Archive for the “CD Review” Category
Kristin Lee, violin
Conor Hanick, piano
Andrew Cyr with Metropolis Ensemble
Many of us have attempted to train ourselves to lucid dream. Lying in our beds, we’ve tried to wrangle our thoughts into those of control, discipline, and predictability. Some, if not most, nights, though, we are left with bizarre, alien-like episodes that seem perfectly normal only until we wake up.
Somehow, though, despite our attempts at control, these beautifully strange dreams can stick with us, long after we’ve forgotten the story we tried to construct ourselves.
And, somehow, Vivan Fung’s new album Dreamscapes feels a lot like this. While only one piece on the five track album has the word “dream,” her abilities as a composer can take over the subconscious of the listener in any setting.
The Canadian-born composer’s works span from prepared piano pieces to string quartets, but she somehow finds a way to make each form sing new tones. Combining distinctive sounds of Western music with those of gamelan and other non-Western timbres, she equals something from a direction neither cardinal nor previously done. Dreamscapes is certainly no exception.
Like trying to control dreams, attempting to predict the direction of Fung’s works is futile. Throughout the album, with her Violin Concerto, her prepared piano pieces Glimpses, and her piano concerto “Dreamscapes,” melodies change instantaneously into rapid textures, otherworldly plucks of piano strings reverberate off of passing drones, and Americana brass back up gamelan-influenced violin lines. But the album is about more than mixing and contrasting—it’s about Fung’s ability to invent an entire world from a certain web of sound, and her knack for knowing exactly how to disintegrate it.
The album opens with Fung’s stunning Violin Concerto. Inspired by Javanese gamelan, the piece is a distinctly gamelan theme running through settings from around the world. Kristin Lee, the soloist who worked closely with Fung, does an impeccable job being both virtuosic and accurate with the demanding passages, and the Metropolis Ensemble (conducted by Andrew Cyr) moves well together, bouncing, traveling, and being able to release pressure all at once. Throughout the first half of the concerto, Lee is in control; she guides the orchestra and audience into desolate, high register moments, into chugging, brass-filled areas, all the while exploring the landscapes the orchestra reflects with the reminder of the concerto’s pelog scale influences. Almost exactly half-way through, the violin drops the orchestra, letting it quickly dissipate as the violin seems to travel down its range, leaping sideways to build, piece by rearranged piece, a museum of styles. It builds to a climax, navigating through the gamelan scales with violent tremolo. When the orchestra arrives, it becomes the leader with animal kingdom brass and distant strings lurking in the now-familiar scales. Lee comes back in focus with almost Chinese-sounding melodies, gliding over the orchestra with more grace than was introduced. Like the listener has learned, though, no one mood stays for long, and the concerto feels impressionistic for a few minutes before it releases again into period of thinness. The ending, identical to the beginning, is a palette cleanser and a mirror, so pristine it reflects the multifaceted body that preceded it. As the strings glissandi up, the violin holds out until a small gong-like instrument is played, letting go of every sound before it, seeming to resonate for minutes.
“Glimpses,” the second group of pieces on the album, uses a gamelan-like prepared piano to provide exactly that, glimpses, into three very differently woven moods. The first movement, “Kotekan,” is titled after a gamelan style of fast, interlocking parts. With some notes ringing with a hollow sound, some vibrating against metal, and some shaking like strict percussion, Fung slowly builds a syncopated fabric, each tone bouncing off the next, each release as important as the contact. “Show,” the second movement, fills the dents from the previous movement with a fluid, sometimes impressionistic wave still spiked with the textures of the prepared strings. The third movement, “Chant,” mentally abducts. Like a flying object, the piece passes by deep, resonating, buzzes from the strings as abstract strumming, wood knocking, and echoing phrases gently create a narrative to follow.
