Posts Tagged “chamber music”
Phaedra and Modern Love Waltz
music of Philip Glass
OgreOgress has been a key player in offering strong recordings of lesser known/recorded works by composers such as John Cage, Alan Hovhannes, and Morton Feldman. This Philip Glass disc is truly for the comprehensive Glass fan since it contains portions of Phaedra which were not included in the Mishima soundtrack and 21 different versions that Robert Moran arranged of Glass’ Modern Love Waltz.
Released as a DVD-A, the sound quality is exceptionally true-to-life. The music is beautifully captured and so is the space in which it was recorded which adds a great deal of depth to what could have been a sterile and flat studio recording. The string trio used through these five brief scenes from Phaedra (2, 4, 6, 14, and 15a specifically) maintains a lush and rich tone and keep the pulse energized without ever sounding mechanical and machine-like. The percussion blends extremely well with the trio when used and the guitar additions provide a bit of snap to the articulation without overshadowing the thicker bowed strings.
Modern Love Waltz, originally a short piano piece by Glass, was orchestrated into 35 different parts by Robert Moran and the rest of the disc is dedicated to presenting all of those 35 parts in 21 different modular performances. I am of two minds of this portion of the recording. On the one hand, I’m not sure how many times I need to hear this 4:25 piece of music. On the other hand, OgreOgress has paced out all the different versions of this piece so well that there is a gradual and almost imperceptible build from one track to another. By the time I hit track 16 which is only for piano and winds, the piece really sounded different to my ears. Each track stands on its own as a solid realization of the piece but the gradual increase in the ensemble size and instrument diversity makes for a fun ride. It turns out I can listen to this short piano piece many many times after all.
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music of Lansing McLoskey
- Specific Gravity 2.72 performed by the newEar ensemble
- Sudden Music performed by Rebecca Duren, soprano; Alan Oscar Johnson, piano
- Requiem v.2.001 performed by Stony Brook Contemporary Chamber Players
- Processione di lacrime (pavan) performed by Philipp A. Stäudlin, saxophone; Zoya Tsvetkova, violin; Scott Woolweaver, viola; Joshua Gordon, cello
- Quartettrope performed by Stony Brook Contemporary Chamber Players
I find myself at a slight loss when trying to describe the music of Lansing McLoskey. Elements of just about every major stream of contemporary American concert music get wrapped together in different amounts in different pieces. A little minimalism here, some neo-romanticism there, atonal expressionism woven throughout, and colorful orchestrations to wrap it all together. McLoskey’s musical eclecticism doesn’t suffer from a lack of focus; each piece hangs together according to its own rules. I was about to say that McLoskey seems to be the rare composer without an obsession but instead it seems more apt to say that McLoskey is pan-obsessive. An equal opportunity obsessor.
The opening work, Specific Gravity 2.72, splashes with color at first while a slow-moving and determined melody unfurls against the more extroverted material. The second movement, “November Graveyard,” replaces these waves of gestures from the ensemble with more subdued and resigned harmonies. The quiet and static aspect of McLoskey’s language is prominently displayed in Processione di lacrime for saxophone and string trio. A single harmonic sigh underlies the whole seven minutes while forlorn melodies emerge from the ensemble and then fade into the background. The saxophone might be seen as the “odd instrument out” here but the instrument is perfectly balanced in performance and composition.
One of McLoskey’s better known compositions, Requiem v.2.001, takes up the center of the disc. This one piece probably does the most to summarize the various aspects of McLoskey’s musical language. Punchy grooves underscore long melodies in the first movement. Thick harmonies and darker colors make for a moody second movement. The violin solo “Trope [virus]” is frenetic and edgy, heightened by the extremely nasal mute sound. “Eulogy” recalls the opening groove from the first movement but maintains the more aggressive and forward trajectory initiated by the solo violin movement. The final “Epitaph – Obit.” discards the energy using colors and harmonies similar to the second movement.
While the formal designs of McLoskey’s music isn’t always taken from a traditional model, his music maintains satisfying and recognizable dramatic shapes. The four song collection Sudden Music gives McLoskey a place to show his adept understanding and setting of text, creating lines and harmonies which, while a bit more reserved than the rest of the music on this disc, still sound like his harmonies.
