Author: Christian Carey

CD Review, Contemporary Classical, Dance, File Under?, Piano

Sufjan Stevens – Reflections (CD Review)

Sufjan Stevens – Reflections 

Timo Andres, Conor Hanick, piano

Asthmatic Kitty

 

Reflections is a studio version of Sufjan Steven’s sixth collaboration with choreographer Justin Peck. Over the course of his career, Stevens has explored a number of genres: indie rock, electronica, and folk music. His work as a concert music composer shows considerable facility, with idiomatic, indeed virtuosic, writing for piano duo. 

 

The opening track, “Ekstasis” begins the ballet with emphatic, thickly voiced chords and glissandos, followed by brilliant passagework and a briefly inserted swinging melody. Pianists Timo Andres and Conor Hanick are perfect for the challenges posed here and perform all of the twists and turns of “Ekstasis” completely in sync. “Revanche” plays with color chords in chromatic formations: a bit of a hat tip to Messiaen. “Euphoros,” as one might expect, is ebullient, with repeated neo-classical motives, a lá Stravinsky, that are again periodically interrupted by glissandos. 

 

“Mnemosyne” begins in hushed dynamics. Here, instead of neo-classical tropes, Stevens explores impressionism through a post-minimal lens, with limpid filigrees and modal tunes. The control exerted by the pianists here is quite affecting. “Rodinia” lives in a similar pocket, with the balletic feeling of the Debussy Arabesques. “Reflexion” concludes the ballet with triple time sequences that swirl upward and then reenter until we are left with an abrupt, unresolved close. 

 

The piece “And I Shall Come to You Like a Stormtrooper Dressed in Drag Serving Imperial Realness” provides a swath of good-humored writing. It tasks the pianists with following one another in post-minimal riffs, a little bit of Cantina Bar swagger, and  building mountain tall chords. Puckish arpeggiations that hint at an undercurrent of John Williams provide a jocular juxtaposition to the grandeur of the piece’s bravura postures. Partway through, a whole-tone, gamelan-like interlude briefly interrupts, only to be replaced by fortissimo rolled chords in scalar patterns. A thinned out version of this upward sequence sends the piece into a misty, quiet close. Great fun.

 

-Christian Carey 



by Christian Carey
CD Review, early music, File Under?

De Profundis Sings Morales (CD Review)

Morales: Missa Desilde al cavallero, Missa Mille Regretz, Magnificat Primi Toni

De Profundis, directed by Eamonn Dougan and Robert Hollingsworth

Hyperion Records

 

Cambridge’s De Profundis has quickly become a go-to ensemble for Spanish vocal repertoire from the Renaissance. An all-male group with a sonorous sound that includes an incomparable bass section (hence the group name), they have released extraordinary recordings of Vivanco, Esquivel, and Ribera. Now De Profundis is turning its attention to Cristobal de Morales (c. 1500-1553), with a projected 12-album project to record his masses and Magnificat settings. The first disc in the collection, released in 2023,  includes Missa Desilde al cavallero, Missa Mille Regretz, and the Magnificat Primi Toni.

 

Often nicknamed “The Golden Age,” the mid-to-late Renaissance was indeed a fertile time for composers in Spain. During the first half of the sixteenth century, Morales was one of the finest of them. His music followed the death of Josquin and preceded that of Victoria, Lassus, and Palestrina. He held prestigious positions as part of the Papal Choir and at Toledo Cathedral, but according to musicologist Kenneth Kreitner, frequently suffered from illness that steadily caused a decline in his ability to perform his duties. Whatever ailment plagued Morales, he continued to compose until near his passing. Even in the sixteenth century, fifty-three-ish would not be considered a ripe old age. Still, Morales left behind a large body of compelling music. It should be exciting to experience it in the De Profundis edition. 

