorgeous and subtle (Reading Grandmougin’s words from “Adieu” is definitely a bonus of the album). “Les Roses d’Ispahan” has a piano part that is almost a perfect blend of Schumann-like Romanticism and glassy impressionism. The classic melody of “Nell” gives Phillips’s the opportunity to take her voice in multiple directions and in a conversational, natural style. “Après un rêve” pairs a simple, solid piano accompaniment with heart-wrenching vocals.

“Adieu,” the last track on the album, is delicate and discusses how everything is subject to change. In it, Grandmougin’s words are (in English), “But alas! The longest of loves are cut short!” I’d like to think that Grandmougin writes about Phillips’s and Paysages–it’s an album that, no matter how long it could go on, can only have one downfall—the moment it stops.

Grey McMurray and Caleb Burhans have been performing together as itsnotyouitsme since 2003. In the past five years, they have released three recordings. Their latest, Everybody’s Pain is Magnificent is a sprawling double album set of material. It celebrates the gradual developing soundscapes and lushly ambient sonics that are signatures the group’s sound. Unlike many ill-fated double albums, which run out of steam or seem padded, EPiM requires the extra time to develop its sweeping musical architectures and allow the listener to luxuriate, bathed in the music’s honeyed harmonies and finely spun textures. It’s been in heavy rotation in these parts this Fall. If you haven’t heard it, you are missing out on one of 2011′s most rewarding ambient treasures.





Below, the band shares a ‘wintry’-sounding video of a recent live performance.

everybody’s pain is magnificent by itsnotyouitsme

Ironworks Percussion Duo 

1 

Dave Gerhart and Axel Clarke, percussion 

• Uncompression – Ming-ching Chiu
• Volume – Missy Mazzoli
• Tribute – Dave Gerhart
• Arc & Current – Roger Przytulski
• A Cosby Sweater – Axel Clarke

Arc & Current is the most pitch-based work and uses only steel drums as its instrumentation. Irregular rhythms and punchy homophonic accents motivate the Arc movement while a more tender and slower (although not THAT slow) melodic line winds through Current. Under these irregular melodic phrases come moments of pop-inspired cadential harmony which work very nicely. This final movement reminded me of harmonic and structural moments in the Levitan Marimba Quartet. Arc & Current contrasts with the rest of the works on this disc but, come to think of it, so does every other piece on this disc… At any rate, Ironworks makes all of these musical styles sound natural to them and manages to relate the sound world of each piece to the others. Each composition sounds different yet the entire album sounds coherent. Both Dave Gerhart and Axel Clarke should be commended on their performances, recording, and programming of this disc. I can’t wait to hear 2.

Toshio Hosokawa
Landscapes
Mayumi Miyata, shô;
Munich Chamber Orchestra; Alexander Liebreich, conductor

Composer Toshio Hosokawa (b. 1955) has been featured once before on an ECM recording, as one of three composers programmed on a recital disc by Thomas Demenga. Landscapes is his first portrait disc for the imprint. It features a number of fine performers who are ideal advocates for Hosokawa’s fluid and multifaceted musical language. The Munich Chamber Orchestra, led by Alexander Liebreich, has become a featured ensemble on ECM’s New Series. The quality of their interpretations here readily support the notion of them remaining a ‘house band’ for the Manfred Eicher curated imprint.

Hosokawa’s work combines the influences of Darmstadt school second modernity with elements from traditional Japanese (and Chinese) culture, ranging from gagaku (courtly ceremonial music) and the employment of traditional instruments to examples from fine art: calligraphy and landscape paintings. In works like Ceremonial Dance and Cloud and Light, one is impressed with how seamlessly these various, at times disparate, elements are synthesized. This is particularly evident on Ceremonial Dance, where acerbic harmonies combine with sliding tones to fashion a hybrid of East/West techniques that sounds truly organic and self-contained. Cloud and Light works from a similar palette. But here there is also an interesting juxtaposition of delicate sustained shô and string chords and thunderous low register outbursts.

In addition to participating in Cloud and Light, shô (mouth organ) player Mayumi Miyata is also featured on two other pieces on the disc. Back in 1993, Landscape V was originally scored for shô and string quartet. This updated version for larger ensemble works equally well; both renditions are hauntingly eloquent tone poems. Miyata takes a solo turn on Sakura für Otto Tomek, a work filled with slowly evolving complex clusters of harmony. Sakura’s meditative ambience is shadowed with portentous overtones, creating a rich showcase for the singular and fetching timbres of the shô.

Hosokawa has long been respected in both Japan and Europe. Of late, given the strong reception given Matsukaze, his second opera, in Berlin, his stock has risen considerably in the Euro Zone. One hopes that more American conductors and ensembles will take notice of Hosokawa, a composer with a compelling individual voice developing an impressive body of work.