While “Glimpses” pulls us in each direction, tugging by the arm to each new window of sound, the album’s powerhouse “Dreamscapes” for piano and orchestra becomes an entire comprehensive world. Conor Hanick, the pianist for both “Glimpses” and “Dreamscapes,” plays the inside of the piano with as much dedication and confidence as he does the keys, allowing the listener to fully accept the strange, distinctly Fung atmosphere that quickly constructs itself after the opening sounds. The piece begins with surprising fervor that holds out, transitioning through micropolyphony, jazzy spells, and the exact theme from “Glimpses” movement “Kotekan,” which on strings sounds strangely regal. Like dreams, though, each setting is accepted. No matter how out of place a section seems through words, the listener’s subconscious is taken over by Fung’s ability to weave each theme, each melody, each cluster of tones into the same environment that the listener is fully immersed in. Hanick plays a large part in this hypnotizing quality. His playing, especially in sections with undefined structure and simmering mixing of tones, is restrained and resists the temptation to become over-powerful in the delicate balance; he is also able to release off of these moments into commanding periods. After an orchestral sigh, around two-thirds into the piece, the direction of the piece becomes steeper, denser, and more urgent. Eventually, everything begins to spread out as old themes are resurrected in simple versions. As the world we have come to know disintegrates, an alien-like glimmer resonates behind the still tentative piano, which eventually dissolves.
Many composers fuse genres. Many composers build worlds. And, naturally, many composers have dreams. But what sets Fung apart is her ability to take over the subconscious of the listener, to build a world so captivating that even the strangest of transitions happen seamlessly. Lucid dreaming may seem enticing, but being taken away to Fung’s world would probably take the cake.
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Wood and Forest
works by Jacob Bancks, Kenji Bunch, Robert Pateron, Carlos Sanchez-Gutierrez, and Michael Torke
American Modern Recordings
- The Trees Where I was Born for solo marimba – Jacob Bancks
- Duo for Viola and Vibraphone – Kneji Bunch (with Kenji Bunch, viola)
- Forest Shadows for solo marimba- Robert Paterson
- Arbor Una Nobilis for marimba and violin – Jacob Bancks (Jesse Mills, violin)
- Winik/Te’ for solo marimba – Carlos Sanchez-Gutierrez
- After the Forest Fire for marimba, flute, and cello – Michael Torke (David Fedele, flute; Wilhelmina Smith, cello)
Makoto Nakura has assembled an impressive array of compositions which feature not only his fluid solo playing but also his superior collaboration and chamber musician skills. The solo marimba compositions by Bancks, Paterson, and Sanchez-Gutierrez each draw on different kinds of virtuosity from Nakura and he delivers wonderfully compelling performances of each. Banck’s The Threes Where I was Born is fairly disjunct in texture yet cogent in thought throughout the three movements. Nakura is nimble and graceful as he zips around the whole range of the instrument and connects the musical dots in a salient manner. Forest Shadows by Paterson is less theatrical and notey, using sustained chorales to build and resolve tension. Nakura does a wonderful job creating a musical through-line and solid sense of emotional trajectory. Winik/Te’ stands out from the pack with its brighter, crisper gestures and groovier rhythmic structures. Nakura plays the piece with admirable amounts of spunk and vigor.
This is not just a solo recital recording, though. Nakura’s chamber collaborations are just as excellently performed as the solos. Bunch’s Duo for Viola and Vibraphone is probably my favorite composition on the disc (right up there with Winik/Te’). The warm, throaty sound of the viola pairs well with the cooler vibraphone and Bunch’s music embraces simple musical textures and moods over complex virtuosity. Bancks’ chant-inspired Arbor Una Nobilis puts the violin in the primary role adding sparse yet important flourishes in the marimba. The final composition on the disc, After the Forest Fire by Michael Torke, casts the marimba in an even more traditional role than the Banck’s work. The marimba is an erstaz-piano providing conventional boom-chicks and arpeggios of functional harmony while the flute and cello do their best to hog the melodic spotlight. Regardless of where Nakura is in the musical texture, featured soloist or in various stages of the collaborative relationship, he is an impressive performer who knows how to pick music that features his many skills.
Six Mallet Marimba
music of Robert Paterson
American Modern Recordings
- Stillness (with Sarah Schram, oboe)
- Clarinatrix (with Meighan Stoops, bass clarinet )
- Duo for Flute and Marimba (with Sato Moughalian, flute and alto flute)
- Tongue and Groove (with Jeremy Justeson, alto saxophone)
- Braids (with Victoria Paterson, violin)
- Links & Chains (with Robin Zeh, violin)
- Fantastia (with Dan Peck, tuba)
Also released last week by American Modern Recordings, a disc of the music of Robert Paterson using Paterson’s unique six-mallet marimba technique (and featuring Paterson on marimba throughout). The addition of two more mallets is actually more subtle of a change than I expected. The texture is mildly thicker but what really comes through are more nuanced shapes on the inside voices rather than a bombastic “listen to all those notes!” kind of effect. The solo works Komodo and Piranha are great compliments to each other (Paterson wrote them to be so) in that Komodo fixates on the lower range of the instrument while Piranaha surfs and splashes nimbly in the upper register. I must confess that oftentimes I have difficulties with the form of solo marimba music since a lot of it sounds (to me anyway) as inspired by a stream-of-consciousness narrative that never connects with my ears. Paterson’s works do not suffer from this ailment, however, and his fluid forms are well communicated.
