File Under?

Composers, Concert review, File Under?, Minimalism, New York, Piano

Simone Dinnerstein in Recital at Miller Theatre

Photo: Lisa Marie Mazzucco.

 

Simone Dinnerstein in Recital

Miller Theatre – Columbia University

December 8, 2018

Published on Sequenza21.com

By Christian Carey

 

NEW YORK – On Saturday, December 8th, pianist Simone Dinnerstein made a return appearance to Miller Theatre to perform an intriguing and eclectic solo recital. The stage was set with subdued lighting, with electric “candles” placed throughout and, over the course of the evening, small shifts of color. Ms. Dinnerstein, dressed in elegant, flowing attire, created an atmosphere through her performance demeanor as well. The recital was announced with no intermission and the pianist paused from playing only once, midway through, to acknowledge applause and take a brief break. However, by otherwise starting each piece immediately after the final notes of the one it preceded, she communicated clearly that this was not to be an event in which musical continuity would be broken by applause between numbers. Thankfully the audience complied, mutually agreeing to allow the atmosphere to envelop them too.

 

Dinnerstein played two pieces by the Eighteenth century harpsichord composer Francois Couperin, one at the beginning and another right before the break. This is the first time she has programmed the composer. Her approach to Les Barriades mystérieueses was sonorous, eschewing ornamentation in favor of unadorned, shapely melodies. Like the Goldberg Variations, the second piece required interlacing the hands to play everything on the piano keyboard that would have required two manuals on the harpsichord. Le Tic-Toc-Choc, ou Les Mallotins featured motoric clockwork and brisk filigrees that were an excellent foil for the Philip Glass work that immediately preceded it.

 

Mad Rush (1979), one of Glass’s best known piano pieces, was first composed for the organ at the Cathedral of St. John the Divine, where the composer performed it for an appearance by the Dalai Lama. Arranged for piano, the piece is forceful and filled with contrasts. Its delicate passages were played with a spacious sense of breath by Dinnerstein, while the more emphatic central section in piece’s the repeating loop was performed powerfully with fleet-fingered accuracy. Last year, Dinnerstein’s account of Glass’s Third Piano Concerto was impressive; here, she made a further case for a place in the pantheon of Glass pianists. Contrast played a large role in Dinnerstein’s rendition of Robert Schumann’s Arabesque. Once again, she emphasized the breath between phrases, allowing the audience a sense of deft transition between the various emotive sections as they unspun.

 

Erik Satie’s Gnossiene No. 3 received the mysterious performance its ambiguous markings and lack of bar-lines evokes. One part cafe music and another modal Impressionist excursion, the piece was rendered with an evasive, lilting quality.

The pianist, in general, avoids overt and flashy displays of hyper-virtuosity, preferring instead to pick distinct places in which she allows her playing to be unrestrained. Dinnerstein’s performance of Schumann’s Kreisleriana provided several excellent opportunities for effusive virtuosity, and they seemed all the more special for the way that the pianist set them in relief against the more contemplative portions of the work. Fleet arpeggiations flew and the fugal passage in the final movement was a brisk cannonade.

 

Dinnerstein’s aforementioned penchant for allowing the music to breathe, as well as the atmosphere she created for her performance, encouraged a normally bustling New York audience to truly slow down and breathe themselves: a welcome respite during the busy holiday season. When the encore she favored them with was not some barnstormer but instead a reprise of Les Barriades, allowing the program to come full circle, it seemed entirely appropriate.

 

by Christian Carey
Choral Music, Commissions, Concert review, Contemporary Classical, early music, File Under?, New York

Tallis Scholars Premiere Nico Muhly in Midtown

Tallis Scholars. Photo: Nick Rutter.

Tallis Scholars: A Renaissance Christmas

Miller Theatre Early Music Series

Church of St. Mary the Virgin

December 1, 2018

Published on Sequenza 21

By Christian Carey

 

NEW YORK – The Tallis Scholars, directed by Peter Phillips, made their annual appearance in New York as part of Miller Theatre’s Early Music series at the Church of St. Mary the Virgin in Midtown. The program was billed as a dual celebration — the 45th anniversary of the Tallis Scholars and Miller Theatre’s 30th anniversary season.