 

Mille Regretz is a famous chanson by Josquin, performed here with light instrumental accompaniment. Morales uses it to create a cantus firmus mass, a common form at the time in which a pre-existing piece of music was used in long note values throughout a mass. Here, it is offset by a newly composed superius part. There are two versions of the Sanctus and portions of the Agnus Dei, one in an earlier manuscript and then revised movements in the printed copy, which have helpfully been supplied here side by side for comparison. Morales likely preferred the later version, but the canonic material from its earlier incarnation is truly rousing. It is not surprising that this is Morales’s most famous mass setting, both for its Josquin hat tip and extraordinarily beautiful music.

 

During his lifetime, Magnificat settings by Morales were even more highly regarded than his Mass settings. Written during his time in Rome in the Papal choir, Magnificat Primi Toni is quite dramatic in its declamation, particularly the “Fecit Potentiam.” The “Quia Respexit” unfurls staggered contrapuntal entrances, a device that is used to stirring effect in a number of passages. Although the bass section has already been lauded, the countertenors sing with exquisite tone and control, as evidenced by the “Quia fecit mihi magna” and “Et misericordia eus.” 

After two works among Morales’s best known music, the CD concludes with a relatively obscure mass, Missa Desilde al cavallero, found in only a single copy. It deserves wider currency. Based on an anonymous 16th century Spanish song, the mass sits astride cantus firmus and parody types, an amalgam that Morales exploits with insightful creativity. An accompanied solo performance of the song is quite lovely, giving context to the mass that follows. Organ and bajón, an early version of the bassoon, provide accompaniment to the mass as well. The entire performance is compelling, but there are some highlights. The shimmering close of the Gloria, buoyed by corruscating lines, and the finely-tuned chords of the Credo’s “Et incarnatus est,” leading into a gently rendered Crucifixus. As was the custom, the Osanna sections feature buoyant fuga, followed by the incandescent ambience of the Agnus Dei movements. 

 

De Profundis will release the next volume of the Morales edition in 2024. In the meantime, revel in its auspicious beginning.

 

-Christian Carey

 

 


by Christian Carey
CD Review, Composers, Contemporary Classical, File Under?, Piano

Frederic Rzewski – Late Piano Works (CD Review)

Frederic Rzewski

Late Piano Works

Bobby Mitchell, piano

Naxos

 

Frederic Rzewski (1938-2021) was a gifted composer and pianist. His oeuvre included pieces in many genres, but it is his piano works that, to date, are best known. Rzewski premiered a number of pieces, but in his later years deputized pianist Bobby Mitchell, dedicating works to him and trusting his talent to be sufficient for their often virtuosic and complex interpretive demands.

 

Rzewski’s pieces combine modernism and vernacular styles, particularly leftist folk songs, often in sets of multifaceted variations. War Songs (2008) includes songs that are both pro and anti-war. It has an Ivesian cast, with the materials layered in a welter of dissonance and complex verticals. Mitchell’s performance is vivacious, reveling in the many quotations, pointing up the places where pro and anti-war songs wage their own conflicts.

 

One of the composer’s large piano cycles, Dreams, is represented here by its last two pieces: Ruins and Wake Up. These pieces were written for Igor Levit in 2014, and they provide a contrasting pair. Ruins seems to be a disturbed swath of unrest, filled with dissonant counterpoint, thunderous bass notes, and angular lines. Besides the directive connotation of Wake Up, it is also the title of a Woody Guthrie song that serves as the piece’s opening gesture. 

 

Winter Nights (2014) was composed to celebrate Mitchell’s thirtieth birthday. This triptych is inspired by the tale about Bach’s Goldberg Variations, in which his student Goldberg played them in order to cure his patron’s insomnia. I’ve often wondered if the vivacity of the Goldergs wouldn’t make for toe-tapping rather than snoring. Winter Nights too has long stretches that seem in homage to Carter’s Night Fantasies, post-tonal, rife with trills and passagework. Elsewhere are long stretches at extremely slow tempos, with gradually unfurling, attenuated single-line melodies. Mitchell does a superb job rendering these detailed scores in vivid fashion.