The bulk of the disc features the six-mallet marimba as an accompaniment instrument for a wide variety of performers: oboe, bass clarinet, tuba, violin, and flute. In each case, Paterson largely regulates the marimba to the background of the texture, providing harmonic support for facile and enjoyable melodic writing. Paterson is adept at mixing and matching the timbre of the marimba with these various instruments so it never sounds as if he is recycling materials or techniques from one piece to the next. The feature of the disc, after all, is the six-mallet technique. Paterson’s range of music expressions show variety in using six mallets, whether it be ominous dark chords with Stillness or the sultry bass lines of Clarinatrix and the middle movement of the Duo for Flute and Marimba. Nuanced arpeggiations are possible and displayed in the Duo as well as Tongue and Groove. I am particularly fond of Links & Chains for violin and marimba with its tightly woven accompaniment and edgy yet lengthy violin melody. I’m not sure how wide-spread the technique of using six mallets is but this disc and Paterson’s music show lots of potential for those willing to try.
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Widmann, clarinet; Heinz Holliger, oboe;
Deutsche Radio Philharmonie, Christoph Poppen, conductor
ECM New Series 2110
39 year old Jörg Widmann is a virtuoso clarinetist and one of Germany’s rising stars in the realm of music composition. Both of these aspects of his talents are on display in a new portrait disc released by ECM Records. Christoph Poppen, one of the label’s mainstays (another multi-talented musician – a fine violinist and conductor) leads the Deutsche Radio Philharmonie in a program that displays Widmann as a musician with a diversity of interests and a multi-faceted compositional toolkit to match.
The disc’s title work features Widmann playing a plethora of extended techniques, haloed by orchestral writing that is primarily atmospheric with occasional fierce outbursts. Messe, despite its moniker and movement titles mirroring the Ordinary of the liturgy, is for large orchestra sans voices. Fastidious attention is given to contrapuntal details in several “contrapuncti” movements. Elsewhere a juxtaposition of weighty tutti and long-breathed angular melodies provide some surprising textural shifts.
Fünf Bruchstücke (1997) are early works that feature clarinet and oboe. The latter duties are fulfilled by oboist/composer Heinz Holliger (another formidable double threat!). The two are given many opportunities to display the extended technical capabilities of their respective instruments. But it is the sense of cat and mouse interaction and the energetic elan that typifies much of the compositions’ demeanor that make them far more captivating than many a virtuoso showcase.
Widmann weds musicality and technical facility seamlessly. While the episodic nature of this program gives tantalizing glimpses of his potential, one looks forward to the composer/clarinetist expanding his horizons to larger formal designs on a future recording.
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Ain’t Nothin’ But a Polka Band
Polka from the Fringe
29 polkas by various composers
Aint’ Nothin’ But a Polka Band are: Guy Klucevsek, accordion and vocals; John King, electric guitar, electric violin, dobro, vocals; David Hostra, Fender bass, doublebass, tuba; Bill Ruyle, drums, marimba, triangle; David Garland, lead vocals, whistling.
Confession time: I didn’t know what to think about this disc when I first received it. I thought I had gotten on the wrong person’s mailing list and couldn’t understand why anyone would send me a polka disc (much less a 2 disc set of polkas). All I really know about polkas I learned from Weird Al. Then I started looking at the disc: Starkland? Mary Ellen Childs? Aaron Jay Kernis? Carl Stone? Fred Frith? Lois Vierk? William Duckworth? What?!? I instantly put the discs in and all my questions were answered.