The final work, Quartettrope, uses the Webern quartet for violin, clarinet, tenor saxophone, and piano as a touchstone for McLoskey’s own original work. The first movement starts with the full first movement of the Webern original with McLoskey fusing his music onto the end in true trope fashion. The second movement begins with original McLoskey material and progresses towards the second movement of the Webern. This is not commentary on the Webern nor an attempt at stylistic camouflage; it is extremely clear when and how McLoskey’s music stops and the Webern starts. The idea behind the piece is rather interesting and the execution is rather compelling. More than anything, Quartettrope summarizes the mercurial nature of McLoskey’s voice and his compositional craft to put it all together.
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music of Keeril Makan
performed by International Contemporary Ensemble
- Mercury Songbirds for alto flute, clarinet, violin, cello, piano and percussion
- Husk for flute, oboe and harp
- Afterglow for piano
- Becoming Unknown for flute/bass flute, clarinet/bass clarinet, trumpet and double bass
- Mu for violin
- After Forgetting for clarinet, piano, percussion, violin, and cello
performed by ICE:
Eric Lamb, flutes; Joshua Rubin, clarinets, James Austin Smith, oboe; Gareth Flowers, trumpet; Erik Carlson, violin; Kivie Cahn-Lipman, cello; Randall Zigler, double bass; Nuiko Wadden, harp; Cory Smythe, piano; Nathan Davis, percussion; Erik Carlson and Adam Sliwinski, conductors
Some of the first music I heard by Keeril Makan was rough, aggressively dissonant, and full of tense and explosive energy. Afterglow, the new release of Makan’s music performed by International Contemporary Ensemble (ICE) tones down the savagery and highlights Makan’s control of timbre, color, and gesture. The title track, a solo piano work, obsesses on sympathetic string reactions to simple repeated tones for almost four and a half minutes. As elegantly as Afterglow builds and adds material, part of me wishes that the piece kept that opening texture for the full 14 minute duration. Cory Smythe’s performance truly revels in the stillness and quietness of the resonant strings and the recording makes me yearn to hear the piece live.
Mu, the only other solo work on the disc, is for prepared violin and structured using an open form. Erik Carlson paces the glassy sounds and long notes well and assembles a coherent and engaging performance (although a brief one, only about 3 minutes). Husk, for flute, oboe, and harp, also emphasizes coloristic gestures and resonance over a short time frame. Again, the composition is full of poignant pauses and space to let the harp strings resonate. The woodwind writing is proto-melodic and mostly consists of long sustained tones which shift timbral space between the flute and oboe. As one would expect from ICE, the performance is vibrant.
Three longer chamber ensembles bookend and center this recording. Mercury Songbirds combines more aggressive and spikier arrivals against a subdued and omnipresent piano drone. Becoming Unknown is the most conventionally tuneful work but these melodies are fragmented, twisted, and just as soon as they build any strength they begin to decay away. I was especially drawn to the touches of trumpet in this otherwise woodwind-dominated texture. The final work on the disc, After Forgetting, has in some ways the most expected formal design on the disc which makes it rather unexpected. A constant droned pulse permeates and drives the piece forward while melodic gestures and arrivals fit in, around, and against it. The traditional harmonic touches soften the dissonance a bit and as the pulse fades out the work resumes the haunting beauty found on the rest of the disc. The abrupt final cutoff of the piece took me by surprise; I was convinced it was an error in the recording. Overall, ICE plays with a spectacular affinity for shape, color, and gesture. Their sound is a perfect fit for Makan’s music.
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Neither Anvil Nor Pulley
music of Dan Trueman
performed by So Percussion
So Percussion: Eric Beach, Josh Quillen, Adam Sliwinski, Jason Treuting
Neither Anvil Nor Pulley
- Another Wallflower [from Long Ago]
- 120 bpm [or, What Is Your Metronome Thinking?]
- A Cow Call [Please oh Please Come Home!]
