Posts Tagged “OgreOgress”
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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Electronic Organ Works
Piece #2 (1999-2000) for electronic organ; Piece #3 (2000-2001) for electronic organ; Piece #1 (2000-2004) for electronic organ; 4/4 (2010); Piece (2010) for electronic organ and bongo drums (with Glenn Freeman on bongos)
While some composers might bristle when the term “minimalism” is applied to their music or try to distance themselves from the dread “M-word” by adding the prefix “post” or saying that their music is “inspired by” or “takes influence from” minimalism, there simply is no better term which provides a sonic context for David Toub’s sound world. The music on this disc is straight-up, unbridled, unabashed Glass-ian minimalism in the best possible way. I’m not sure if there are processes being worked out or if the changes are more intuitive but these pieces hit my ears the same way as Music in Fifths, Music in Similar Motion, or Music with Changing Parts. To be honest, Toub’s synth of choice (Ensoniq KS-32) has a more focused, less dated, and richer sound than what I hear in those earlier Glass recordings.
The three numbered pieces for electronic organ, presented in the chronological order in which they were finished, do a lot to draw you into Toub’s flavor of minimalism. Piece #2 is only 4’33” (not sure how much one wants to read into that) and chugs along with a very rock-friendly bass line and open harmonic sound. Piece #3 is longer, about twelve and a half minutes, with a more disquiet set of harmonies and mellower instrument tone. Piece #1 is about double the length of #3 and strings together more drastic textural shifts using a lighter organ sound. Piece #1 is also the only one with internal cadential pauses marking changes in texture. The alternation of arpeggio activity and longer tension-building sustains creates an interesting formal shape.
I rather enjoyed the sustained sections of Piece #1 and hoped that one of the remaining works on the disc would eschew a pulse in order to focus purely on Toub’s ability to build and release harmonic tension. 4/4 maintains the “pulse-first, build harmonies later” model but the metrical squareness becomes a great framework for Toub’s rhythmic and textural explorations. The final work on the disc, Piece for Electronic Organ and Bongo Drums, off-loads the pulse duties from the organ to the bongos so the organ can maintain sustained intervals. For my ears, the drums are a bit too loud and sharp for the mellower organ sound and I welcomed the 45 seconds without the drums (around the 9:15 mark). Overall, this is a well crafted set of pieces with rock solid performances and rich sounds.
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Posted by Jay Batzner in CD Review, Clarinet, Jay Batzner, OgreOgress, Piano, tags: bassoon, CD Review, chamber music, Clarinet, Hovhaness, Jay Batzner, oboe, OgreOgress, Piano, strings
cd cover art
Hovhaness: solos, duos, and trios
music of Alan Hovhaness
Paul Hersey, piano; Christina Fong, violin|viola; Libor Soukal, bassoon; Jirí Å estí¡k, oboe; Karen Krummel, cello; Michael Kornacki & John Varineau, clarinets; Christopher Martin, viola
Trio I for piano, violin & cello Op. 3 (1935)
Sonata Ricercare for piano Op. 12 (1935)
Artinis ‘Urardüan Sun God’ for piano Op. 39 (1945)
Suite for oboe & bassoon Op. 23 (1949)
Poseidon Sonata for piano Op. 191 (1957)
Bardo Sonata for piano Op. 192 (1959)
Sonatina for piano Op. 120 (1962)
Trio for strings Op. 201 (1962)
Three Haikus for piano Op. 113 (1965)
Night of a White Cat for clarinet & piano Op. 263 (1973)
Sonata for 2 bassoons Op. 266 (1973)
Sonata for 2 clarinets Op. 297 (1977)
Sonata for oboe & bassoon Op. 302 (1977)
Sonata for viola Op. 423 (1992)
The vastly prolific composer Alan Hovhaness gets captured in a time capsule of chamber music in this OgreOgress release. This 126 minute DVD-A disc (96kHz|24bit for you audiophiles out there) contains a full fourteen chamber pieces, thirteen of which are getting premiere recordings. The chronological ordering of works provides a journey from Hovhaness’ early populist tonal/modal style through his initial experiments with his better known Eastern influenced mystical language. There are pieces from each decade of Hovhaness’ productivity so if you are wanting a sampler of Hovhaness’ chamber output, there really isn’t a better place to start than this recording.
While probably better known for his symphonies, Hovhannes is equally skilled at writing his musical ideas in chamber form. The disc is crammed full of top notch performances and the audio quality of the disc is stunning. The solo piano works are rich with harmonics. The string trio sounds as if they are right in front of you. I was especially struck by the overtones in Libor Soukal’s bassoon sound in the Op. 23 Suite for oboe and bassoon.
There is no one large, dominating work on this disc which again makes it enjoyable for hearing the evolution of Hovhannes’ style and also encouraging performers to take up more of his chamber music. As I first listened to the disc, I was surprised at the style of the earlier pieces but the through line of Hovhaness’ development seemed as natural as breathing air. Then, when I started over with the early piano trio, I was amazed at how much of the later music is hidden in the earlier. Flirtations with modality in the early pieces evolve into raga-esque melodies a few decades down the road.
Each performance on this disc is well crafted from the performer to the ensemble through to the recording. The musical language overall is accessible and just plain pretty. I was especially fond of the piano trio, the piano sonatina, the string trio, Night of a White Cat, and the solo viola sonata. That is quite possibly more music than I would get on a standard CD. The fact that I get all the other works, which I also enjoyed, is a major bonus. OgreOgress is doing it right with good music, great performers and performances, and excellent recordings.
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Moons and Ancestors
music of Robert Shechtman
performed by Paul Austin, Gregory Crowell, Christina Fong, and Ethnoeccentric
Ancestral Songs for horn and organ
Water from the Moon for amplified violin
- Sirens’ Song
- Soft Shoe
- Sirens’ Song II
- Sirens’ Song & One More Waltz
Variations on the Huang Chung of the Eleventh Moon for amplified ensemble
Robert Shechtman’s music is exactly what I wanted to hear exactly when I wanted to hear it. There is a simplicity to the musical materials that is skillfully propelled into emotional arcs and meaty performances. Shechtman’s language is open and inviting, drawing upon pitch centric and motivic gestures with lots of space and time between events. I felt like I could really process what was being said as opposed to just trying to keep up.
The opening calls of the horn in Ancestral Songs are lonely, spacious, and inviting. The droning organ provides the perfect counterweight to the horn as the soloist picks up energy and gradually yanks the organ along with more spritely gestures. Paul Austin and Gregory Crowell evoke the timeless and eternal quality that this music needs.
Christina Fong brings the same needed energy to the five movement Water From the Moon. From the seductive long tones of Sirens’ Song to the One More Waltz, the music feels effortless and engaging. The electronic manipulation of the violin is quite subtle and well placed. The dance movements, Soft Shoe, Jitterbug, and the final Sirens’ Song & One More Waltz are particularly charming and note perfect. If you don’t feel like moving while hearing these movements, you might want to check your pulse.
Variations on the Huang Chung of the Eleventh Moon is a rousing and sparkling work for amplified ensemble. Ethnoeccentric gives a passionate and intense performance. Variations is the most driving and propulsive work on the disk and yet I still feel that sense of space and longing from the earlier pieces. The variations walk a fine line between sectional/character variations and free-flowing fantasia. Either way is fine with me.
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