 

The recording concludes with Saints and Sinners (2016). Originally written for Milton Schlosser, it was performed by Mitchell at Rzewski’s funeral. A substantial piece cast in a single movement, it recalls mid century neoclassical Americans such as Roger Sessions, Arthur Berger, and William Schuman. In a sense then, it is a piece that comes full circle, recalling Rzewski’s initial impetus and training to compose. Late Piano Works is excellent in terms of curation, quality of music, and performance. Recommended.

Christian Carey



by Christian Carey
Birthdays, Composers, Contemporary Classical, Experimental Music, File Under?

Happy Birthday Jürg Frey

Sequenza 21 is pleased to wish a Happy Seventieth Birthday to Jürg Frey. The Swiss composer has been a member of the wandelweiser collective since the 1990s, and his work exemplifies its aesthetic. For fifty years, Frey was also a well-regarded clarinetist.

 

We will celebrate with coverage of two of Frey’s recent recordings.

 

Borderland Melodies

Apartment House

Another Timbre

 

Apartment House has become something of an ensemble-in-residence for the Another Timbre label. The group revels in experimentation, taking special interest in living British composers, the New York School, and wandelweiser. Borderland Melodies includes three pieces featuring both clarinet and bass clarinet. Like much of his music, the compositions here explore “landscape,” not as a program, but as a musical vantage point. Thus, moment-to-moment events are organized in terms of long stretches in which rhythm, pacing, and harmony give a different sense of space. While discussing such intricate layers of sound, one cannot help but draw a parallel to the precision and thoughtfulness of Top casino’s zonder Cruks, platforms designed to provide a tailored gaming experience that adheres to the specific preferences of players while offering a sense of freedom and accessibility. The sound of the two clarinets together, played by Heather Roche and Raymond Brien, is lovely, perhaps serving as an homage to Frey’s own clarinet playing. In the title piece, they are accompanied by solitary piano notes and string harmonics. The idea of melody, while palpable throughout, is executed through compound melodies and attenuated Webernian utterances.

L’état de Simplicité is cast in four movements. Thrumming bass notes are offset by sustained pitches in movement one, Á la limiter du sens. Toucher l’air refers to the technique of vibrating the air moving through an instrument. The third movement features beguiling rearticulated verticals. The final movement, Les Zones neutres, juxtaposes pizzicatos with sustained winds, to which sometimes are added violin harmonics that make chords blossom. Moment, ground, fragility is a half hour long, shorter than some others of Frey’s pieces, but long enough to get a sense for how he deals with a big compositional canvas. There is a noticeable economy of means, with repeated pitches and intervals moving around one another like an orbital process. Percussion is part of the ensemble here, providing a slow tactus that, rather than feeling like a downbeat accent, is accompanied by isorhythmic structuring in the other instruments. Those who wish to start with a piece by Frey might consider Moment, ground, fragility as a point of entry.

 

Lieus d’ombres

3-CD box

Reinier van Houdt, piano

Elsewhere

 

“If I were a pianist, I would play my music like Reinier would play it.” — Jürg Frey

 

Frey has written a great deal of piano music. It has been performed by Dante Boon, Philip Thomas, and the pianist here, Reiner van Houdt. Lieus d’ombres was written over a long period of time, from 1984 to 2016. Yet the seven compositions are of a piece: Pianissimo, closely voiced verticals and single pitches that float at a slow and steady tempo. These are interspersed by section-punctuating silences. Changes in pacing then seem all the more significant. The language is primarily triadic, with shifts between pitch centers that retain the overall chordal spacings. It is a blissful listen.

 

-Christian Carey

 

by Christian Carey
CD Review, Contemporary Classical, File Under?

