Archive for the “Piano” Category
Images is a new CD of original piano music by Jennifer Castellano who has composed and performs all 14 of the tracks heard on this album. Ms. Castellano received her Masters in Music and Composition from SUNY, Purchase, NY, has received commissions to write orchestral works for the North/South Consonance Chamber Orchestra and has been a featured artist on Marvin Rosen’s WPRB Classical Discoveries radio program.
The 14 tracks on this CD are all short pieces – the longest just a little over three minutes – but all are carefully crafted with a sense of style and structure that make each a miniature showpiece. Cool Cats, track 7 is typical, starting with a slow repetitive line in the left hand and a wistful melody above. Midway through the mood brightens as the tempo increases and more notes are heard. A repeat of the opening completes the form and provides a timely sense of closure. The counterpoint and harmony are solidly constructed and sensitively played.
Other tracks express variously different feelings, but all share the same attention to detail. Track 2, titled Three, has an easy, jazzy feel with a nice descending bass line. Peaceful Pause, track 3, is just a little over one minute long yet packs a strong sense of dramatic grandeur, like looking out from the top of a high mountain or taking in the view from a tall skyscraper. Ms. Castellano is from the New York area and many of the tracks in the first half of Images charmingly conjure the landscape and scenery of city. It is easy to imagine these pieces as the soundtrack of a video: Central Park, the bridges and riverfront, city streets and towering buildings – all are implicitly present in this music.
The second half of Images, tracks 8 through 14, were inspired by a trip to the Holy Land. Prayer at Dawn, track 9, starts with a low, dark chord and series of slow notes that suggest a brooding feel. As this progresses the colors lighten somewhat, but the tone is all seriousness. By the River, track 10, begins with a simple flowing counterpoint and an introspective accompanying melody. The mood brightens midway and the complexity of the counterpoint increases before slowing gracefully to a finish. The Garden, on track 13, has a slow, discouraging feel mixed with sadness and regret – perhaps inspired by the story of the arrest of Jesus in the Garden of Gethsemane.
Other tracks, such as In the Beginning and Avian Adventures, have the distinctive feel of dance music with strong rhythms and clean melodic lines. Modern Dance, on track 5, has syncopated rhythms and a bluesy harmonic feel. Dancing on Water, the last track on the CD has a bright, upbeat melody played at a brisk tempo and projects a happy, expressive feel. Much of the music on this CD would be at home in the dance studio.
The recording and mastering by Shaul Dover also deserve mention: each note and chord are clearly heard and the audio is well-balanced. Images is a precisely crafted series of miniatures, meticulously played, that artfully evoke the composer’s surroundings, both at home and abroad.
Images is available from Amazon and iTunes starting June 20, 2016
No Comments »
After the Wars
Cold Blue Music
Sarah Cahill, piano
Cold Blue Music has released a new CD of piano music by Peter Garland titled After the Wars. Recorded by Sarah Cahill, After the Wars is one of a series of works she has commissioned that focus on the concept of peace. Each of the four pieces on this CD is based on a Chinese poem or Japanese Haiku and is built on sustained piano tones and chords. According to the composer the pieces in this album are “…simply stated with relatively little temporal or thematic development.”
The first track is Spring View: “The nation is ruined, but the mountains and rivers remain.” ( after Tu Fu) This begins with a series of deep, rumbling chords that paint a vivid picture of doom and destruction. These continue but are interspersed with higher, lighter chords that seem, in contrast, to hold out some hope. The heavy, sustained sounds boom out and then slowly fade after each passage. The lighter chords seem to be making cautionary comments on the devastation declared by the powerful sounds in the lower register. Spring View is the darkest of the pieces in this album and becomes the starting point for what follows.
The second track is titled “Summer grass / all that remains / of young warriors’ dreams.” (after Basho) and this also begins with dark, dramatic chords that ring out from the depths of the piano. In this piece, however, the chords climb up to the higher registers as if ascending a ladder. There is an ethereal feel to this progression, a redemptive quality that springs out of the previous darkness. The sustained ringing of the chords as they are struck hover in the air like spirits awaiting release. There is a more reflective feeling here and ultimately a sense of restful assurance.