 

In honor of the occasion, Miller Theatre commissioned a new piece for the Tallis Scholars by composer Nico Muhly. Muhly has, of late, garnered a great deal of attention for two Metropolitan Opera commissions  — Two Boys and Marnie — but he often talks about his first love being choral music (he began his musical career as a chorister). Muhly’s choral works are exquisitely crafted and texturally luminous. Rough Notes (2018), his new piece for the concert at St. Mary’s, took its texts from two diary entries by Robert Falcon Scott, written near the end of his ill-fated voyage to Antarctica. The first excerpt describes the aurora australis, providing words such as “arches, bands, and curtains”  that are ripe for colorful musical setting. The second was Scott’s stoic expression of confidence in his team’s ability to accept their impending deaths with dignity. Muhly’s use of lush cluster chords in the first section gave way to more sharply etched, but still glinting, harmonies in the second, as well as poignantly arcing melodies. The divided choir of ten voices was skilfully overlapped to sound like many times that number. It is always fascinating to hear the Tallis Scholars switch centuries, and thus style, to perform contemporary repertoire; for instance, their CD of Arvo Pärt’s music is a treasure. One hopes that they might collaborate on a recording with Muhly in the future.

 

The rest of the program was of considerably earlier music, but ranged widely in chronology. The earliest piece was an elegant and under-heralded Magnificat setting by John Nesbett from the late Fifteenth century that is found in the Eton Choirbook. Chant passages give way to various fragments of the ensemble that pit low register vs. high for much of the piece. It culminates by finally bringing all the voices together in a rousing climax. The Tallis Scholars has, of yet, not recorded Nesbett, but Peter Phillips has committed the Magnificat to disc in an inspired performance with the Choir of Merton College, Oxford (The Marian Collection, Delphian, 2014).  

 

Palestrina’s motet Hodie Christus natus est, and the eponymous parody mass which uses this as its source material, were the centerpiece of the concert. The motet was performed jubilantly and with abundant clarity. The mass is one of Palestrina’s finest. He took the natural zest of its source material, added plenty of contrapuntal elaborations, and made subtle shifts to supply a thoughtful rendition of the text. Although we are, in terms of the liturgical calendar, in the midst of the reflective period of Advent, being propelled forward to the midst of some of the most ebullient yet substantial Christmas music of the Renaissance was a welcome inauguration of the season.

 

The two works that concluded the concert dealt with different aspects of the Christmas story. William Byrd’s Lullaby is actually quite an unsettling piece; its text deals with the Slaughter of the Innocents as ordered by Herod. One is left to imagine the infant Jesus being consoled by Mary and Joseph in the midst of their flight from persecution. Byrd composed it in the Sixteenth century (it was published in 1588), but Lullaby was the piece on the concert most tailored to this moment, evoking concerns of our time: the plight of refugees, the slaughter of innocent bystanders by acts of senseless aggression: particularly the vulnerability of children to indiscriminate bombing abroad and the epidemic of gun violence in our own country.

 

The last piece returned to a festive spirit and brought the Tallis Scholars to the cusp of the Baroque with Hieronymus Praetorius’s Magnificat V with interpolations of two carols: Joseph lieber, Joseph mein and In dulci jubilo. During the Christmas season, interspersing carols and sections of the Magnificat was a standard practice in Baroque-era Lutheran churches; J.S. Bach might even have done so in the services he led at St. Thomas Church in Leipzig. Praetorius plus two carols gave the Tallis Scholars an opportunity to share three of their most-performed Christmas pieces. From seemingly effortless floating high notes to sonorous bass singing, with tons of deftly rendered imitative passages in the inner voices, the group made a glorious sound. One eagerly awaits their return to New York during their 46th season.

