Archive for the “Naxos” Category
CARTER: Mosaic; Scrivo in Vento; Gra; Enchanted Preludes; Steep Steps; Figments I & II; Riconoscenza per Goffredo Petrassi; Rhapsodic Musings; Dialogues. New Music Concerts Ensemble/Robert Aitken. NAXOS 8.559614. CD 65 minutes; DVD 50 minutes.
In addition to an increase in performances marking Elliott Carter’s 100th birthday last December, there were a few new recordings of a substantial amount of the peripatetic centenarian’s recent music.
This Naxos set (already ably reviewed by Jay Batzner) is a valuable addition to the Carter discography, for at least a couple of reasons. It provides high-quality second (and in some cases more) recordings of several works, it’s a very good introduction to Carter’s music of the last 20 years or so, and not least, it includes the first recording of Mosaic (2005, harp and mixed ensemble), one of Carter’s most colorful and directly approachable scores.
The composer’s late style is characterized by a stronger emphasis on instrumental color for its own expressive value and relative textural clarity (which in many pieces goes hand-in-hand with the emphasis on color). These traits are presented in a new (for Carter) structural looseness that is often manifest in collage-like forms made up of short, overlapping episodes of contrasting music.
“Gorgeous” is not a word one often associates with Carter, but it applies to Mosaic. The solo harp part, played here with great style and flair by Erica Goodman, swoops and dances voluptuously over the range of the instrument. The accompanying ensemble sings and rasps its support and commentary.
The bulk of the program consists of new performances of a handful of the character pieces that are a staple of Carter’s recent career. These are the second (and sometimes third or fourth) recordings of these pieces, which are becoming standard repertoire for their instruments, at least amongst a certain type of performer.
The disc closes with a bright and lively reading of Dialogues (2004, piano and chamber orchestra) another exemplar of the composer’s late approach. David Swan gives a deft and expressive performance of the daunting solo part, and Robert Aitken leads a strong reading by the New Music Concerts Ensemble.
The bonus DVD includes film versions of the performances of Mosaic and Dialogues, as well as a post-concert interview of the composer conducted by Mr. Aitken. The films included some very amateurish effects shots and are unimaginatively shot, but they are valuable in that they show the under-commented-on physicality of Carter performance. The interview includes some of Carter’s more familiar ideas, and is valuable for the newbie in that respect.
Jay also reviewed
Ursula Oppens’ recent traversal of Carter’s then-complete piano music, and we pretty much had the same reaction to it.
 Or is it “late late” by now?
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Elliott Carter 100th Anniversary Release
New Music Concerts Ensemble
Robert Aitken, Director
Scrivo In Vento
Figment No. 1
Riconoscenza per Goffredo Petrassi
Figment No. 2 (Remembering Mr. Ives)
For many, this disc will instill a reaction without listening to it. If you are a fan of Carter’s output, you will be interested in this disc. If you don’t like his music, you will ignore the CD and walk away. If you are curious about Carter’s music, and don’t have a reaction yet, this disc is a great sampler of his later chamber works. For me, I already have recordings of most of these pieces. All of the performances are first rate, of course. Robert Aitken’s interpretation of Scrivo In Vento
is my favorite recording of that work so far. No matter the instrument, everyone approaches this music with confidence of technique and a keen ear for expression. Carter’s music is notoriously thorny and abstract but these performances communicate more than “this stuff is hard to play!”
I am particularly grateful for the recording of Mosaic for harp and ensemble. The opening seconds are almost minimalist in nature with an irregular pulsation. It doesn’t take long, though, before Carter’s abstract lyricism takes over. I find Carter’s post-Symphonia output to be lusciously lyrical. There is a sparseness of texture and attention to horizontal motion that is much easier to digest than his more famous metric modulation output.
The DVD that accompanies the CD is rather disappointing. The footage comes from a performance of Carter’s works in Toronto during 2006. There aren’t many insights that are revelatory in Aitken’s recollections or the pre-concert talk Carter gives with Aitken. The video of Mosaic is covered with cheesy, iMovie-esque mirroring effects which irritate more than fascinate. Dialogues also gets a video treatment but is rather unremarkable. The CD is worth the excellent performances and, luckily, you don’t pay extra for the DVD.
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A Dylan Thomas Trilogy
Sir Thomas Allen, baritone; Ty Jackson, boy soprano; John Tessier, tenor; Nashville Symphony Chorus; Nashville Symphony Orchestra; Leonard Slatkin, conductor
This is the first large-scale composition that I have heard from John Corigliano in quite some time. Back in the mid-90s, I was really taken with his music. My favorite works were his Clarinet Concerto, Three Hallucinations,
parts of his Symphony #1, and the opera Ghosts of Versailles.