Track three is Occasional Poem on an Autumn Day: “When I’m at peace I let everything go.” (after Ch’eng Hao) and this has a pleasantly sunny feel after the heavy drama of the first two pieces. Dense, sustained chords open but turn warmer and more relaxed as the piece progresses. A sense of relief is felt and the touch of Sarah Cahill on the keyboard is precise enough to give a slightly different feel to each of what is a succession of very similar chords. At 3:45 the dynamics increase noticeably and the chords become joyful, like hearing the peal of bells. The tempo slows towards the close and the volume tapers down to a quiet, peaceful chord at the finish. Occasional Poem on an Autumn Day effectively expresses a welcome sense of placid release and calm.
The final piece on the album is “A snowy morning / smoke from the kitchen roof– / it is good.”
(after Buson). This begins with high, bright chords and an appealing, sunny harmony that is followed by lush and comforting deep notes. There is a sense of peaceful happiness in the deliberate chords; the comforts of domestic tranquility fill up the sound. More deep chords, solemn but not sad, rise up to a sunlit landscape. All is now peaceful and harmonious.
The arc of After the Wars – from destruction and ruin to the return of placid domesticity – is artfully realized here with a minimum of musical materials and the exquisite playing of Sarah Cahill. Hearing this album creates in the listener a desire for that same healing process to be present in our own life and times. It inspires the hope that no matter how gloomy the present may seem – and our world is full of terrible things – the path to a peaceful wholeness is yet attainable.
No Comments »
Winter, Spring and Fall
From Seattle-based composer J.C. Combs and Cellar Door Records comes a new album, Winter, Spring and Fall, with three solo piano improvisations and two pieces that combine piano and electronics.
The first piece is Currents and this piece begins with a series of fast trills that roil and surge like a river in flood. Deep notes add a profound feeling and the playing is very controlled, keeping just the right tempo. The volume rises and falls and the texture is alive with swirling movement. The pitches also move gradually up and down – as a sort of rising and falling of an internal tide. The electronics are buried in the whirl of sound and only rise to prominence towards the end with a low oscillation that echoes the running flow of the piano. Currents is a mesmerizing listening experience that nicely evokes swiftly moving water.
Improvisation for Winter is an improvisation in a similar mode, with nice movement and a brisk tempo to start. After a sudden stop the pace becomes more leisurely, as if ambling along a sidewalk or street. Now faster and with more notes, as if in a blizzard – hard to see for all the swirling snow. A well-crafted bass line adds some drama. The tempo slows and the notes lighten as if there is a break in the storm – the feeling here turns more more thoughtful. After a few final swirling passages, Improvisation to Winter concludes.
Improvisation for Spring starts off with a series of identical solitary notes, soon joined by a second played in harmony. The beat continues, now with wistful chords. A nice bass line provides a strong color and adds to the pensive feeling. Now a more emphatic melody line in the upper register is heard, offset by powerful chords in the bass. The opening pattern of identical straight quarter notes is repeated but with more tension developed in the counterpoint. Some soft notes in the very high octave of the piano quietly end this piece.
Improvisation for Fall has a quiet, mysterious opening – like a question hanging in the air. The steady beat on a single note adds a measure of tension. Darker notes appear in the middle and lower registers that add to the taut feeling. This is a pleasingly atmospheric piece that feels a bit like Halloween. Towards the end it turns a bit more optimistic and glides gracefully to a stop.
The final track of the album is Elevator to the Moon and this is for electronics and piano. The electronics sounds open with low pitches, rumbling and a sort of metallic moan in a middle register. The piano can be heard in between with dark chords and nervous riffs that build the sense of tension – we are traveling to a different place. Two well struck piano notes jump out of the texture – as if startled – then all becomes slower and more subdued. The piano repeats the two note motif against the sustained and quiet electronic tones as the piece comes to a close.
This latest album by J.C. Combs expands the reach of his piano improvisations and reveals a judiciously chosen color palette that impeccably fits the mood of each season.
Winter, Spring and Fall is available for download here.
No Comments »
In the Sea of Ionia
Southern California composer Daniel Lentz has a new CD of piano music, titled In the Sea of Ionia, recently released by Cold Blue Music. Los Angeles pianist Aron Kallay performs all four pieces on this album, totaling over an hour of accessible and inviting music.