Rebecca Saunders – Skin on NMC (CD Review)

Rebecca Saunders

Skin

Christian Dierstein, Dirk Rothbrust, percussion

Rundfunk-Sinfonieorchester Berlin (RSB), Enno Poppe, conductor

Quatuor Diotima

Juliet Fraser soprano, Klangforum Wien, Bas Wiegers, conductor

NMC Recordings

 

Berlin-based British composer Rebecca Saunders often creates pieces with the capacities of specific collaborators in mind. Her latest recording for NMC, Skin, features three of her “calling card” pieces from the 2010s, performed estimably by their dedicatees. Saunders is one of the composers sometimes described as part of the Second Moderns, creators who revitalize the tenets of modernism in the light of Postmodernism and New Complexity. Pieces consist of a plethora of extended techniques, alternating aggressive gestures and what Tom Service has described as “evanescent shimmer” with music of “violence, stillness, and violent stillness.” Saunders often references the tactility and embodiment central to her work: the pressure on a bow, the weight of different attacks on the piano, the breath, and even the pressing together of shoulder blades before playing the accordion. 

 

The orchestra piece Void is performed here by percussionists Christian Dierstein and Dirk Rothbrust and Rundfunk-Sinfonieorchester Berlin, conducted by Enno Poppe. They do an excellent job rendering and balancing the complex textures of the work. The prevailing ambience is eerie, led by shimmering metallophones and forceful drumming. In creating their parts, Saunders worked closely with Dierstein and Rothbrust, which is apparent in the complex choreography of shifting instrumental combinations they execute. Brittle harmonies in the strings, angular trumpet lines, and soft wind chords shadow the soloists, combining to create a varied accompaniment.

 

Unbreathed includes a number of quotes as its performance note,  a list of by Saunders:

 

Inside, withheld, unbreathed,
Nether, undisclosed.

Souffle, vapour, ghost,
hauch and dust.

Absent, silent, void,
Naught beside.

Either, neither, sole,

Unified.

 

This is followed by quotes by Marukami and Beckett, who is a particular touchstone for the composer. Performed by Quatuor Diotoma, Unbreather frequently employs glissandos, often overlapping, to create a fluid, microtonal surface. An abundance of special techniques are used, aggressive attacks and alternations of bow pressure prominent among them. The juxtaposition of dynamic levels, from vicious fortissimos to near-silence, as well as the unpredictability of gestures, lends to the idea of a diffuse form. The conclusion is hushed, suggesting a use of anti-climax that too is Beckettian. 

 

Skin, for soprano and 13 players, is the first piece that I heard by Saunders. It remains inspiring and surprising every time I have listened to  Juliet Fraser’s performance of its tour-de-force vocal part. Virtuosity is ubiquitous, with wide-ranging lip trills, sprechstimme, and high-lying sung passages all requiring tremendous control. Fraser delivers, in a robust reading that belies the demands that Saunders requires. Klangforum Wien, conducted by Bas Wiegers, both supports and interacts with Fraser. The trumpet, in particular, often doubles the soprano’s held notes, only to distress them with microtones. Emphatic percussion, frequent glissandos, and spectral chords create an ominous atmosphere.

Saunders has written a number of compelling pieces, but the selections on Skin are some of her very best. The disc serves as an excellent introduction to her music. Recommended.

 “A Guide to Rebecca Saunders’s Music,” by Tom Service. The Guardian, 5 November, 2012.

-Christian Carey

 

by Christian Carey
CD Review, Contemporary Classical, Experimental Music, File Under?