What I enjoyed most about his music were his vibrant colors and wild textures. His music used, to my ears, contemporary techniques in a very approachable emotional package. This was my perspective as a grad student over a decade ago, please do not substitute it as “the truth.”
All that being said, A Dylan Thomas Trilogy contains precious little of the materials that initially drew me to Corigliano’s music. This sound is much more conservative from just about every aspect and, to my ears, it loses a great amount of personality because of it. Each movement of the 5-part trilogy (two prologues surround the first “real” movement, Fern Hill) is pure Romanticism without any of the techniques, style, or personality that made Corigliano stand out in the first place.
Don’t get me wrong, the whole disc is well performed and the music is lovely. Corigliano knows what he is doing and how to write the music that he wants to hear. It Just sounds as though it could have been written by anyone. Few of the traits that I enjoyed from earlier Corigliano works are present. The second prologue is vibrant and hints at some of the playful moments from Ghosts, as does the opening of the Poem from October movement. It doesn’t take long, though, until the music transitions back to the fairly pedestrian Romanticism that makes up the bulk of this piece.
Is it unfair for me to judge Corigliano’s music this way because I haven’t kept speed with his stylistic evolution? Perhaps. No need to blast me in the Comments section for this. It is merely my opinion, substitute your own as needed. I’ll say it again: the music is very pretty and well performed. I just don’t take anything special from it. I identify the music as attractive, but not memorable. If you are a fan of Romanticism (no neo- prefix needed here), then you will most likely enjoy this disc. If you, like me, still enjoy doing impersonations of his Clarinet Concerto even though I haven’t heard the work in over 12 years, you might want to check out something else.
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WUORINEN: Ashberyana; Praegustatum; Fenton Songs I and II; Ave Christe (Josquin); Josquiniana. Sarah Rothenberg, Alan Feinberg, piano; Leon Williams, baritone; James Pugh, trb; Mark Steinberg, David Fulmer, vln; Misha Amory, vla; Nina Maria Lee, vcl; Lucy Shelton, soprano; Brentano String Quartet; Charles Wuorinen, conductor. Naxos 8.559377. 61 minutes.
Charles Wuorinen’s rhetorical bark has always been sharper, edgier, than his musical bark. Many of his verbal excesses about the primacy of 12-tone technique and the death of tonality have proven less than prophetic.
In fact, Wuorinen’s own musical development has belied his bellicose statements. Much of his music expresses a direct, modern lyrical impulse. He has a good ear for instrumental color and line. The biggest problem I’ve had with Wuorinen’s music in the past is that I’ve often found his rhythmic style in conflict with his pitch vocabulary””the rhythms feel much more tonal than the harmonies and melodies would seem to suggest.
The accompanied trombone solo that begins the first piece on this Naxos disc, Ashberyana, (written in 2004 for baritone, trombone, string quartet, and piano, on poems of John Ashbery) reveals a composer whose style has resolved the tensions within his musical personality. Or a critic who is hearing better. At any rate, the trombone’s lyrical line (played with style and power by James Pugh), with its fleeting but unmistakable tonal references, is accompanied by sharp, dissonant chords on the piano.
Wuorinen’s text setting is clear, though the vocal line is often more angular than the trombone line, but this is appropriate for Ashbery’s poetry, with its ellipitical imagery and complex structure. Baritone Leon Williams gives a strong performance of the difficult vocal part, and the composer leads Da Camera of Houston in a solid, authoritative performance.
The rest of the program, consisting of a solo piano work (very well played by Sarah Rothenberg), two brief song cycles on poetry by James Fenton (sung with intense conviction by Lucy Shelton), and some Josquin arrangements, is solid and musical. Naxos’ sound is very good, and Sarah Rothenberg’s notes are informative.
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HEGGIE: For a Look or a Touch; SCHWARZ: In Memoriam; LAITMAN: The Seed of Dream. Morgan Smith, Erich Parce, baritone; Julian Patrick, actor; Julian Schwarz, cello, Mina Miller, piano; Music of Remembrance. Naxos 8.559379. 61 minutes.
Music of Remembrance is a Seattle-based ensemble/organization dedication to the creation (through commissions), performance, and dissemination of music whose subject is the Holocaust, especially victims of the Holocaust who were musicians.
This Naxos disc includes first recordings of three memorial pieces, two of which (are Lori Laitman’s The Seed of Dream and Jake Heggie’s For a Look or a Touch) are Music of Remembrance commissions. The Seed of Dream, for baritone, cello, and piano, is a setting of poems by Vilna Ghetto survivor Abraham Sutzkever. The mood is, naturally, dark, but there are often rays of light and hope in Laitman’s direct and lyrical music. Erich Parce sings the vocal line in a rich baritone voice. Cellist Julian Schwarz and Music of Remembrance Artistic Director Mina Miller (piano) provide solid and poetic accompaniment.