The opening track is 51 Nocturnes and this begins with a series of descending chords and a light melody that immediately puts the listener at ease. Arpeggios in the bass appear, accompanied by a simple melody that seems to float above. Now stronger chords are heard in the middle registers with counterpoint below. The simple melody returns briefly, turning gently to introspection. By 4:20 there is a darker feel but this soon turns lighter again. 51 Nocturnes proceeds in this way with short bursts of different colors and textures; sometimes dramatic, sometimes mysterious, sometimes energetic but always returning to a warm, inward-looking sensibility. The playing of Aron Kallay has just the right touch for each of the many moods here and he sustains the last chord of the piece for exactly the right amount of time.
The second track is Pacific Coast Highway and this opens with an intriguing series of steady rhythms played against each other, suggesting the flow of traffic along an open highway. Some lovely harmonies are heard as the different melody lines interact. In one section there is a stronger feel, like the surf pounding on the beach – a feature that actually occurs along some sections of the roadway. A strong sense of motion and journey are evident in Pacific Coast Highway and this piece nicely evokes the iconic Southern California experience.
Dorchester Tropes follows, a work that was commissioned by Dr. Richard Marcus, a resident of Dorchester, Massachusetts thus giving the Santa Barbara-based Lentz the opportunity for an extended visit and some New England inspiration. The piece consists of four movements, the first of which is titled Messatossec. This has a dramatic opening that turns delicate with some lovely textures and tones. There is a pleasant feel to this, with a definite sense of home and place.
Ponkapoag Bog is the second movement and opens with a quiet, pleasing melody that soon gives way to a faster, more animated section providing a lively contrast. A precisely played syncopation adds to the sense of lightness and joy between the more peaceful stretches. Strong chords and a low rumbling texture appear as well, but the piece always circles back to the inviting and welcoming.
Moswetuset, the third movement, begins with a series of arpeggios underneath a relaxing melody. This is appealing music, drawing the listener into its circle of light and warmth. At 2:30 the notes are falling like a series of spring raindrops, full of optimism. A somewhat more dramatic sound follows with strong chords, as if watching a late afternoon sunset. The tempo slows and the piece tapers off to a settled finish.
The final movement of Dorchester Tropes is Pocapawnet and this has a a series of forceful chords heard in an almost dance-like rhythm. The syncopated melody bounces happily along until a smoother, more elegant section appears, followed by more syncopation. There is a sense of expressiveness and joy that comes through both the playing and the notes.
The final piece on the CD is the title track, In the Sea of Ionia. This has a gentle, languid opening that turns suddenly rapid, full of movement with syncopated lines weaving joyfully back and forth. The slow, drifting feeling soon returns, like a lazy summer day at the beach. Now faster again, with a happy, energetic feel – good control in the playing here. As with 51 Nocturnes, In the Sea of Ionia oscillates between purposeful intensity and leisurely relaxation. Sometimes it evokes a soft summer rain or a quiet, reflective moment and at other times it is a joyful gallop The harmonies and rhythms compliment each other nicely in each of the various sections and the playing is both accurate and heartfelt. The final three minutes feel like a dash headlong down to the sea, and this is wonderfully played by Aron Kallay.
This CD is a lovely collection of accessible and engaging music that draws the listener in with welcoming sounds.
In the Sea of Ionia (CB0042) is available from Cold Blue Music.
No Comments »
FUNG: Keeping Time; HIGDON: Secret and Glass Gardens; HOOVER: Dream Dances; LUO: Mosquito; SHATIN: Chai Variations; De KENESSEY: Spontaneous D-Combustion; DEUSSEN: A Recollection. Mary Kathleen Ernst, piano. innova 868. 69 minutes.
Headline: Mary Kathleen Ernst, who I admit I had not heard of before I got this recording, is a spectacularly gifted pianist. She plays with assured technique, a vast timbral palette, and a keen sensitivity to the variety of contemporary compositional styles. The current program, of recent music by female composers, is far more than showcase for Ms Ernst, but it is that, too.
The program opens with Vivian Fung’s sly look at Keeping Time. Ms Fung uses time-keeping (an obsession in much contemporary American concert music) for melodic and gestural musings, with the clock’s insistence always present. The melodies in Jennifer Higdon’s Secret and Glass Gardens begin as quietly purposeful wanderings that gradually blossom into large gestures covering the entire range of the keyboard.