 

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

Best of 2018 – Best Violin Concerto

Best of 2018 – Best Violin Concerto

Michael Hersch

end stages, Violin Concerto

Patricia Kopatchinskaja, violin,

International Contemporary Ensemble, Tito Muñoz, Orpheus Chamber Orchestra

New Focus Recordings fcr208

 

Composer Michael Hersch consistently writes music with emotional immediacy that explores aching vulnerability with consummate eloquence. His Violin Concerto is like a wound still raw. Soloist Patricia Kopatchinskaja ramps up the intensity, as does ICE, conducted here by Tino Muñoz, rendering the work’s first and third movements with bracing strength and its second with fragile uneasiness. This emotion returns, amplified by high-lying solos and echoing attacks from the ensemble, to provide a tensely wrought close to the piece.

 

Orpheus Chamber Orchestra is renown for their conductor-less approach to chamber orchestra works. Still, the coordination and balance they exhibit on Hersch’s end stages deserves particular praise. Glacial slabs of dissonant harmonies give way to howling French horn and a buildup of contrapuntal intensity. This is succeeded by a tragically mournful tune accompanied by a bee’s nest of clusters and sliced string-led attacks. Taut wind dissonances then punctuate an angular, rambling string melody, succeeded once again by nervous pile-ups of angular crescendos. The seventh movement is buoyed by heraldic trumpet and vigorous repeated string chords, while the finale returns to a colorful, harmonically ambiguous ambience. The piece is Hersch at his most Bergian, bringing together artful organization and visceral emotion. Recommended.

 

by Christian Carey
Contemporary Classical, File Under?, New York, Opera

December 1: Chelsea Opera Premieres Cipullo

Tom Cipullo. Photo:  Hedwig Brouckaert
One of my favorite active vocal composers is Tom Cipullo. In the nineties, I  performed his song cycle “Land of Nod,” which demonstrates his penchant for contemporary subjects, including pop culture, and the mixture in his music of lyricism, poignancy, and, occasionally, moments of wry humor. Cipullo’s work as an opera composer has delved into topics with weightier resonances. The following two works are no exception.
On Saturday, December 1st at Christ and St. Stephen’s Church, two of Cipullo’s one-act operas receive their New York premieres. Josephine shares a glimpse into the life of Josephine Baker. The setup is simple: before the final performance of her career, the entertainer receives an interviewer in her dressing room. However, the subject’s powerful life story is anything but simple. You would probably need five acts to convey a sense of Baker’s fascinating history. What Cipullo provides here will likely whet audience member’s appetites to learn more. Baker will be performed by soprano Melissa Wimbish, who created the part in the production’s world premiere staging in Baltimore by Groupmuse. After Life brings together two other iconic Twentieth century figures: Gertrude Stein (played by Jennifer Beattie), and Pablo Picasso (performed by Stephen Eddy). The two come back from the hereafter to confront one another in a ghostly debate about art, aesthetics, and their lives and conduct in Paris during wartime. Their repartee is interrupted by a third ghost, a young girl who was a Holocaust victim (played by Sara Paar). This forces them to reconsider their lives and the meaning of death.  Of the opera, Cipullo says, “The real value of art comes after such horrific moments, helping us, as individuals, and as a culture, make sense of the incomprehensible.” EVENT DETAILS
Chelsea Opera presents NY premieres After Life and Josephine
Two one-act operas by Tom Cipullo December 1, 2018 7:00 pm Christ & St. Stephen’s Church 120 West 69th Street New York, NY
Tickets available online Preferred seats: $35 in advance/$45 at the door General admission: $30 in advance/$40 at the door Seniors/Students: $20 in advance/$25 at the door
by Christian Carey
Choral Music, Concert review, early music, File Under?

Stile Antico at St. Mary’s (concert review)

Stile Antico
Photo: Marco Borggreve

Stile Antico in Concert

October 13, 2018 Church of St. Mary the Virgin

By Christian Carey

 

NEW YORK – The first concert in Miller Theatre’s 2018-19 Early Music Series, given in midtown at the Church of St. Mary the Virgin, presented the acclaimed choral group Stile Antico from the UK. They have made regular appearances on the Miller series. As is their custom, Stile Antico sang without a conductor in a semicircle facing front. The occasional setup change consists of singers changing formation and, in pieces in which the full ensemble isn’t required, “extra” singers sit down.