Gerard Schwarz’ In Memoriam is a very straight-forward lament. His experience as a conductor (he is currently Music Director of the Seattle Symphony) shows in how well he writes for string instruments. The piece is in three clearly laid out sections, and is ably played by Julian Schwarz and member of Music of Remembrance.
The revelation of the disc, for me anyway, is Jake Heggie’s For a Look or a Touch. Heggie is best known as a composer of opera (Dead Man Walking) and this piece, though not an opera, shows its composer as an artist who knows his way around narrative and drama. For a Look or a Touch (libretto by Gene Scheer) is a story of a Holocaust survivor and his struggle to remember his lover, who died at Auschwitz. It is a romantic and harrowing work, one of the first to deal directly with the persecution of homosexuals by the Nazis. Heggie’s music is eclectic, with touches of romantic jazz along side passages that explore the darker aspects of the story without ever wallowing in bathos. Morgan Smith ably sings the role of survivor Gad, while the role of his doomed lover, Manfred is read by Julian Patrick. The device works, and the piece is very moving. Members of the Music of Remembrance ensemble play Heggie’s music with skill and conviction.
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Complete Music for Cello and Piano
Mark Kosower, cello; Jee-Won Oh, piano
Pampeana No. 2, Cinco canciones populares argentinas, Puneí±a No. 2,
There are a lot of great things about this recording. If you are a fan of Ginastera’s music, this recording is a wonderful collection showcasing all of the rich details that endear his output to me. The music has rich and occasionally edgy harmonies, wonderful rhythmic propulsion, and extremely lyrical melodies. I find Ginastera to be a perfect example of rugged modernism that is still palatable to more conservative musical tastes. Mark Kosower’s tone is rich, earthy, and deep, making it a perfect match to the material at hand. Paired with Jee-Won Oh on piano, Kosower is stellar at finding the inner life of each piece and communicating that life to the listener. Each work is played with just the right amount of power or tenderness, depending on the need. Kosower’s arrangements of the Cinco canciones populares argentinas
are equally sensitive and nuanced, making his efforts on this disc a double-threat.
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Youngstown State University
Symphonic Wind Ensemble
Introduction and Rondo-Capriccioso,
Camille Saint-Saí«ns (arr. Lee Brooks)
Overture on Russian and Kirghiz Folk Songs,
Dmitry Shostakovich (arr. Guy Duker)
Nobles of the Mystic Shrine,
John Philip Sousa
Another solid entry for Naxos’s Wind Band Classics
series has been made by the Youngstown State University Symphonic Wind Ensemble directed by Stephen L. Gage. Everything about this disc was done well: performance, music selection, programming, the whole works.
The opening track, Scott Lindroth’s Spin Cycle, is one of those colorful, peppy, wildly orchestration works that are so popular among wind ensembles (performers and audiences alike). The title alone tells you what to expect. The piece uses charming amounts of colorful fluff and energy but doesn’t wear out its welcome. The Saint-Saí«ns arrangement replaces the solo violin with flute and clarinet, allowing for some nice timbral shifts and octave doublings. Kathryn Thomas Umble and Robert Fitzer (flute and clarinet, respectively) perform the work in such a way that I don’t miss the violin at all. Nor does this arrangement make me think this work was originally for orchestra. Eric Whitacre’s October is a deceptive piece. The basics of the work are very simple (nice somber tune, mellow mood, well balanced on color and substance) but the execution is much harder than it seems. Intonation traps are abundant and the YSUSWE does an admirable job navigating those traps. The ensemble also does a great job with the work’s overall narrative shape and linear flow.
The meatiest piece on the disc is the 30 minute Urban Requiem for sax quartet and wind ensemble (saxophones are performed by James Umble, Allen Cordingley, Kent Engelhardt, and Joseph Carey). The piece is crazy. There is a sinewy stream-of-consciousness flow to the form. Murky and foreboding passages are followed by spastic and energetic bursts (with little warning). Avant garde riffs give way to comical dance bits. Basically, the whole piece is a series of WTF moments but the overall effect is compellingly performed and expressed. The performance is completely engrossing and well worth every second.
Another arrangement on the disc, Shostakovich’s Overture on Russian and Kirghiz Folk Songs, brings us back down from the wild ride of the Colgrass. Again, this arrangement is well scored and makes the ensemble sound good without making you think they need a big string section. The closing Sousa march is, as they usually have been on this series, a rousing way to finish things off. I’m grateful for the selection of this particular march since it isn’t one that I hear as often as others. Sure, most Sousa marches sound the same, but there are some really nice harmonic twists and some darker brass fanfares in this particular number.