- Feedback [in Which a Famous Bach Prelude Becomes Ill-Tempered]
- Hang Dog Springar [a Slow Dance]
Trueman’s percussion/laptop quartet Neither Anvil Nor Pulley derives its musical core from fiddle tunes and string timbres. While a percussion ensemble might seem like an odd choice of instrumentation for string sounds, So Percussion is the perfect fit for Trueman’s musical ideas. Neither Anvil Nor Pulley is a perfect example of composer/performer collaborations. The score is almost inconsequential in terms of specificity and exactness. Instead, the pages contain a mixture of precision and vagueness which allows So Percussion to inhabit and interpret the piece. Since music notation wasn’t of primary importance to performers in the folk fiddle tradition, it seems wholly appropriate for rote/community learning to be the foundation upon which this album was constructed.
The first, third, and fifth movements are the most true to the fiddle inspiration. Each movement begins with a “drop the needle” on a turntable (a real turntable is needed, even among the four laptops) and So Percussion provides accompaniment and interaction with the recordings. A lot of the instrument choices and dynamic shaping is left up to the performers and So, as always, makes every choice sound like the right one.
The rest of the movements are substantially larger and contain more elaborate drawn-out formal shapes. The second movement, “120 bpm,” transforms through chaotic/structured clicking into sustained string samples being triggered by tether controllers. This transformation is smoothly done and even though I never could have predicted that the movement was headed in that direction the formal shape feels perfectly balanced. “Feedback,” the fourth movement, is a show-stopping aural exploration of the famous G major Prelude from the first cello suite by Bach played via feedback excitation of a concert bass drum. The rhythm of the original piece is stripped away entirely which makes the score seem more like a Schenker sketch of the work then realized over the course of 16 minutes. Philosophically, it reminds me of 9 Beet Stretch or Call Me Maybe slowed down 1000% except this is done acoustically. Again, you might not think of a percussion quartet as the perfect instrumentation for this kind of sonic treatment of the material but So Percussion frequently demonstrates that they make the unexpected sound perfect.
The computer/percussion interaction goes along with the piece’s larger philosophical idea about the man/machine relationship (I’ve been using a lot of slashes in this review, haven’t I? I’ll stop). The computer doesn’t really SHOW the user what it does (as opposed to an anvil or a pulley). In that way, the integration of the laptops within the percussion quartet is extremely well balanced. Just listening, one is never sure if it is “live or Memorex.” And, after following the score, I can say the same confusion holds. Furthermore, this recording is not physically available; downloads only. But Trueman and So have gone the extra mile to make a physical release matter. You can get the recording with a recycled LP, a speaker driver, or even a tether controller like those used in “120 bpm.” Given the amount of creativity and artistic thought that went into the creation and performance of Neither Anvil Nor Pulley, it is encouraging to see the same level of interest go into the packaging of the work.
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Music of Mohammed Fairouz
- Tahwidah – Mellissa Hughes, soprano; David Krakauer, clarinet
- Chorale Fantasy – Borromeo String Quartet
- Native Informant – Rachel Barton Pine, violin
- Posh – Christopher Thompson, baritenor; Steven Spooner, piano
- For Victims – David Kravitz, baritone; Borromeo String Quartet
- Jebel Lebnan – Imani Winds
If you can’t tell by the star-studded cast of performers on this disc, a lot of people like performing the music of Mohammed Fairouz and with good reason. This Naxos release gathers recordings of some of Fairouz’s recent chamber works (only Tahwidah and Chorale Fantasy date before 2011). Overall, the music is focused and dramatic, emotively powerful, and full of rich harmonies and sumptuous melodies. Fairouz does wear his influences on his sleeve and his borrowings from the classical canon and Middle-Eastern traditions mix well into an authentic and unique voice. Chorale Fantasy, for example, sounds very much like the slower harmonic sections of Shostakovich’s 8th quartet pressed through a colander of Arabic modes.
Tahwidah for soprano and clarinet is a prime example of Fairouz’s emotional and lyrical style. On one level, the music is lithe and sensual and without reading the text I figured it was a juicy love song. The text, while rich with omnipresent love metaphors, is actually being spoken by a mother to her son at his funeral. A second listening brought out the darker and elegiac qualities while still resonating the ideas of eternal love.