Katherine Hoover’s Dream Dances begins with mysterious, impressionistic gestures (very idiomatic, pianistic) that are indeed dream-like in their ambiguity. The piece gradually, almost imperceptibly, develops into a driving, frenetic dance that abruptly, and convincingly, stops. Mosquito, by Jing Jing Luo, is a flighty beast indeed. Scurrying here, lighting there, it is a consistently delightful piece, well-written and expressive.
Chai Variations, by Judith Shatin, is a set of 18 variations on a Hebrew folk song. Shatin takes an effectively old-fashioned approach to variation form(s)–now Brahmsian, now Rzewskian–the theme is almost always clear in the background, if not the foreground. A shapely, convincing set.
Stefania De Kenessey’s Spontaneous D-Combustion is full of references to past styles. It is jaunty and eminently listenable. The program closes with Nancy Deussen’s attractive and haunting A Recollection. As the piece moves along, the nature of the “recollections” gets more-and-more elusive. It makes a fine end to a very good program, well-chosen and very well-played by Ms Ernst.
1 Comment »
Michael Vincent Waller: Five Easy Pieces
Gumi Shibata and Jenny Q. Chai
Five Easy Pieces is a new CD of solo piano music by composer Michael Vincent Waller. The five tracks in this album are uncluttered and introspective, offering an inviting entry into Waller’s accessible style. The pieces on this CD are cast from familiar materials and played with exemplary care, allowing the listener to fully concentrate on the many emotions and feelings imparted by the music. Gentle and approachable, this is music that inspires both concentration and contemplation. Gumi Shibata performs on all the tracks save the last, which is played by Jenny Q. Chai.
The first track on the CD is L’anno del Serpente (2013) and this begins with an uncertain, pensive feeling in the melody that is accentuated by a rising bass line. The tempo is deliberate and the texture is effectively fashioned from repeating lines with simple harmonies. The piece proceeds by way of variations on the opening theme with the first variation offering a bit more complexity and a nice counter melody in the bass. At no time does the piece feel rushed but moves along purposefully so that by the second variation it becomes forcefully declarative. The melody transitions to a flowing, forward-moving series of lines and closes with a quiet passage that leaves the listener in a satisfyingly reflective mood.
L’anno del Serpente is followed by Ninna Nanna (2013) and this piece opens with a gentle, questioning feel that is reinforced with a repeating, bell-like melody. The tempo is unhurried and this allows the sonorous intervals in the harmony to fully ring out. A slight syncopation provides a sense of languid motion as the piece progresses. The first variation increases the tempo, adding density with more notes and counterpoint and this provides a nice contrast to the opening section. The second variation returns to the slower pace of the opening and here the repeating tones become almost hypnotic, the harmonies seeming to hang in the air. The final notes at the close hover above like a fine mist.
The next two tracks are titled Per Terry e Morty I and II (2012) and refer to Terry Jennings and Morton Feldman respectively. Part I begins with strong, direct quarter notes in the melody and a repeating line in the bass that produces a sense of searching and uncertainty. A slight tension is introduced as counterpoint moves into the upper registers so that part I seems to close in a question. Part II has a middle eastern feel right from the beginning, with a simple melody above and strong chords below to form a powerful declarative line. Now counterpoint by way of a repeating figure above leads to a restatement of the opening with the addition of a descending line. Softening, slowing and then a return to tempo that restores the original color, followed by a strong chord at the finish. These two tracks provide an interesting contrast, especially part II with a strong exotic flavor.
The final track of Five Easy Pieces is Acqua Santa (2013) played by Jenny Q. Chai. Dark, deep notes open and the mysterious feeling is enhanced with a moving line above, alternately accelerating and slowing. A repeating line emerges, syncopated against the melody which serves to further deepen the mysterious feel. As the piece proceeds a series of solitary notes gather themselves into a halting cluster of full bodied chords, followed by a long arcing line that reestablishes the forward momentum. Finally, a sweet melody appears that accelerates, then slows turning introspective again. Acqua Santa closes with an abbreviated recall of the mysterious opening.