While far from being some kind of “gag disc” or collection of jokey compositions, this double-disc set is a heck of a lot of fun. Each composer makes their own work on the subject of “polka,” some are very traditional sounding others flirt with polka-ness, others take the instrumentation and write their own thing. The boisterous opening “The Grass, It Is Blue” sets the stage well with its riffs on Gershwin. Peter Garland’s “The Club Nada Polka” stutters and stammers through polka world. Aaron Jay Kernis’ “Phantom Polka” sounds like bits of Petrushka which were swept up off the floor and stitched back together. Bobby Previte’s epic (8 minutes seems appropriate for a polka to be called ‘epic’) “The Nove Scotia Polka” is equal parts polka and fantasia. Disc two contains just as many gems as disc one. William Duckworth’s “Polking Around” has all the subversive rhythmic arpeggiation grooves you would expect. Fred Frith’s “The Disinformation Polka” is full of fits and starts which make me chuckle every time I hear it. I would talk about each piece but there are just too many!
What I really love about the disc is, well, everything I suppose. You can tell that the composers had a good time writing these pieces and Ain’t Nothin’ But A Polka Band delivers clean and genuine performances of each work, no matter how “un-polka” they get. I don’t get the send of this being Hugely Important and Reverent Music. This is a boatload of composers writing out of the joy of writing. Some days you want to be blown away by profound artistry. For every other day, there are discs like this full of joy, pleasure, and talent.
- The Grass, It Is Blue - Guy Klucevsek
- The VCR Polka - David Garland
- Polka Dots And Laser Beams - Guy De Bievre
- Diet Polka - Daniel Goode
- The Club Nada Polka -Peter Garland
- The 22nd St Accordion Band - David Mahler
- The Nova Scotia Polka - Bobby Previte
- Happy Chappie Polka - Elliott Sharp
- The Winnemucca Polka - Robin Holcomb
- (Do The) Lurk – Part 2 – Polka - Bill Ruyle
- Oa Poa Polka - Mary Ellen Childs
- Peek-A-Boo Polka - Joseph Kasinskas
- Solidarity-Polka Song - John King
- Phantom Polka - Aaron Jay Kernis
- Prairie Dogs - Carl Finch
- Guy, Won’t You Play Your Accordion? - William Obrecht
- Polking Around - William Duckworth
- The Imperial Buzzard - Tom Cora
- The Disinformation Polka - Fred Frith
- Medjunarodni Nacin Polka - Anthony Coleman
- From Here To Paternity Polka - Steve Elson
- (The) Who Stole the Polka - Peter Zummo
- Some of that “Old Time Soul” Polka - Guy Klucevsek
- Polka I - Rolf Groesbeck
- Attack Cat Polka - Lois Vierk
- Fuddle The Shux - Carl Stone
- Guy De Polka - Mary Jane Leach
- Pontius Pilate Polka - Phillip Johnston
- Wild Goose - Dick Connette
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Posted by Jay Batzner in CD Review, tags: Andrès, CD Review, chamber music, Currier, harp, Jay Batzner, Kathryn Andrews, Kristi Shade, Lizaotte, Paterson, Taylor
music by Andrès, Paterson, Lizotte, Currier, and Taylor
American Modern Recordings
- Le Jardin des Paons – Bernard Andrès
- Scorpion Tales – Robert Paterson
- Raga – Caroline Lizotte
- Crossfade – Sebastian Currier
- Unfurl – Stephen Taylor
- Parvis – Bernard Andrès
I must confess that harp duos aren’t something I’ve thought a lot about in the past. Duo Scorpio’s first release, Scorpion Tales, has me thinking a lot more about this ensemble and this particular duo. On the whole, Duo Scorpio’s album simultaneously affirms and denies any stereotypes you might have about music for two harps. Kathryn Andrews and Kristi Shade deliver stellar performances throughout the disc regardless of how conventional or unconventional the compositions might be.
The disc is bookended by works of Bernard Andrès. Le Jardin des Paons reflects the impressionistic tendencies of the harp but also highlights many nuanced coloristic possibilities which might not be as readily explored in other ensemble writing. Parvis contains more drive and darkness, ramping up the timbral possibilities by quite a few notches. Parvis is quite an exciting barn-burner to close the disc, too. Both compositions are thickly scored at times, showcasing the duo’s ability to create huge clouds of sound across their entire range. Andrès treats the duo as if it was a quartet and that treatment pays off.