The solo violin sonata Native Informant also collects moments of supreme elegy alongside playful and fiery energy. Each of the five movements maintains a specific character throughout and most of these characters are simple and straightforward. “Lyric Sketch” is just that. “Rounds” is a peppy and zippy Arabic dance. In “For Egypt,” Fairouz crafts a haunting and woeful piece. While “For Egypt” has the gravitas to end the piece, the last two movements liven things up a bit. “Scherzo” is a cosmopolitan blend of Arab-inspired tunes which morph into and out of Tin Pan Alley-inspired tunes. The last movement, “Lullaby of the ex-Soldat” is another slow lyrical movement with a plaintive arpeggio motive in the middle. And of course Rachel Barton Pine sounds amazing throughout (I have yet to hear her play otherwise).
Vocal music is also served up on this disc. The brief song cycle Posh takes three poems from Wayne Kostenbaum’s collection Best-Selling Jewish Porn Films: “Ballade of the Layette,” “Blue Sea Songs,” and “Posh.” Of the three, my hands-down favorite is “Blue Sea Songs” which centers on a dreamt collection of Ned Rorem songs. Fairouz does a great Rorem impersonation (musically, anyway, I don’t know about personal). While Rorem-via-Fairouz is delightful, Fairouz’s own language serves the voice well with harmonic and orchestrational support. Christopher Thompson earns the fach “baritenor” well with a deep, rich, and powerful lower range and a light, floating, unstrained high register. For Victims is darker, thicker, and more intensely dramatic. David Kravitz navigates the David Shapiro text quite well and the blend between Kravitz and the Borromeo String Quartet is well done.
The final work on the disc is the colorful and charming Jebel Lebnan for wind quintet performed by the Imani Winds (again, when have they ever sounded less than amazing?). Each of the short character pieces, inspired by events from the Lebanese Civil War, is richly orchestrated and uses color and rhythm to their maximum. The spiky and chunky “Bashir’s March” shows obvious Stravinsky influence. The solo flute “Interlude: Nay” is the perfect transition into the bassoon solo which begins “Lamentation: Ariel’s Song.” “Dance and Little Song” try to be cheerful but have a dark and moribund underlayer that keeps the music from being truly joyous. The last movement, “Mar Charbel’s Dabkeh” closes off the disc with another Arab-inspired round dance.
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music of Tom Johnson
performed by Carol Robinson, Tom Johnson, and Dante Boon
Maria De Alvear World Edition
Tom Johnson’s music is very much like magic. I don’t mean necessarily that his music is magical more that his music works in the tradition of close-up or “micromagic.” As is often the case in close-up magic, the magician is telling you in no uncertain terms what he/she is doing without ever really revealing HOW any of it happened. The end result is a compelling “I can’t believe that just happened” experience and this is the area that Tom Johnson’s music occupies. Pieces like Failing: A Very Difficult Piece for String Bass or Narayana’s Cows include a narrator which explains, in no uncertain terms, how this piece works. An Hour for Piano or The Chord Catalogue relegates this information to program notes and such (the notes for An Hour for Piano should be read while listening to the piece; an internal narrator, if you will). The magic in Johnson’s music comes when he does exactly what he told you he was going to do but not HOW they are compelling and captivating.
Music and Questions is a prime example of how straightforward Johnson’s music can be. Five bells, all arranged in half-steps, are played in every possible permutation of single strikes. Between each permutation, Carol Robinson asks a simple question. The questions always relate to the listener’s experience of the piece and how the listener relates to the questions or the music. She also announces each section by stating which of the five bells are being struck first. That is it. For 23 minutes. No rhythmic motive to trace, no groove elements, no fancy orchestrational tricks, no surprise emotional outbursts, just a clinical exploration of 120 bell tones. It might be cliche to refer to this as a Zen listening experience but I honestly have no other words for it. There is absolutely nothing boring about this music but my brain tells me the music should be boring. That is the magic.