Ming Tsao – Triode Variations (CD Review)

Ming Tsao

Triode Variations

Ensemble Musikfabrik, conducted by Emilio Pomárico

Neue Vocalisten Stuttgart

Ensemble KNM Berlin, Stefan Schreiber, conductor

Kairos Music

 

Triode Variations is composer Ming Tsao’s third recording for Kairos, with another portrait CD on the way in 2024. It is a showcase of a relatively small timeframe, with pieces on it composed from 2016-2020. In his formative years Tsao trained widely, studying violin and viola with Ron Erikson, Guqin (Chinese zither) with Wu Zhao-ji, composition with Chaya Czernowin and Brian Ferneyhough, and electronic music with Mario Davidovsky. He ended up at University of California San Diego, where he received the Ph.D. in Music Composition. Subsequent to this, his music has been commissioned by prominent ensembles and featured at a number of festivals. Much of Ming Tsao’s work has premiered in Europe, and three German ensembles record it here. 

 

The composer uses highly intricate procedures, which are copiously described in the release’s liner notes. It involves using preexisting music, reversing and then modifying it to create something nearly unrecognizable to the original. Ming Tsao likens it to multiple palimpsests. Triode Variations (2019-2020) takes as its starting point Arnold Schoenberg’s Variations for Orchestra. Over the course of three movements, two interludes, and a postlude, Ming Tsao explores a complex web of angular lines. The Schoenberg layer occasionally is asserted, but only for brief fleeting moments. Triode Variations is played with fine detail and bold assurance under Emilio Pomárico’s direction of Ensemble Musikfabrik. 

 

The composer is fascinated with canonic procedures from the Medieval and Renaissance era, which is displayed in Das Wassergewordene Kanonbuch (2016-2017), in which intricate counterpoint is brought to play in each of the twenty puzzle canons. Once again, a reversal procedure is employed to further complicate the proceedings. The canons reference texts of Paul Celan, a twentieth century poet whose own cryptic procedures are an apt inclusion. Neue Vocalsolisten Stuttgart are required to perform extended techniques alongside complex linear interactions. Once again, the use of palimpsests successively glimpsed in the music is a fascinating technique that creates kaleidoscopic effects. 

 

Refuse Collection (2017), performed by the Ensemble KNM Berlin, conducted by Stefan Schreiber, is given an incisive, rhythmically taut performance. It is another reverse transcription of Schoenberg, this time his Begleitungsmusik zu einer Lichtspielscene, Schoenberg’s only film music. The music is refracted through a metric grid based on the poem Refuse Collection (2004) by J.H. Prynne. 

 

For those interested in the construction of music by Ming Tsao, consult the detailed liner notes essay on his compositional language. For those who prefer to listen without preconceptions, Ming Tsao’s music speaks for itself. 

 

-Christian Carey

 

 



by Christian Carey
CD Review, File Under?, Pop

Guided by Voices – La La Land (CD Review)

Guided by Voices – La La Land (Guided by Voices, Inc.)

 

A colleague recently quipped that “it is a new fiscal quarter, so there must be another Guided by Voices album coming out.” Indeed, Robert Pollard and company (a rotating list of musicians) are prolific almost beyond measure, a situation in which one might wonder about issues of quantity versus quality: they needn’t worry. 

 

Joining Pollard on La La Land are a slate of long time collaborators: Doug Gillard and Bobby Bare, Jr., guitars, Marc Shue, bass, and Kevin March, drums. They know Pollard’s style thoroughly; even in his most ambitious songs they turn on a dime to meet their intricacies.

 

It would be difficult to ascribe a throughline to Pollard’s writing style. Recently, there are more complex songs, and long songs, amidst the sparkly, incisive singles. La La Land has both the microcosms and macrocosms that the songwriter explores. The opening track, “Time to Heal,” at less than two minutes long is an example of one the more aphoristic Guided by Voices songs, (yes, Pollard creates musical worlds, evocative ones, with even less time). It transitions directly into “Released into Dementia,” another two-minute song with a mournful melody. 

 

It is the lyrics for “Instinct Dwelling” from which the album title is derived: “Don’t let them see your contraband, You’ll wind up in La-La Land.” It is a song with grit and a dose of  anti-institutional paranoia. “Queen of Spaces” is a standout, with a delicate, extended acoustic guitar introduction and a yearning, captivating vocal.

