Archive for the “Naxos” Category
Music of Philip Glass
Paris-based artist Nicolas Horvath has released a new CD on the Naxos Grand Piano label titled Glassworlds 2 featuring the complete Philip Glass piano etudes, numbers 1 through 20. The etudes were begun in the mid-1990s by Glass to expand the repertoire of new music for what had become an active concert schedule for solo piano. These pieces were written after the success of Einstein on the Beach and the scoring of Koyaanisqatsi and represent something of a return by Philip Glass to his early studies as a student of Nadia Boulanger. Etudes 1 through 10 were written during the 1990s in between other works such as Hydrogen Jukebox, String Quartet No. 5 and Symphony No. 2.
These first ten etudes, known together as Book I, are technically challenging – but they are at a distinct stylistic distance from the early minimalism of, say, Music With Changing Parts that famously features repetition, limited dynamic range and static harmonies. Etude No. 1, for example, begins with four strong chords followed by rapid trilling and a crescendo-decrescendo style in the passage work that is reminiscent of the great 19th century piano virtuosi. There is a detectable echo of early minimalism here but it has been subordinated to requirements of a more demanding and expressive technique, masterfully provided on this CD by Nicolas Horvath. Etudes 3 and 4 are even more dramatically phrased, almost as if they were lifted from a piano concerto.
Etude 6 has a powerful emotional component – as well as a touch of pathos – that also lends itself to a more passionate interpretation. This etude has become a favorite of Nicolas Horvath, as he writes in the liner notes: “The only recording of Book I which was available for many years did not excite me, but while attending a recital in which the composer himself performed a selection I radically changed my view, inspired by Glass’ own poetical pianism, and helped by the hall’s acoustic, my instinct recreated them as if they were performed in a Lisztian or Rachmaninov-like manner and I suddenly understood their immense potential.”
Book 2 – Etudes 11 through 20 – were composed over a longer time period, from about 2000 onward to 2013. The music of Book 2 has a completely different point of view, as Philip Glass writes: “The first ten really have a pedagogical aspect to them for my own development. The second set have nothing or very little to do with that. I began working in the world of ideas… I did not put restrictions on the technique.” Etude 12, for example, opens with strong repeating figures that impart a complex, questioning feel along with cross currents and a swirling, unsettled aspect. Etude 13 is a frantic, slightly out of control piece, filled with powerful scales running up and down that seem almost disoriented at times. By contrast, Etude 16 is smooth and restrained, with a calm, reflective feeling that is beautifully brought out by the sensitive playing of Nicolas Horvath. Number 19 is slower with a series of single, deliberate notes in the bass line combined with nicely articulated counterpoint in the upper registers that produce a more contemporary feel. There is more variety in the Book 2 etudes and more scope for expressive technique.
Nicolas Horvath, with precise playing and imaginative interpretation has made Glassworlds 2 an indispensable reference for the serious enthusiast as well as marking an important milestone in the evolution of the music of Philip Glass.
Glassworlds 2 is available on Amazon.
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Naxos has released a new Composers Concordance CD titled Song Cycles, featuring the works of eight composers with text by eight poets. Each song cycle is comprised of two to four short selections and the subjects range from failed relationships to the classic character portraits of the Canterbury Tales. The playing and singing are beautifully realized on the entire CD and each piece convincingly carries forward its story with music and voice.
Carefully Try Balance is the first song cycle, consisting of three sections written by three different composers, all based on the poetry of Toby Roberts. The first of these, Part 1 was composed by David Gotay and begins with a strong piano chord and blustery flute passages. The clear soprano voice of Elizabeth Cherry soon joins, singing of winter weather; a metaphor for a relationship that is going cold. The flute answers each passage in the voice and the blend is very effective. The singing is precise and easy to follow, with good tone and clear annunciation. There is a chill in this that sets the stage for the sections that follow Part 2, by Zach Seely, begins with deep piano notes, dark and melancholy. The soprano enters with spoken text followed by dramatic singing whose volume and emotion approach operatic dimensions. This is the breaking up of the relationship with low, dark notes in the piano and coldly spoken words.
