Michael Vincent Waller
The South Shore
From XI Records comes The South Shore, a new double CD release by New York-based composer Michael Vincent Waller. Totaling some 138 minutes, The South Shore is the most comprehensive musical statement from Waller to date – his two previous albums of piano music were much less ambitious in scale. With a style that runs to miniatures and other smaller forms, The South Shore features a total of 31 tracks. This new collection includes a number of different instrumental ensembles that greatly add to the possibilities for new colors and texture. This is a definite enhancement and brings an added dimension to Waller’s carefully constructed pieces. Released in latter weeks of a difficult winter, hearing the warm and sunny pieces of this album is like a weekend in the south of France.
With such a profusion of music, here are some observations on selected tracks.
From disk 1, Atmosfera di Tempo, on track 2, is an example of how an ensemble of several instruments – in this case a string quartet – can give a greater sense of intimacy and empathy to the underlying structure. This piece begins with a repeating figure in the violin supported by the cello. The others join in, to create a warm, contented feeling with just a slight tinge of sadness that strings can bring out so well. The theme is repeated with variations, sometimes gentle and lush and at other times more insistent and stark. The subtle shadings and sensitivity evident in this piece are a credit to the four players.
Per La Madre e La Nonne on track 4 features a string trio, with a light, bright sound to open. The violin leads with a repeating melody with an effective counterpoint in the lower strings. Variations follow and the close ensemble adds to the sweet feeling in this piece. Written for the composer’s mother and grandmother, Per La Madre e La Nonne is sturdy enough to carry the emotions invested in it yet delicate enough to clearly render the finer details. Towards the end the cello carries the melody with the others in counterpoint, and this gives a somber, almost brooding feel. The ensemble here -by Pauline Kim-Harris, Daniel Panner and Christine Kim – is excellent.
Pasticcio per meno è piú, track 5, is a solo piano piece played with great sensitivity by Nicholas Horvath. A simple running melody above is supported by warm chords underneath and the feel of this is very impressionistic. The gentle touch on the keyboard nevertheless produces a wonderfully luminous sound and the overall effect is to be transported to a sunny day in the south of France. A variation at 4:00 has a more purposeful color, but Pasticcio per meno è piú concludes by reinstating the softer opening.
Nel Nome di Gesú on track 10 opens with a powerful series of strong, chant-like passages repeated by Christine Kim’s cello. The organ line by Carson Cooman adds an expansive component and the result is a feeling of the monumental combined with a comforting sense of familiarity. It is like sitting in a strange church but feeling as if at home. The second movement of this piece is track 11 and the cello, with darker tones plays the melody below the organ, now registered with a lovely flute sound. There is a plaintive, almost mournful feel to this that is nonetheless very beautiful. Both movements of Nel Nome di Gesú are well balanced and quietly touching.