 

“Slowly on the Wheel” clocks in at six minutes, double or triple the length of most of Pollard’s songs. Repeating bass and guitar octaves accompany a constrained introduction and verse. The band and vocals open up on the chorus, with harmonies abounding. After the second verse follows an emphatic interlude and a return of the chorus. The intro’s material then returns, and is succeeded by the stark guitars of the interlude to finish the song. A non-standard structure for a popular song, closer to prog, makes for a fascinating formal experiment. Another is “Cousin Jackie,” which combines the refrain “Make it rain” with a number of vocal countermelodies and guitar solos. One of the best hooks of La La Land, Pollard is not content to let it remain in a straightforward context, again demonstrating a playful sense of organization.

 

On La La Land, Guided by Voices manages the unusual feat of balancing recognizability, like the punchy “Caution Song” and “Face Eraser,’ with the adventurous work mentioned above and the varied treatments of the refrain “An invitation to suffering” on “Wild Kingdom.” The final song “Pockets,” consists of lists of what one can use to fill up their pockets, which then turns to small groups, phrases such as “pockets of weak information.” A minimalist guitar break outro ends the proceedings enigmatically. Guided by Voices still keeps us guessing.

 

-Christian Carey 


by Christian Carey
CDs, Contemporary Classical, File Under?, Piano

When Sufjan met Timo and Conor

 

Sufjan Stevens is an indie rock luminary who, throughout his career, has explored a number of styles. His first contemporary classical release, Reflections will be released on Asthmatic Kitty on May 19th. The music is for piano duo and performed by Time Andres and Conor Hanick. 

This meeting of stalwart musicians crosses the boundaries of pop and post-minimalism to create music that is carefully crafted, well-paced, and has a strong sense of drama. Below is the recording’s lead off single, “Ekstasis,” both in a visualizer and a live performance.

 

by Christian Carey
CD Review, Choral Music, Contemporary Classical, early music, File Under?

love & light – iSing Silicon Valley (CD Review)

love & light

iSing Silicon Valley, conducted by Jennah Delp Somers

Esteli Gomez, soprano; Cheryl Ann Fulton, harp

Avie Records

 

On love & light, the girl’s choir iSing Silicon Valley performs a program of ancient liturgical chants and Latin motets by contemporary composers. Many include the dulcet accompaniment of harpist Cheryl Ann Fulton, who arranges early music for the harp. Os Mutorum by James Macmillan opens the recording with a gentle spirit, introducing the listener to a program emphasizing healing and uplift. Star power and fetching lyrical singing is provided by soprano Esteli Gomez. Her performance on Kile Smith’s Psalm 113 is a particular standout. 

 

Jennah Delp Somers has fashioned an impressive program with iSing. Consisting of three hundred girl singers, it emphasizes recruiting from different cultures and socioeconomic backgrounds to bring communities together. Not only is this worthy advocacy, but iSing performs beautifully under Delp Somers’s direction. Performing challenging yet abundantly appealing works  such as Kenyon Duncan’s hocket filled chorea lucis, Gabriel Jackson’s ebullient Ubi Flumen Praesulis, and the luscious, harmonically intricate Lux Aeterna by Sunji Hong, the group displays a commanding presence that belies their ages. The latter piece was new to me, and has become a particular favorite.

 

Like much of Hildegard’s music, O Virtus Sapientiae has a wide ranging melody. Gomez sings it with command and  rhythmic fluidity, accompanied by recessed voices carrying a sustained chord for accompaniment. Anonymous early music is arranged for the ensemble and harp. O Maris, Stella Maris, on which Gomez sings the chant, is memorable among these. Also affecting is a harp solo based on O Columba. The group performs Salve Virgo Virginum with immaculate diction and pacing. 