Part 3, by Thomas Carlo Bo, opens with a lighter, more optimistic piano line and the soprano now embarks on a more bluesy, reflective line. There is a sense of getting past the pain of the breakup, a more philosophical feel: “Life and romance can be cruel – both are over too soon.” The three sections, although separately composed, work very well together and the arc of the story is carried forward seamlessly throughout. This is also a tribute to the artful playing and singing that infuse this work. Carefully Try Balance is a fine example of the power of good writing and close artistic cooperation.
The second song cycle on the CD is Blues From an Airport Bar, composed by Gene Pritsker, with poetry by Jacob Miller and vocals by Charles Coleman. These three are reunited having appeared together on an earlier CD, Manhattan in Charcoal. The feel is similar and this four-movement work opens with a bluesy piano and Coleman’s solid baritone lamenting the departure of his former lover aboard an airplane that has just taken off. He is a poet who has lost at love and now considers his fate from an airport bar stool. There is a sad, confessional feel to this – almost Sinatra-like – as the alcohol begins its work. Movement 2 has a wonderfully tipsy line in the piano and just a bit less coherence in the lyrics as the singer drinks further into his cups. There are recriminations and regrets, but this movement ends on a questionably sincere “I wish her the best…”
Movement 3 is much slower and nicely evokes the effect of alcohol fully felt. The low notes in the piano and voice point to the depressive effect of the liquor and the lyrics meander through unconnected thoughts, honest realizations and unlikely scenarios of reconciliation. The singing here is outstanding; precise yet fully expressing that hazy combination of honest assessment and alcohol-induced fog. Movement 4 is upbeat, with a sense of release – the failure of the relationship is taken into a bigger context and the experience will become grist for the poet’s art. Blues from an Airport Bar charmingly captures the pain of a lost love in the familiar confines of an airport watering hole, the sadness, anger and alcohol perfectly reflected in the music and lyrics.
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Manhattan in Charcoal
Jacob Miller – Libretto
Manhattan in Charcoal is a newly released CD from Composers Concordance Records and distributed by Naxos. This is a chamber opera with the libretto written by the poet Jacob Miller and music composed by Gene Pritsker. The story is about “The life and loves of an artist in New York City in the early days of the 21st century who is struggling to find his way…” Manhattan in Charcoal is a powerfully dark work whose strength is equally derived from the poetry and the music.
The first movement starts with The Village Feels Empty and the music evokes just the right atmosphere – a sustained trombone tone with a moving bass line underneath. Woodwinds and brass hold higher, dissonant tones, while a running piano scale is heard cutting through the texture. Now violins add a dark shadow, and the image of a rainy night in Manhattan is complete. The narrator – librettist Jacob Miller, perfectly cast – begins his story.
The story line of Manhattan in Charcoal is about a painter – the Artist – who is struggling to make an impression in the uptown galleries while at the same time maintaining a balanced relationship with his girlfriend Beatrice, who is jealous of his devotion to his art. The music in the opening scene reflects this tension, but dissolves into warm harmony when the Artist invites Beatrice to look outside the window. They sing “Art is everywhere, Beatrice – come look at the streets…” Later the Artist tries to assure Beatrice with the words: “But there is and has always, been only you.” – this is sung as a lovely duet and it seems as if Beatrice is almost convinced.
Meanwhile the Artist, always struggling for money, begins his latest work, ‘Manhattan in Charcoal’ – envisioned in paint at first, but later reduced to a more affordable charcoal and paper. Outsider Art opens Movement 2, and the music to describe this slowly unfolding process is heavy and complex as the Artist struggles to adapt to the unfamiliar technique. As the drawing nears completion, plans advance to show it in a gallery and when this occurs the Narrator describes the exhibition, backed by a wonderfully jazzy groove that projects success and sophistication.
A lively piece opens Movement 3 – Art Dealers Dance – and this captures the mundane and banal demands of those who simply want to make money from the success of an artist. Just the Way I Draw is all horns, woodwinds and brass – bouncy and light – the perfect allegory for the airy pronouncements by the critics. The Artist has gained some notoriety from ‘Manhattan in Charcoal’, but his sudden celebrity has attracted the attentions of another woman, and Beatrice senses a rival. This leads to the crisis and denouement of the opera. In the final scene the libretto and music are masterfully matched in a beautiful collage of woodwinds, voices and percussion that is very moving.