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Chamber Symphony #2 and more
Robert Craft Collection
Chamber Symphony No. 2, Philharmonia Orchestra, Robert Craft
Die glückliche Hand,
Mark Beesley, bass; Simon Joly Chorale; Philharmonia Orchestra, Robert Craft
Wind Quintet, New York Woodwind Quintet
The overall quality of the Robert Craft Collection on Naxos continues with this Schoenberg disc. What interests me are some of the notes included that talk about how Chamber Symphony No. 2 “ought to be the most popular of Schoenberg’s later masterpieces.” The piece gets a wonderful and sultry performance by the Philharmonia Orchestra but I must say I still prefer the first Chamber Symphony. I think the overall maturity of Chamber Symphony No. 2, both in composition and performance, is something that is lost on me. I still prefer the “Richard Strauss on meth” energy of the earlier work. In time, I’m sure that will change.
Die glückliche Hand gets a great and powerful, and overly creepy, performance. Mark Beesley is clearly comfortable in The Man’s overall discomfort and his voice is well tuned to the wacky expressionist angst that surrounds him. The Wind Quintet, a work that is not often performed nor recorded, also gets great treatment for this CD. The notes talk mainly about the speed at which the New York Wind Quintet plays the work (being one of the only recordings or performances lasting under an hour). This is a beefy and thorny work which commands virtuosity on all levels from every performer all the time. The ensemble has a terrific mastery of the piece and they do not make the quintet sound as hard and laborious as it really is. The Wind Quintet could be as hard to listen to as it is to play (and I’m a fan of Schoenberg’s music) but the New York Wind Quintet really takes control and delivers a great performance. At some point, I know that these Craft Collection discs will stop. I hope it isn’t soon…
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WHEELER: The Construction of Boston. William Hite, Charles Blandy, tenor; Krista River, mezzo-soprano; Marcus DeLoach, Christí²pheren Nomura, baritone; Christine Swistro, Sharla Nafziger, soprano; Elizabeth Anker, contralto; Chorus & Orchestra of The Boston Cecilia/ Donald Teeters. Naxos 8.669018. 60 minutes.
Scott Wheeler’s The Construction of Boston (libretto by Kenneth Koch; 1989, r. 2002) is a delightful one-act allegory on, well, the building of the city of Boston. As is the case with many recent American operas, it is stylistically eclectic, but there is no feeling of pastiche, and the composer’s musical personality is evident throughout.
The music is accessible, edgily tonal most of the time, with a feeling of Bernstein-style Broadway in some of the choruses. The vocal writing is idiomatic and the words come through very clearly. Wheeler’s rhythmic style is beat-oriented but also free and striking. His orchestration is inventive””bright and arresting.
The vocal performances are solid to excellent, with standout performances by tenor William Hite (as “The Opera” and Jean Tinguely), soprano Sharla Nafziger (as Niki de St Phalle), and baritone Christí²pheren Nomura (as Robert Rauschenberg; I told you it was an allegory). The chorus and orchestra of The Boston Cecilia, led by Donald Teeters, give very good accountings of themselves. The sound in this concert performance is very good. Everything is audible and the balance is as good as you would find in a studio recording.
All in all, a very pleasant way to spend an hour.
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Piano Music of Ahmet Adnan Saygun
Zeynep Ucbasaran, piano
Anadolu’dan (From Anatolia), Aksak Tartilar íœzerine 12 Prelüd (12 Preludes on Aksak Rhythms), Inci’nin Kitabi (Inci’s Book), Aksak Tartilar íœzerine 10 Taslak (10 Sketches on Aksak Rhythms), Sonatina
Billed as the Bartí³k of Turkish folk music, this CD of piano compositions by Ahmet Saygun lives up to that reference. The pieces are playful, rhythmic, quirkily melodic, fun, and refreshing. I think connecting Saygun to Bartí³k is apt in the scope and source of Saygun’s material but it should by no means cast a shadow over Saygun’s own compositional voice. These pieces are not “Bartí³k-lite” but a wonderful set of miniatures (in length but not in spirit) written in a similar style. Rhythms are at times laid out like a groove and at other times abstracted into spiky punctuations. My favorite works on the disc are the 12 Preludes for their dramatic abstractions and sharp edges as well as the Sonatina since, for some reason, I just always seem to get a kick out of sonatinas. Saygun’s Sonatina expertly compresses bold gestures without making the listener feel short changed. Zeynep íœcbasaran’s technique and expression are perfectly matched to the material.
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