 

Monstra Te Esse Matrem, by Kile Smith features polychords interspersed with solo sections by Fulton. Soft dynamics are performed with exquisite control. Three pieces by Andrew Smith (no relation), Ave Regina Caelorum, Ave Maria, and Regina Caeli, round out the program. Ave Regina Caelorum combines chant with chordal stacked seconds that in places sounds like the tintinnabuli style of Arvo Pärt. Ave Maria once again harmonizes chant with lush chords. The high-lying soprano line is impressively performed. Regina Caeli begins with the chorus singing chant that is succeeded by overlapping lines and bright harmonies. 

 

If more communities had this kind of program for young people, that fosters connections but cedes nothing of musical excellence, think of what America’s support for the arts would look like. Recommended

 

-Christian Carey

 

by Christian Carey
CD Review, Contemporary Classical, Electro-Acoustic, File Under?, Violin

Olivia de Prato – Panorama (CD Review)

 

Panorama – Olivia de Prato (New Focus)

 

Violinist Olivia de Prato has established herself as a staunch advocate of new music. In addition to her work with Mivos Quartet, she is a talented soloist. On her second solo release for New Focus Recordings, Panorama, she undertakes a recital disc of female composers. A number of the pieces include electronics, fleshing out the solo texture in diverting fashion.

 

The album opens with Missy Mazzoli’s violin plus electronics piece Tooth and Nail (2010). The original version was written for violist Nadia Sirota; this is a transcription for violin. The piece begins with string sounds in the electronics accompanying the live violin. De Prato digs into the vigorous passagework, executing arpeggiations and glissandos with incisiveness. As the piece progresses the electronics add a lower register to the piece, ending the piece. This is probably my favorite of Mazzoli’s instrumental works.

 

Jeom Jaeng Yi (Fortune Teller) by Jen Shyu is inspired by American polyartist Theresa Hak Kyung Cha, including some of her poetry as a spoken word component. The gestures in the solo part are based on speech rhythms. Speaking isn’t constant but de Prato makes clear the connections between violin and voice. There is a mournful cast to the piece: someone’s fortune was disappointing.

 

The title track, for violin and electronics by Angelic Negrón, employs a bath of ambient synths and supple legato phrasing from de Prato, often with glissandos, that employs sumptuous high notes. Mallet samples and piano press the music forward, with repeating passages and pizzicato in the violin responding to the post-minimal electronics. Gradually the music picks up speed, with regularly articulated synth chords and oscillations in the violin. The texture becomes fuller, with a return of synth ostinatos, and once again upper register violin glissandos soar over the top of the varied palette of electronic sounds. The coda features a two note oscillation and clouds of chords accompanying the violin’s final melodic strands.

 

Mapping a Joyful Path, by Miya Masaoka, employs pitch bends in places in the synth parts. Mostly, however, the electronics part consists of sustained sine tones that are varied in register, with overtones skirting in and out of the texture. De Prato plays with varying bow pressure, aggressive repeated notes, microtones in double stops, and Eastern sliding tone to interpret a multifaceted and fetching piece. It finishes with a held altissimo note in the violin and the drones receding.

 

The recording concludes with Balconies by British composer Samantha Fernando. The piece can be played by five live violinists or one with a pre-recorded part. It begins with an arpeggiated flourish and overlapping ostinatos. After another iteration of the opening arpeggio, the texture thickens in the second section, moving from the triadic opening to secundal chords articulated with repeating notes. Soft pizzicatos interrupt the chordal texture, and the arpeggio announces a third section, this one supplying more spacing, but no less complicated harmonies. Melodic fragments are taken up, breaking up the verticals for a time. Melody and richly constructed chords then interact. The original gesture is reconfigured as chords in the alto register, followed by a coda of pizzicatos. Balconies is an arresting piece on recording. I would love to hear de Prato and four friends playing it live.

 

Once again, Olivia de Prato has presented a program of fascinating musical discoveries. Panorama supports female composers with advocacy and skill. Recommended.

 

-Christian Carey

by Christian Carey