Music with Mistakes puts Robinson in the role of narrator and basset horn soloist. Listener engagement is key with Johnson and Music with Mistakes brings foreground listening to an audience that might otherwise expect to “zone out” during a typical process-oriented “old school” minimalist piece. Instead of the constant interruptions for questions, though, Music with Mistakes starts with the statement that melodic material will be played multiple times but only once without mistakes. The listener is to try to hear the mistakes. Arts organizations are constantly looking for ways to “engage the audience” with their repetitive concerts of warhorse literature. Johnson builds audience engagement into each piece. That is the magic. What is even better is that Johnson includes the answers at the back of the liner notes.
Same or Different operates under a similar basic principle as Music with Mistakes. Thick piano chords are played but the underlying question is: are they the same or are the different? A motive is played and the repeated: are they the same or are the different? This game lasts for about 27 minutes and it is some of the most active listening I’ve done in a while. I would love to give a copy of this disc to Edwin Gordon just to see how he does.
Since the music is, at its core, so simple and direct it is hard to say anything about the performances. Is there a word for this kind of virtuosity that puts the performers in a quasi-game where their detachment is a the primary fundamental skill? In the last two pieces, Carol Robinson and Dante Boon have to play their pieces without giving anything away. They have to make micro-changes and repetitions into a cheeky game of “did I or didn’t I” for considerable lengths of time. Not only is Johnson inviting the audience to hyper-scrutinize each micromotion of the performers he also gives them an extremely thin veil to hide behind. The whole disc is a delight to listen to. That is magic.
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Song from the Uproar
Abigail Fischer and the NOW Ensemble
New Amsterdam Records
- Abigail Fischer – Isabelle Eberhardt
- Celine Mogielnicki, Amelia Watkins, Kate Maroney, Tomas Cruz, and Peter Stewart (other voices)
- Sara Budde, clarinet & bass clarinet
- Logan Coale, double bass
- Mark Dancigers, electric guitar
- Michael Mizrahi, piano
- Alexandra Sopp, flute & piccolo
- Steven Osgood, conductor
Missy Mazzoli’s opera Song from the Uproar is proof positive that opera is alive and well in the world. A true 21st century production incorporating a lean number of performers and simple yet hauntingly effect electronics, Song from the Uproar also draws upon the basic core of operatic storytelling: expressive emotional content. While the musical foundation of Song from the Uproar is postminimalism, Mazzoli’s music has a gloriously expressive surface to pair with Uproar’s rhythmic/harmonic engines.
The opera works exceedingly well as one continuous hour-long work but the piece also breaks into component “numbers” rather nicely. I have found myself listening to “You Are the Dust” quite a lot, actually, with its gorgeous melodic line, pulsating electric guitar delay and high double bass. Abigail Fischer’s voice on this particular track, and throughout the whole opera, has a dense mournful quality. Fischer’s sound is as complex as her character. There is a lot of heavy drama in the story and it would be easy to focus on the bleak and mopey tragedies Isabelle Eberhardt experienced. Fortunately, Mazzoli is a lot smarter than that. The excitement Eberhardt felt on her adventures spawned moments like “I Have Arrived,” a mostly instrumental segment brimming with bright and infectious energy. Mazzoli treats the small ensemble of flute, clarinet/bass clarinet, electric guitar, double bass, and piano in such a way that maximizes color and sonic potential. You’d swear that there are a lot more people playing. Mazzoli has worked with NOW before and that familiarity with their sound pays off well. Similarly, musical ideas in Song from the Uproar have been explored by Mazzoli before in other pieces. One such example is that the final scene of the opera appears as “The Diver” on Victoire’s Cathedral City album. The time and attention Mazzoli has put into crafting this opera shows.
I went ahead and got one of the “Deluxe Limited Editions” available from Mazzoli’s Bandcamp page. The whole package includes the complete libretto with additional imagery from filmaker Stephen S. Taylor and a DVD, not of a staged performance, but rather an abstract accompanying film also created by Taylor. Taylor uses old black-and-white film to create a sort of “visual sense memory” of Eberhardt’s life and world. A sample of this footage can be found in the video for “You Are the Dust.” I enjoyed the progression of visual imagery as it evolved throughout the opera and Taylor’s choices flexed between “on the nose” and “abstractly poetic” in a compelling way. Still, I want a video of a fully staged performance of Song from the Uproar. It deserves one.