The lead singers in this recording – baritone Charles Coleman as the Artist, and soprano Lynn Norris, as Beatrice, give a skillful and precise reading of the sometimes angular and uneven phrases. The accompanying musicians provide a polished and well-balanced support, effectively evoking the many different moods that are woven through this work.
This opera is described in the liner notes as “… the life and loves of an artist in New York City in the early days of the 21st Century…”, but there is no plot device having to do with cell phones or email. Rather, Manhattan in Charcoal is the timeless story of artists and lovers, beautifully told here in poetry and music.
Manhattan in Charcoal will be released in May 2015 and the CD will be available from Naxos.
A short video featuring some of the music is here.
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Sasha Cooke, mezzo-soprano; Tim Fain, violin, Sato Moughalian, flute; Blair McMillen, piano
Perspectives Ensemble, Angel Gil-Ordonez, conductor
Catalan composer and music critic Xavier Montsalvatge (1912-2002) created a stylistically varied and compelling body of work. The pieces here demonstrate his music’s abundant vitality, continual curiosity, and eloquence. In particular, the two vocal works, Madrigal sobre un tema popular, which teems with attractive folk dance rhythms, and 5 Invocaciones al Crucificado, an affecting meditation on Christ’s passion, are given standout performances by the extraordinarily talented mezzo-soprano Sasha Cooke. Violinist Tim Fain supplies an energetic and adroit rendition of the solo part in the neoclassical work Concertino 1+13, and flutist Sato Moughalian and pianist Blair McMillen negotiate the more modernist environs of Serenata a Lydia de Cadaques with technical skill and thoughtful musicality. The Perspectives Ensemble, conducted by Angel Gil Ordonez, provides stalwart support throughout. The disc is an excellent snapshot of a composer whose perseverance during the repressive time of Franco’s regime yielded a great deal of memorable music.
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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.
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Mandolin Concerto; Piccolo Concerto; Concerto Grosso; Piano Concerto in A
Avi Avital, mandolin; Mindy Kaufman, piccolo;
Arnaud Sussmann, Lily Francis, violins; Eric Nowlin, viola;
Michal Korman, cello; Aya Hamada, harpsichord;
Eliran Avni, piano;
Metropolis Ensemble, conducted by Andrew Cyr.
Naxos American Classics CD 8.559620
On the second Naxos CD devoted to the music of Avner Dorman, concerti take center stage. At first blush, the composer seems to display a palpable streak of traditionalism. Triadic language abounds in his works and he makes many tips of the hat to Baroque music and neoclassicism. But there’s much more beneath this attractive, if familiar, surface. Dorman is also interested in uncovering some of the undiscovered potential of the concerto, exploring its capacity for different narrative arcs and recasting the genre with some unusual protagonists.
Indeed, it was for a work with an unlikely soloist, the Mandolin Concerto, written in 2006 for Avi Avital, that the disc has received the most attention. Avital’s incisive and nuanced performance has garnered a Grammy nomination. The Mandolin Concerto itself is one of the most adventurous works Dorman has yet composed. Its explorations of many timbres, orchestral effects, and myriad shifts of tempo & demeanor make it a dazzlingly mercurial and potent essay.
There’s more on the CD to recommend as well. Metropolis Ensemble, with a passel of soloists in concertino tow, sparkle in the Concerto Grosso (2003). The work features virtuosic string writing and cinematic sweep. Indeed, here Dorman displays a fluency of orchestration that in places reminds one of John Corigliano, his teacher during doctoral studies at Juilliard.
One would be forgiven if they assumed going in that a Piccolo Concerto would be a piercing prospect and too limited a palette to work satisfactorily. I’m still not convinced that this is a genre that requires a plethora of options, but soloist Mindy Kaufman’s rendering of the Dorman concerto for the instrument reveals striking versatility. The piece itself combines jazzy rhythms, neo-Baroque signatures, and resonances of the pipes and whistles found in a variety of folk music traditions.