Five Easy Pieces, like much of Waller’s music, seems to look forward and backward simultaneously. The sounds are recognizable and familiar – especially in an album consisting of solo piano music – but the studied simplicity and use of repeating figures owes much to the vocabulary of late 20th century minimalism. The result is a mixture that should appeal to even the most determined critic of contemporary music.
Five Easy Pieces is available on iTunes here . More ways to download and listen are here.
No Comments »
Posted by Jay Batzner in CD Review, Jay Batzner, Piano, tags: Ben Hjertmann, CD Review, David Maslanka, David Rakowski, Ethan Wickman, Joel Puckett, John Griffin, Luke Gullickson, Mark Olivieri, Mohammed Fairouz, Nicholas Phillips, Piano, William Price
New Music for Solo Piano
Nicholas Phillips, piano
New Focus Recordings
- Spectacular Vernaculars – Mark Olivieri
- Occidental Psalmody – Ethan Wickman
- On the Drawing of Constellations – Ben Hjertmann
- Bill-ytude – Joel Puckett
- Piano Miniature #10, #12, #13 – Mohammed Fairouz
- Beloved – David Maslanka
- Back Porch Requiem for John Fahey – Luke Gullickson
- Playin’ and Prayin’ – John Griffin
- A Southern Pride – William Price
- Hotfingers – David Rakowski
Nicholas Phillips approached several composers looking for music inspired by the phrase “American Vernacular” and the end result is a strong balance of eclectic musical tastes framed within relatively conservative harmonic and formal frameworks. Mr. Phillips was aiming for a “classical crossover” disc at the start but he creates is a disc of fun and charming music which, while performed with a high level of technical and musical sophistication, doesn’t feel the need to take itself too seriously. There are serious works on the disc, no doubt, but the overall focus is on enjoyable works which sound as gratifying to play as they are to hear. If you want a disc which is trying to rant for or against a style or idiom, you want a different disc. This is merely a well-programmed and performed collection of music which is approachable and engaging to listeners from a broad range of backgrounds.
Several works highlight direct ties to “vernacular” roots. Mark Olivieri’s Spectacular Vernaculars draws on ragtime, “Stella by Starlight” and De La Soul but clearly uses these inspirations as jumping off points instead of as a cursory exterior. Bill-ytude by Joel Puckett achieves the same using Billy Joel and Elton John stylings. Playin’ and Prayin’ by John Griffin takes Christian worship music tropes on a rhapsodic adventure and Mohammed Fairouz alludes to Liberace and Tin Pan Alley in two of his three miniatures. Back Porch Requiem for John Fahey synthesizes guitar licks and gestures from Fahey as well as Mississippi John Hurt.
Other composers focus more on the “American” side of the “American Vernacular” inspiration. William Price’s A Southern Prelude asks the question of “what makes music not just American but Southern?” and Ethan Wickman’s Occidental Psalmody takes the visual inspiration from watching the ocean rise and fall and turns that into expanding quintal harmonies. Fairouz’s third miniature, “America never was America to me” reacts to the 50th anniversary of the “I Have a Dream” speech filtered through the events of Trayvon Martin’s murder.
Hotfingers: Three Vernacular Nondances again shows David Rakowski’s flair for idiomatic and engaging piano writing. These three short works sound right at home among his piano etudes. Maybe I’m biased but I think every disc of American piano music should include something by Rakowski. David Maslanka’s Beloved doesn’t draw from any specific vernacular touchstone but rather keeps close to his other “remembrance” compositions. Perhaps the most removed from the “vernacular” idea, On the Drawing of Constellations by Ben Hjertmann is the least harmonically conservative and predictable. This work stands out on the disc for its unusual and captivating musical language and more ambient and environmental approach to its linear unfolding.
No matter the composers’ inspirations, Nicholas Phillips delivers solid and engaging performances which give first-time listeners all the overt connections they need and all the nuance that repeat listenings can uncover. American Vernacular is well worth checking out for anyone interested in current trends of contemporary American piano music.
No Comments »
Here and There
Music for Piano and Electronics
Brian Belet / Jim Fox /
Jeff Herriott / Tom Lopez /
Ed Martin / Phillip Schroeder
Jeri-Mae G. Astolfi, piano
Innova Recordings has assembled the work of six composers in this CD of music for piano and electronics, performed by Canadian pianist Jeri-Mae G. Astolfi. Released in early 2013, this album contains works written between 2006 to 2012 and combines the fine playing of Ms. Astolfi with varied atmospheric electronic and processed sounds.