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death speaks performed by: Shara Worden (vocals), Bryce Dessner (guitar), Owen Pallett (violin), Nico Muhly (piano)
depart performed by: Maya Beiser (multi-tracked cello), Elizabeth Farnum, Katie Geissinger, Alexandra Montano, and Alex Sweeton (voice)
For my ears, one of most striking features of David Lang’s music is its austerity. I have heard interviews with Lang where he speaks about eschewing a specific emotional context for his music and writing music in which the listener provides their own unique emotional response to the work. In other words, Lang tries not to manipulate the listener directly but rather create an aural space in which the listener affects themselves via the music. How well does that tactic work with such an emotionally charged idea as “death speaks?” Quite well, indeed.
The text for the five movements are all drawn from Schubert lieder in which Death speaks to the living. Lang translated the text and worked it to meet his needs as he did with Little Match Girl Passion a few years back. Shara Worden’s voice rides the edge of emotional detachment by giving just the slightest hints of tenderness. Worden’s voice is a testament to “complexity through simplicity.” She does not sing overtly virtuosic melodies; the overall shape of her lines is fairly static but she embues each phrase with subtle power and resonance. Lang’s sparse but constant instrumental textures are extremely colorful and provide a great balance between stasis and activity. The second movement, “I hear you” has vigorous bass accents but otherwise the music simply floats and drifts in consistent yet irregular clouds.
depart achieves the same affectless-affect as death speaks but adds a wonderful edge of tension via the sustained harmonies. Beiser’s cello is omnipresent through the veil of detached voices and as the harmonies build, tension mounts. At times, Lang sits on dominant-functioning harmonies but not once is such a chord resolved in a conventional manner. Lang holds your hand through the build-up of harmonic tension and walks you to the Precipice of Expected Resolution. Once staring over the cliff, though, Lang backs slowly away through a different route and leaves you (or me, anyway) feeling bewildered. But the music keeps going and I’m following him towards the precipice again…
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Music of Bill Ryan
Ashley Bathgate, cello; Vicky Chow, piano; David Cossin, percussion; Michael Lowenstern, bass clarinet; Pablo Mahave-Veglia, cello; Jonathan Nichol, saxophones; Todd Reynolds, violin; Paul de Jong, cello
- Simple Lines
- Towards Daybreak
- Rapid Assembly
- A Simple Place
- Solitude in Transit
Billband is another fine example of a post-minimalist/alt-classical chamber ensemble. Bill Ryan’s compositions fit the model well with direct and clear musical ideas well-paced and orchestrated for his mixture of performers. Whereas (gross generalizations follow, prepare yourself) Build draws from a jazz combo sound, Newspeak leans towards aggressive and edgy literature, and Victoire centers around a subdued synth-driven music, the Ryan/Billband sound world is heavily connected to a more traditional chamber music aesthetic with occasional bits of rock drumming deftly added to the mix.
As a composer, Ryan gets a lot out of a little. His penchant for simplicity (aside from appearing in several titles) makes for affective music making. Simple Lines is just that, good melodic gestures woven together using an overdubbed Ashley Bathgate. A Simple Place contains more surface action but it maintains attractive and clear emotional trajectories. Towards Daybreak and Sparkle are other contemplative pieces which paint clear aural pictures. Blurred uses copious piano pedal and reverb to gently smear an otherwise driving pulse towards its inexorable climax.
Ryan contrasts his contemplative nature with a handful of more groovy and driving works. Rapid Assembly starts with a thin groove which picks up speed and energy as the whole composition comes together. Friction jumps right in with a heavy rock groove. To my ears, it sounds like something someone is about to rap over but no real melodic material emerges until the drums subside and the whole piece quiets down. Even in his more driving works, Ryan has a delicate hand at orchestrating his ideas. Each instrument has not only its own musical space but also serves a vital role in creating a single ensemble sound. Most of the music utilizes strings, piano, and metal pitched percussion but the woodwinds are well balanced and blended in the group (expressively played by Lowenstern and Nichol). The whole of the Billband sounds great on this disc and I look forward to more releases.
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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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