Written when he was just 20 years of age, Dorman’s Piano Concerto in A Major is a splashy technicolor work that embraces virtuosic showmanship, combining a prevailingly Neo-romantic aesthetic with occasional post-minimal ostinati. Pianist Eliran Avni captures the concerto’s spirit, performing its often dizzyingly paced passagework and cadenzas with pizzazz. While no one will mistake it for the mature voice found in the Mandolin Concerto, the youthful exuberance of the Piano Concerto is frequently charming.
Concerto in A – 1st Movement from Metropolis Ensemble on Vimeo.
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IVES: Songs. Various Artists. Volume 1: “123” through “Cradle Song”. Naxos 8.559269. 75 minutes. Volume 2: “December” through “Gruss”. Naxos 8.559270. 68 minutes. Volume 3: “Harpalus” through “Luck and Work”. Naxos 8.559271. 76 minutes. Volume 4: “Majority” through “Over the Treetops”. Naxos 8.559272. 73 minutes. Volume 5: “Paracelsus” through “Swimmers”. Naxos 8.559273. 80 minutes. Volume 6: “Tarrant Moss” through “Yellow Leaves”. Naxos 8.559274. 66 minutes.
Charles Ives completed nearly 200 songs between 1887 and 1926, spanning the entirety of his composing life. All of his aesthetic, musical, poetic, philosophical, and political concerns are addressed, one way or another, in one style or another. All of the completed songs are included in Naxos’ six volumes, which are organized according to song titles, in alphabetical order. This arrangement seems extremely counter-intuitive, but it turns out to be really inspired, as it allows a listener to get a picture of the range of Ives’ work in the form, without having to purchase the entire set.
Like every collection of this size and this variety, every listener will have favorites and every listener will find revelations. Many of the songs are well-known, such as “General William Booth Enters Into Heaven” (Volume 2, David Pittsinger, bass, and Douglas Dickson, piano), “Majority” (Volume 4, Robert Gardner, baritone, and Eric Trudel, piano), “The Cage” (Volume 1, Gardner and J. J. Penna, piano) and “The Greatest Man” (Michael Cavalieri, baritone, and Dickson).
An example of a revelation is “Ich Grolle Nacht” (Volume 3, Gardner and Penna). This is an early (1898) song on a text by Heinrich Heine. This song and others from the same time frame show a fully mature composer with a solid grasp on the late Romantic style of the day. The touching lyricism that characterizes this song emerges throughout Ives’ career, as in the deconstruction of the hymn “At the River” (Volume 1, Sara Jakubiak, soprano, and Dickson).
Ives’ stentorian mode comes into play in such political/patriotic songs as “Lincoln, the Great Commoner” (Volume 3, Gardner and Trudel) and “Walt Whitman” (Volume 6, Ryan MacPherson, tenor, and Trudel), which are also portraits of their subjects in the manner of the composer’s “Concord” Sonata. Patriotic fervor also brings out Ives at his most gloriously impractical, as in the 42-second song for voice and three pianos “Vote for Names! Names! Names!” (Volume 6, MacPherson and pianists Laura Garritson, Dickson, and Trudel).
Every disc is replete with the special pleasures of Ives’ art. Hymn-tunes, patriotic songs, and chaos abound. Anyone wishing to stick a toe in this repertoire would do well to get any one of the volumes.
The performances throughout the collection, featuring about two dozen singers, a number of pianists and assorted instrumentalists, are ardent, committed, and expressive, if not quite as polished as those of Susan Narucki and Donald Berman. Naxos’ production is solid, and Richard Whitehouse’s notes are well-written and richly informative.
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Brion / Sindbad / Exiles (Cygnus Ensemble, Peabody Trio, Sequitur, Shirley-Quirk, Baker, Hostetter)
Naxos CD 8.559660
After having a couple of pieces featured on compilation recordings that appeared on the Albany imprint (including the memorable work Virginal for Sequitur), composer Harold Meltzer’s first solo disc is on Naxos. Meltzer’s music combines an incisive sense of rhythm – he’s particularly thoughtful in setting the rhythms of speech – with a varied pitch palette that combines judicious but punctilious use of dissonance with lush, often haunting, moments of repose.