The title composition for the disc, Robert Paterson’s Scorpion Tales, is a three movement work which treats the duo more as one hyper-instrument. Gestures and textures stay unified throughout the duo, blurring the lines between Andrews and Shade and presenting singularly focused musical shapes. Similarly, Crossfade by Sebastian Currier takes a more “single instrument” approach to the harp duo by shifting ideas in and out of the ensemble gradually. Counterpoint between the two instruments is kept on the micro-level until the loudest and most active sections.
Two works on this disc use more unconventional approaches in exploring the sonic potential of this duo. Unfurl by Stephen Taylor, unwinds itself in sparkling arpeggios through Pythagorean tunings. The retuned instruments are a quite refreshing sound and add much to the harmonic resonance of the composition. Additionally, some of Taylor’s low range writing is rather impressive and enjoyable. Caroline Lizotte’s Raga is a real gem. Beginning with a haunting sound (a snare stick rubbed on the string) I am still not convinced that the piece doesn’t involve either of the performers singing. The gentle build in activity from these spacious and gorgeous tones flows naturally until Duo Scorpio hits their apex of chamber music writing outside of the Andrès pieces. With a little augmented percussion, Raga shows yet another rabbit hole for coloristic possibilities. Lizotte explores these colors incredibly well and Duo Scorpio makes it all seem completely natural and idiomatic.
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ECM Records New Series CD
Stifters Dinge is a “soundtrack album” for a 2007 theatrical installation by composer/director Heiner Goebbels.The work features five mechanical pianos that were reconfigured to produce all sorts of sounds, pianistic and otherwise. Spoken word excerpts by famous figures — Claude Levi-Strauss, William S. Burroughs, and Malcom X — along with Bill Patterson’s mellifluous reading of a text by the work’s titular figure, Romantic era writer Adelbert Stifter, are joined by field recordings from far flung destinations: Greece, Latin America, and Papua New Guinea .
Photo: © Mario del Curto. Used with kind permission.
Integral to the work’s staging are elemental components: water, ice, smoke, stones, etc. These supply still another layer of the recording’s sound world. Often, as one finds with the crackling ice recordings heard during Patterson’s narration, these natural sounds take on a role supportive of the piece’s narrative. Elsewhere they seem to be part of its abstract musical fabric. The music itself is of similarly varigated design. The mechanical pianos sometimes make utterances closer to the realm of found sound and experimental electronics. These are mixed with more identifiably pianistic scalar passages. Chromatic clusters and, contrastingly, a bit of Bach’s Italian Concerto, make appearances.
Photo © Mario del Curto. Used with kind permission.
Of course, questions of identity are inevitably posed when confronting any work by Goebbels: what does this accumulation of disparate stuff mean? Does it cohere? I can’t answer the first question, as I’m certain that there as many pathways into Stifters Dinge as there are elements contained within it. And the second question is elusive too. Goebbels allows his materials to share the same space without forcing them into congruity. Instead, the listener (and, in the case of a live performance, viewer) is invited to engage with a design built out of elements that are in a variety of relationships with one another: sometimes in tension or opposition and at others in accord. And, one finds that when these simpatico sonic meetings happen, like oases in the midst of flux, they are often quite moving. Thus, Goebbels treats both the sounds with which he composes and the listeners who attend to them with a great deal of respect. Stifters Dinge may require much, even from a thoughtful listener, but it rewards them with an imaginative labyrinth of appealing sounds to explore.
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Where (we) Live
music by Grey McMurray
- This Place the Place
- Five Rooms Back
- Strange Steps
- Room and Board
- In Our Rooms
- All Along
- Strangers All Along
- Five Rooms Down
- Thank You
So Percussion: Eric Beach, Josh Quillen, Adam Sliwinski, Jason Treuting; Guitar and vocals: Grey McMurray
Where (we) Live, a collaborative composition/performance/event by Grey McMurray and So Percussion, does everything in its power to communicate a sense of place and space. The first track sets McMurray as the leader of a guided meditation asking the listener to think about various places he/she has lived and how it felt to move into a new place. It is the kind of metaphor one might expect someone to build a piece around but it is a narrative which would require ample program notes (and listeners who would read them) in order to communicate the piece’s true intent. McMurray cuts right through that and after 20 seconds, you know exactly what he is shooting at. Even before his narration comes in, though, we get a sense of space. The scratchy LP sounds and the distant piano recording established a sense of space and mood immediately. Being asked to think of the places we’ve lived just takes us deeper inside.