Crystal Springs (2011) by Philip Schroeder is the first track on this CD and is inspired by the Arkansas landscape of brooks, streams and mysterious caves. This piece begins with booming bass chords that are created from electronically manipulated bass, cymbal and sounds from the inside of the piano. These are combined with piano trills in the middle and solitary notes in the upper registers. This effectively conjures a running, liquid feel combined with the deep darkness of an underground cavern, as if we are following a subterranean stream.
The piece is constructed in three parts and with each part the mysterious dark sounds in the lower registers increase and the watery sounds are reduced. The second section has a more animated and less of a flowing feel and is dominated more by the bass chords – as if we are traveling deeper and the water is splashing downwards. By the third section we hear long bass tones accompanied by slow, languid chords, then single notes sounding in the middle registers – a feeling of going deeper still. The low tones are more comforting now and by the conclusion of the piece there is the sense of arriving at a distant, unexplored place filled with a quiet serenity. The electronic processed sounds and the skillful playing of Ms. Astolfi combine here to produce just the right balance of mystery and beauty.
The second track is Swirling Sky (2011) by Ed Martin who describes this piece as inspired by “…peaceful moments spent lying in the grass, gazing at cloud formations drifting above.” This music contains a series of mystical, swirling sounds powered by light arpeggios in the upper registers combined with a sense of majesty in the lower chords. At 4:30 the feeling turns dark and powerful, like a storm approaching full of rain and thunder. Electronic effects provide a sense of rushing wind as the piece slowly winds down to a gentle finish. Swirling Sky was composed for Jeri-Mae G. Astolfi whose sense of imagination adds to this already imaginative work.
Track three is green is passing (1999, rev. 2006) by Jeff Herriott. Jeff explains that “The initial version… opened with pulseless material that would become typical of my later work. In 2006, when I reworked the piece for a performance by pianist-composer Dante Boon, I retained this opening structure but changed the piece’s development to better suit my evolved musical style.” The opening is indeed simple and spare, consisting of soft passages with just a few notes. It proceeds in a slow and stately manner, like a person speaking quietly with well-chosen words. There are pauses between the short phrases, allowing the notes to reverberate, and this evokes a sense of suspense and questioning. At other times there is a definite feeling of warmness – turning almost wistful and nostalgic. The piece ends with a long sustained note that seems to melt into the air. Ms. Astolfi’s playing provides the delicate and sensitive touch critical to this quiet piece.
The fourth track is by Brian Belet, titled Summer Phantoms: Nocturne (2011) and this completely lives up to its name. The piece opens with deep, scary sounds, like the throwing of a knife in the dark or a large blade cutting through the air. Piano notes, often dissonant, add to the tenseness. The electronics here are particularly effective and atmospheric. Brian explains: “The fixed media part is made up of piano sounds (string scrapes, hand-dampened tones, soundboard strikes and isolated tones) that I processed through Spectral Analysis, Sum of Sines, Time Alignment Utility and additional stochastic algorithms…” For all of that, the effects are genuinely chilling and not artificial or overly analytical. The piano weaves its line skillfully in and out between the electronics and the balance between the two sustains the tension. This piece convincingly portrays things that go bump in the night, and could well be the sound track for a horror movie.
Track 5 is Confetti Variations (2012) for piano and fixed media by Tom Lopez. According to the liner notes by the composer, this piece “…entailed shredding Brahms and Feldman piano music into brightly colored fragments, firing the sparkly bits into the air, and listening to them rain down on field recordings.” Accordingly, the piece starts out with a rousing segment of Brahms accompanied by the sounds of a fuse lit and burning – followed by explosions. More loud Brahms follows and a spectacular fireworks display is heard overhead. This gives way to distant thunder and rapid piano playing alternating with soft wind sounds and a quiet Feldmanesque piano section. Now a downpour is heard and the piano jumps from rapid, loud playing to quiet simple chords. The sounds of booming surf follow with gentle piano passages alternating with energetic Brahms. The plunk of a rock thrown into a stream is heard and the water seems to be moving more slowly now. Soon we are in a full-blown rain forest complete with sounds of birds and the croaking of frogs. This tranquil setting is leisurely accompanied by the piano and the buzzing of bees. The occasional piano notes and a few simple chords bring us to a quiet ending. The piano playing by Ms. Astolfi here is impressive as she switches seamlessly between the two styles – Brahms and Morton Feldman being two of her favorites. The field recordings are of a convincing and vivid fidelity. This track is an imaginative mix and demonstrates the creative possibilities of piano music combined with field recordings.