The Cygnus Ensemble makes a palpable delineation between these two musical approaches on their sharply etched recording of Brion (2008). This piece was a finalist for the 2009 Pulitzer Prize in Music, and one can hear why. It’s fastidious in its craftsmanship, yet abundantly imaginative. Centering around a bird call-based ritornello refrain, which easily moves between foreground and background presentation, its intricate design is just the type of work that’s tailor made for Cygnus’ modernist performance specialists. And Brion isn’t sparing in its technical demands either. Guitar flurries are matched by virtuosic flute passages in several bustling duos. But the ritornello supplants this with an eerily pastoral music suffused with chirping birds and, at the piece’s close, an intriguing, if somewhat uneasy, sense of harmonic closure.
On “Two Songs from Silas Marner,” soprano Elizabeth Farnum negotiates the high tessitura with grace, bringing delicate shading of dynamics to her characteristic pitch-perfect accuracy.
Both sprechstimme and monodrama have, not entirely unfairly, gotten a reputation for sounding carbon-dated at best and often mawkish when not well-deployed. While Sindbad may not entirely allay these misgivings, Meltzer’s aforementioned talent for word-setting and a passionate performance by baritone (here as speaker) John Shirley-Quirk make a case for this hybridized musical/dramatic form. It certainly helps that the speaker is accompanied by such colorful and multifaceted music.
Sequitur appears here too, accompanying baritone Richard Lalli in Exiles, a two-movement work featuring settings of Conrad Aiken and Hart Crane. Written in a kind of “bari-tenor” register (Exiles was originally composed for the tenor Paul Sperry), it could, in the hands of a lesser (or lower) baritone, seem a bit strained. But Lalli too negotiates the upper regions with a supple and, at times, surprisingly gentle approach. It well befits Exiles haunting lyricism and limber long-lined melodies.
All told, this disc is a very strong outing that begs for a sequel.
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LENTINI: Orchestra Hall Suite; El Signo del Angel; Five Pieces for Cello and Piano; East Coast Groove; Scenes from Sedona; Montage. Paul Ganson, bssn; Geoffrey Applegate, Harvey Thurmer,vln; James Van Valkenberg, Mary E. M. Harris, Cynthia Fogg, vla; Marcy Chanteaux, Pansy Chang, Tom Flaherty, vcl; Jaquelyn Davis, harp; Siok Lian Tan, Robert Conway, pft; Velvet Brown, tuba. Naxos 8.559626. 58 minutes.
What is “academic” music? For most people who think about the subject (and those tend to be composers), it’s the music that dominated the composition department at whatever school they attended, if they didn’t write that way themselves. Others see it as music studied in theory/analysis class. (How being chosen for analysis in a class or a studio makes the music itself “academic” is a little mysterious.)
As a long time observer and sometime participant in the college music scene, albeit outside the big music centers, it seems to me that there is a more meaningful and less charged way of looking at academic music. That is, academic music is music written for and played by faculty and students at music schools. That’s not meant to say that the music itself has limits that make it artistically unable to thrive outside the academy, rather that the market outside the academy is generally limited to certain kinds of ensembles. The composer of this kind of academic music writes for established types of ensembles (such as string quartets and piano trios) when they are available, but as often as not, they write for the idiosyncratic, ad hoc combinations available amongst colleagues and students.
In terms of style, this kind of academic music is neither uptown nor downtown, but it partakes of aspects of both. It is largely tonal, of the expanded variety, but is not afraid to partake of more astringent harmonies from time to time. It often shows a distinct influence of jazz and/or pop, both in melodic/harmonic materials and in rhythm. The originality in the music is most present in its orchestration, where instruments (bassoon and tuba, for example) are asked to carry roles they rarely have in orchestral music. The result (depending on the skill and vision of the composer) is appealing and accessible, without being cloying or patronizing.