So Percussion and McMurray keep all details focused on mood, tone, and event throughout the disc. All details, from subtle timbres to large formal designs, all point back to the whole composition. Even a track like “Moat,” which contains some jarring shifts from loud and percussive moments quickly dropping into subdued delicate textures all seem to convey the very idea of what a moat is and what it does: a drastic shift in the landscape meant to isolate one thing from another. As this particular track continues, the disparate elements are unified into one cohesive unit.
“Room and Board” walks that fine line between a work for narrator and ensemble and a story on This American Life with a slightly more exuberant soundtrack. “All Along” is a straight-up groove for a while but gives way to spare electric piano chords at the end. While the disc has a mostly ambient sound world about it, So Percussion gets plenty of rhythmic and driving moments to contrast the pointallistic and quieter moments. Everything blends so well together, every sound is so perfectly chosen, each component is exactly where it needs to be.
It can be difficult to talk about this disc as a collection of tracks or songs. Where (we) Live is a complete and unified whole. It is equal parts groove and sparse points, equal parts spoken and sung, equal parts soloist feature and ensemble playing, equal parts acoustic and electronic, equal parts of all things. It isn’t casual listening, either. I can’t have this on in the background. It becomes the foreground, takes over my listening space, and puts me in its world. When the disc is playing, it is where I live.
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Arianna Savall and Petter Udland Johansen
ECM New Series 2227 CD/Digi
Swiss soprano and harpist Arianna Savall pairs with Norwegian folksinger, Hardanger fiddle player, and mandolinist Petter Udland Johansen on Hirundo Maris (Latin for “Sea Swallow”), a recording on ECM’s New Series. They are joined by Sveinung Lilleheier (guitar, Dobro, backing vocals), Miquel Àngel Cordero (double-bass, backing vocals), and David Mayoral (percussion, backing vocals) in an outing that combines folk material from multiple traditions (from both Northern and Southern Europe), early music instruments and performance practices, and improvised original pieces.
This is one of the recordings that we keep playing: at home, in the car on the way to work; I’ve even inserted it into a classroom lecture. Like many ECM releases, the overall ambiance is lovely: spacious yet detailed with each voice and instrument able to be pinpointed in the sound field with crystalline clarity.
The material is heavily weighted towards ballads, including particularly lovely versions of ”The Water is Wide” and the Catalan traditional song “El Mestre:” a showcase for Savall’s lustrous soprano. But the program is punctuated by livelier selections too; the Sephardic song “Ya salio de la mar” and the Norwegian folksong “Ormen lange,” a terrifically syncopated tour de force for both Johansen and Mayoral. This is certain to be on many “best of” lists of recordings at the end of the year: ours included.
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America is electronic musician Dan Deacon’s third full length recording, and his first for the Domino imprint. It would be easy for someone uninitiated with Deacon’s previous work to assume that this is a “rah-rah” type of artistic statement, but those familiar with his usually dense and sometimes frenetic music are forgiven if they wondered if there was some tongue in cheek joke intended by the title.
There’s not: Deacon intends the album to be an exploration of his experiences as an American, albeit one of a more left-leaning, even countercultural, mindset than the artists who are usually found putting “America” in their albums’ titles. According to recent interviews, including one in the New York Times, Deacon’s initial response to the post 9/11 era was to feel disassociated from his national identity. Over time, realizing that, despite wrestling with or flat out rejecting many of the Bush era’s policies and value systems, and some that have persisted under the current president, Deacon found that he couldn’t escape an association with his country of origin, even when travelling abroad. America is a musical work based on this reintegration experience.
A somewhat puzzling aspect of the Times profile linked above: it emphasizes a narrative of Deacon as a burgeoning contemporary classical composer that seems to soft pedal his formidable capacities as a creator of effusive, if at times knotty, electronica by making it sound as if this aspect of his work might be moving into the rear view mirror. To be sure, Deacon has a sheepskin from SUNY Purchase in electronic music composition and credits on crossover events such as Merkin Hall’s Ecstatic Music series. That said, there’s no need for an either/or juxtaposition. Even in the midst of the album’s formidable “B side,” a four movement suite titled USA, Deacon hasn’t left his beats at home. What he’s done instead is to integrate them into a fabric that gives a nod to the wide dynamic spectrum of concert music and incorporates some of its instrumentation into a porous, even shape shifting, musical fabric. These are songs writ large, with an artist gaining greater depth of awareness, exploring nuances of arrangement, and striking a pose that serves as a sharp contrast to any homegrown jingoist ideas about music-making.