The final track is titled The pleasure of being lost (2012) by Jim Fox and is also for piano and fixed media. This piece was written for Jeri-Mae Astolfi and includes the speaking voice of Janyce Collins. The voice is distinct and is accompanied throughout by electronically processed sounds suggesting a steady roar of the wind.. The piano is heard as solitary notes and chords between long pauses, lending a lost – but not tense – feeling. The words are spoken in a flat, perfunctory tone and this provides a sense of reassurance. The text is from the 1854 journal of Joseph Dalton Hooker, friend of Charles Darwin and an early explorer of the Himalayas. The words are partly an objective account of the remote surroundings in which he must have found himself and partly the stray thoughts of a wanderer. While this is certainly a solitary account, there is no sense of loneliness or fear. The piano provides a commentary on this discourse, sometimes building a bit of tension, sometimes turning introspective and nostalgic. The combination of voice, electronics and the spare piano passages are in just the right combination for building a convincing portrait of the seemingly contradictory states of pleasure and being lost.
This CD, as well as its separate tracks and links to the composers are available from Innova Recordings.
No Comments »
Kimberly Cole Luevano (Clarinet), Midori Koga (Piano), Lindsay Kesselman (Soprano)
Bright Angel: American Works For Clarinet And Piano
Fleur De Son
Fleur De Son’s recently released “Bright Angel: American Works For Clarinet And Piano” is an album that does right by new music in this country. It champions important composers who currently enjoy a range of notoriety through amazingly performed works that are strong and indicative of contemporary styles without sacrificing their reverence for tradition. There are two offerings by current big-namers Joan Tower and Libby Larsen and two more by accomplished and ascending Roshanne Etezady and Abbie Betinis whose path to dominance in new music’s near future will only be eased by their triumphant representation on this CD.
Of course, at the heart of any recording’s success or faaiure is the tremendous quality of its performers, and “Bright Angel” features three of today’s most fabulously gifted interpreters of contemporary music. Clarinetist Kimberly Cole Luevano and pianist Midori Koga appear throughout the disc, and Soprano Lindsay Kesselman joins them for Ms. Betinis’ song cycle Nattsanger. Their performances are exquisite as is their ensemble chemistry, which is demonstrated in moments like the opening of Ms. Etezady’s Bright Angel, when Ms. Luevano draws her sound out of a high, quartal or quintal harmony in the piano, or in the last movement of Nattsanger, when Ms. Kesselman’s scream of madness emerges from a high, screeching clarinet line.
As I alluded before, the pieces on “Bright Angel” are fairly centrist in their style, that is, they are certainly not aesthetically anachronistic, but are also not highly experimental or aggressive. Frankly, every work is extremely appealing, and represents the kind of music I wish could more frequently act as an ambassador of contemporary music to broad audiences. For example, Roshanne Etezady’s Bright Angel (which receives its recording world premiere on this CD) opens the album with warm lyricism and enthralling moments of virtuosity. Inspired by the architectural drawings of nineteenth century American architect Mary Jane Colter, Bright Angel possesses clear musical images of the West, which are conveyed clearly and thoughtfully through the grand tenderness of Ms. Etezady’s musical language.
Next up is Abbie Betinis’ Nattsanger (also a world premiere recording), which is a dramatic yet approachable song cycle on Norwegian texts depicting various stages of the night. Nattsanger presents dark, beautiful music that is skillfully orchestrated, namely in the way the clarinet and soprano play off each other’s similar colors and range. The performers are used conventionally with the exception of the fourth and eighth movements, where the texts’ underlying surrealism is most apparent. Here we find the clarinet and soprano used by themselves in a nervous duet (the fourth movement), and the aforementioned scream, which essentially ends the piece (the eighth movement). These are anchors of extremity, both in terms of the music’s expressive force, but also in the work’s symmetrical structure.