James Lentini writes this kind of music, and he does it very well. He deftly combines unusual groups of instruments and makes the listener feel that there should be an entire repertoire for them. This is most immediately true (for me) in Orchestra Hall Suite, for bassoon, violin, viola, and cello. After hearing this expressive, well-made piece, one wonders why the “bassoon quartet” is not a staple of chamber music series.
Lentini, who is Dean of the School of Fine Arts at Miami University (Ohio), has a thorough understanding of instruments, how they work and how they work together. The unlikely duo of viola and harp sounds great in El Signo del Angel (The Sign of the Angel). East Coast Groove, for tuba and piano, sings and swings.
The performers, many of whom are Lentini’s colleagues at Miami, are outstanding executants of this fine music. Naxos, with this outstanding release, continues to be one of our most important record companies.
Remember, “academic” is always
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The Voice Inside / How Swift the Hours / Cassandra’s Songs / Kaea
Madeleine Pierard, mezzo-soprano; Vesa-Matti Leppänen, violin; Michael Kirgan, trumpet; David Bremner, trombone
James Judd conducts the New Zealand Symphony Orchestra
Lyell Creswell (b.1944), Wellington, NZ native who now considers Edinburgh home base, shows a decided interest in furthering the scope of activity of four instruments (trumpet, trombone, violin, and voice) in works that reveal his range of interests as a composer. The Voice Inside, based on the striking and incisive verse of contemporary Scottish poet and novelist Ron Butlin, is billed as a concerto for soprano, violin and orchestra, and it truly casts both Pierard and Leppänen in virtuosic roles, vis-à-vis the orchestra as well as each other. The six poems center around the transcendent moments in which both voice and violin give utterance to sound, and then to music. The relationships are ever-changing: “Catch as catch can, / boy and girl, woman, man / contrapuntal, asymptotic, / palindromic / mirrorwise inversion / canonic imitation / Your theme or mine?” The two instruments appear as both lovers and rivals against the light orchestral backdrop. Movement VI is a scherzo, in which Pierard engages in pleasant verbal gymnastics with the evocative sounds of a string of names of famous violin virtuosi. VI, Burlesque, playfully twits the 12-tone school of composition: “Twelve equal tones, dangling on a score, / if one of them should modulate / would there be a melody / where none had been before?”
“Alas! How Swift,” the title of Crewell’s 11-minute concerto in a single movement for trumpet and orchestra, alludes to the fleeting passage of time, reflected in the swirling movement of the orchestral accompaniment, at the constant speed of 138 beats to the minute. That movement seems to echo the restlessness of wind and water (including, at the 0:57 mark and again, about a minute later, the chugging, guggling sound of water passing down a drain!) Often the orchestra is required to play both quietly and swiftly (musicians can tell you the difficulties that involves), and the trumpet player to execute frequnt double-tonguing. To return to the washday analogy, the orchestra goes into a final speed rinse cycle as we near the end, prompting a last burst of virtuosity from the trumpet.
“Cassandra’s Songs,” another example of a fruitful collaboration between Ron Butlin and the composer (with a verse from Euripides’ The Trojan Woman inserted as the text for the third song, of five) are poignant expressions of exile, identity, loss, hope and despair. It is another instance in which outstanding vocal artistry, here executed to perfection by Pierard, is brought to the service of great poetry: “Teach me, gods of song, some harsh lament / Dissonant with tears and howls, / Help me to sing Troy’s sorrows, invent / New sounds for my grief.” (The words I’ve chosen are Euripides’, but Butlin’s are on the same high plane of inspiration.)
Finally, Creswell returns to his Kiwi roots with Kaea, a concerto for trombone and orchestra that draws its title and the inspiration for its primitive beauty on the so-named war trumpet that was traditionally used by the Maori people to terrify their enemies before a battle. Of course, the Maori also have some of the world’s most beautiful songs and chants. But here, with the exception of a brief legato melody in the slow section of this work, the music is mostly staccato, phrased stunning by the soloist in a way that pushes the limits of the trombone in the way of terse, rhythmic excitement and a blaring suddenness that can create a miasma of sound, as it does when we first hear the voice of the Kaea. Truly, a hair-raising moment!
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