Alongside the release of America, Deacon has also released a free Dan Deacon app. Featuring a synthesizer loop program, spectrogram, dB meter, and links to other Deacon activities, it’s a fun addition to one’s smart phone or tablet. I’m lobbying for the designers to add the ability to take a picture of the spectrographs you create, which would make it very useful for composers.
Dan Deacon App video
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Posted by Jay Batzner in CD Review, tags: alex mincek, andy akiho, CD Review, chamber music, daniel wohl, electronics, Jay Batzner, mariel roberts, sean friar, String quartet, Tristan Perich
Mariel Roberts, cello
- Three Shades, Foreshadows – Andy Akiho
- Teaser – Sean Friar
- Saint Arc – Daniel Wohl
- Flutter – Alex Mincek
- Formations – Tristan Perich
My favorite quote from Mariel Roberts about this disc is “I wanted to make an album that sounds like the city I live in,” and I cannot think of a better aural enticement to move to New York City right now. These five solo cello/cello and electronics pieces are bustling with compelling energy and quirky sounds that constantly draw me in closer and closer. The Rodin sculpture-inspired Three Shades, Foreshadows by Andy Akiho bubbles and roils along. The electronic component stays strongly within the realm of natural sounds and the cello has been prepared with clothespins to change the pizzicato resonance. Any and all tapping and pizz sounds are used throughout the piece and the blend between live and recorded elements is perfectly seamless. Roberts has a perfect sense of timing to accentuate the grooves and create vibrant clouds of sounds.
Teaser is a monster of a solo piece in terms of technique as most of the music is made of double-stops. Roberts maintains a very playful and effortless energy throughout which belies the composition’s difficulty. Teaser’s form is mainly of moments which build and coagulate together into jaunty grooves (Sean Friar uses the title as a reference to the “tease” in storytelling). Teaser moves into and out of interesting spaces quite effectively and, while it doesn’t go where I expect on first listen, its arrival points are always worth the trip. Similar things can be said about Daniel Wohl’s Saint Arc, which brings electronics back into the mix. The piece itself uses timbral juxtapositions to build a sense of tension and release and Wohl shapes his piece quite well in that regard. Different than the Akiho work, the electronics are certainly cello-related/based sounds but the goal is the “otherness” of the sound and putting the live performer in relief to more sustains and shimmering backgrounds.
Alex Mincek’s Flutter is, pretty much, a perfect encapsulation of the title. Flutter is exactly what this piece does. Shuffling sounds swirl in and out of (what I think is) an electronic accompaniment and Roberts’ live cello seems to invoke these murmurs at first and then scrambles in ever-increasing counterpoint against them. If those initial sounds aren’t electronic, I have no idea how it is all being done. After the piece reaches its climactic peak, Roberts exhales out all the tension which was build up. The gradual detuning of the low C string for the piece’s extended final sighs is particularly haunting.
Closing the disc is the monolithic Formations by Tristan Perich for cello and 1-bit sounds. Perich’s signature blend of punchy and energetic synth timbres plays alongside a focused and repetitive live cello. The cello doesn’t always sit in the forefront of the musical texture which, while it makes for some interesting interplay with the synth world, might be an irritant for some. If you enjoy dynamic contrast, this is not the piece for you. The upbeat, active, and driving rhythmic interplay is always engaging and hypnotic. I find the piece right on the edge of captivating and irritating, which is a fascinating place to be. I have the feeling that you will know within 10 seconds of this piece’s beginning whether or not you will want to hear the whole 20 minutes. I wanted to, and I have on several occasions.
Another mild criticism some might have of the disc would be Roberts’ tone, which is much more on the edgy side of the spectrum and not the deep, dark, bassy kind of sound one would want for Brahms sonatas. I, for one, think he tone is spot on to the music she is playing which is the sign of a skilled performer. I would love to hear Roberts play something more lyrical and emotive in the future but this disc, as a presentation of Roberts’ voice, really rocks. There is a gesamtkunst-at-werk going on here: the energetic performances, the matching of tone to the aesthetics of the compositions, the language of the music chosen, it all creates a “unified field theory” making every detail of this CD point back to Mariel Roberts as Someone to Which We Should Be Listening.
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