Joan Tower’s Fantasy (…those harbor lights) and Libby Larsen’s Licorice Stick further underscore the skill and craft of the composers and performers featured on “Bright Angel”. Fantasy is appropriately impulsive in character and mysterious in its expression. The prominence of the clarinet and piano’s roles are constantly shifting as they trade off prominence and, at times, share it – particularly when the musical explodes with energy about a third of the way through, rollicking through winding scales and arpeggios for most of the remaining music. Licorice Stick is less expansive an endeavor as Fantasy but nonetheless powerful. The most extensively aggressive work on the disc, Licorice Stick shows off the clarinet’s flare for bombast by drawing on its heritage as a jazz instrument (I’m about 90% sure there’s a Rhapsody In Blue quote) with pitch bends, trills and screaming altissimo lines. Throughout the shredding clarinet solos, the piano punches through with driving bass lines that make the piece stagger along the way to its loud, stumbling conclusion.
“Bright Angel” is available on iTunes, Amazon.com and from Fleur De Son’s website.
No Comments »
John Luther Adams
Four Thousand Holes
Scott Deal, Percussionist;
Callithumpian Consort; Stephen Drury, director and pianist
Cold Blue CD CB0035
Callithumpian Consort; Stephen Drury, director and pianist
Mode CD Mode 240
Alaskan (by way of New York) composer John Luther Adams was long known as the “other Adams” of contemporary concert music, overshadowed by Californian (by way of Massachusetts) John Coolidge Adams, composer of the operas Nixon in China and Dr. Atomic and the Pulitzer prizewinning On the Transmigration of Souls. The balance of recognition seems to be shifting, as the Alaskan Adams has created several large scale works that have raised his public profile, such as the spatial percussion piece Inuksuit and museum installation (with an accompanying book) The Place Where You Go to Listen. Adams frequently speaks of “creating ecologies of music.” Both of the aforementioned pieces are based on aspects of Alaska: the former the traditional music of its native inhabitants and the latter shifts in the region’s weather patterns and tectonics (with an implicit demonstration of the impact of climate change on its environs).
Boston’s Stephen Drury and the Callithumpian Consort, whom he directs, are staunch advocates of JL Adams. Two recent recordings present different aspects of his music-making, as well as still more contrasting facets of his adopted state. The tintinnabulation of percussionist Scott Deal’s vibraphone and chimes, Drury’s piano (which plays major and minor chords throughout), and a haloing electronic aura courtesy of the composer mimic the shifts in light and many crags found in a wilderness’ varied terrain. Within the half hour duration, Adams never allows this limited palette to grow stale; he continually refreshes the sound world with shifts of tonality and varied interactions between percussion and piano. Its companion piece …And Bells Remembered… takes the tintinnabulation still further. Alongside Drury, five percussionists use both mallets and bows to craft a slowly evolving tolling of bell sounds both high and low. Is it meant as a memento mori or as a secularized ritual or meditation? We aren’t told in the booklet’s aphoristic notes, but we are left with an incandescent sonic shimmering that again indicates a sweeping vista to the mind’s eye.
Many composers have incorporated birdsong into their music. Perhaps the most famous of these is the French composer Olivier Messiaen (1908-92), who was an amateur ornithologist and travelled the world to collect birdsongs; they appear in most of his compositions. Even Messiaen’s transcriptions of these arias of the animal world are somewhat limited by Western ideas of notation: they occur at a precise moment in the piece that is studiously indicated as a conventional (if complicated) rhythm. Adams has taken the incorporation of birdsong materials further in conception. Rather than prescribing when they are to occur, he gives the musicians phrases (transcribed in the field) as well as detailed indications of the habits and movement patterns of the various species which sing them. Thus, the musicians are tasked with accommodating their playing to approximate the birds’ preferences and the space in which they reside; not the other way around. Thus, creating an ecology of music involves much more than what’s printed on the page: it requires empathy, study, and imagination. While Messiaen is to be commended for paving the way towards this aim, songbirdsongs dispenses, insofar as is possible, with human expectations of formal trajectory and “pretty Polly” mimicry, instead replacing it with something wild, unfettered, and, in the performance captured hear, often enthralling.
No Comments »