 

They sing vibrantly and expressively with a sumptuous sound. The concert program, titled “Elizabeth I, Queen of Muses,” brought together masterworks of Tudor era polyphony and continental repertoire that had passed through the monarch’s orbit. Several of the latter group of works were taken from a gift from one of the Queen’s suitors, Erik XIV of Sweden: a partbook that included pieces by Lassus, Willaert, and Sandrin. The latter’s chanson Doulce Memoire was particularly fetching, performed with gentle grace. The group also sang three solemn and stolid penitential psalm settings by Alfonso Ferrabosco the Elder, an Italian composer who was a member of the Elizabeth’s court, paid a handsome salary for music and, some say, espionage.

 

English music formed the bulk of the program. It included a piece from early in the sixteenth century, Tavener’s  Christe Jesu Bone Pastor, filled with brightly articulate slices of homophony and soaring passages of imitation. From the other end of the chronological spectrum, early in the seventeenth century, Stile Antico offered jaunty renditions of two of John Dowland’s best known ayres: “Now, O now I needs must part” and “Can She Excuse my Wrongs.”

 

The choir is one of the best on the planet for works by Tallis and Byrd. Several of these were performed, capturing a gamut of emotions. Byrd’s “This sweet and merry month of May” is a jubilant madrigal greeting to Elizabeth, while his Attolite porta is a richly attired setting of Psalm 23. “O Lord Make thy servant Elizabeth” is an extraordinary piece, and Stile Antico rendered its elaborate Amen cadence with fulsome power and beauty. Ne irascaris is another facet of Byrd’s art. A recusant Catholic, he composed a collection of motets with texts both coded and charged with defiance. Clearly Byrd was graced with Elizabeth’s favor, otherwise he would have been unlikely to get away with daring pieces like Ne irascaris. The Tallis selection on the program was his worshipful, declamatory Abserge Domine. I could have done with three more Tudor motets and no Ferrabosco, but that’s quibbling.

 

The concert concluded with a group of madrigals written in honor of Elizabeth, taken from “The Triumphs of Oriana,” a collection of 25 madrigals by 23 composers. After sterling renderings of “The lady Oriana” by John Wilbye (Oriana is a poetic title for Elizabeth) and “Fair Nymphs I heard one telling, the last, “As Vesta was, from Latmos hill descending,” by Thomas Weelkes, displayed the group’s vocal prowess at its finest, with high-ranging lines and overlapping melismatic passages converging to thrilling effect. Stile Antico’s annual visits to New York could easily be double or trebled: they have developed a strong following here and the reasons for this were amply demonstrated on 13 October at St. Mary’s.

 

  • Christian Carey writes regularly for Tempo, Musical America, and Sequenza 21.
by Christian Carey
CDs, Chamber Music, Contemporary Classical, File Under?

Þráinn Hjálmarsson on Carrier Records

Þráinn Hjálmarsson

Influence of Buildings on Musical Tone

Caput Ensemble, Krista Thora Haraldsdottir, Icelandic Flute Ensemble, Ensemble Adapter, Nordic Affect

Carrier Records

Composer Þráinn Hjálmarsson’s latest CD, Influence of Buildings on Musical Tone, revels in the exploratory sound world of effects and extended techniques. That said, his work is more than an assemblage of alternative ways to treat instruments. Rather, the technical extensions serve to expand Hjálmarsson’s considerable palette of expression.

The five different pieces on Influence of Buildings each employ a different ensemble. The title work features the Caput Ensemble, while “Grisaille” is performed by the Icelandic Flute Ensemble. Both pieces deal with an upper register melodic line that is slowly bent and distressed until it is entirely transformed.

 

https://vimeo.com/282605939

 

Kristin Thora Haraldsdottir plays the solo viola work Persona, adopting a penetrating tone and easily reaching stratospheric harmonics and digging in to sections with varying bow pressure. A flair for the dramatic allows this piece to move from pensive to more animated gestures in a captivating meditation. Mise en scéne plays up the percussive capacities of Ensemble Adapter, eventually deploying sustained upper register flute lines against the percussive attacks of harp and percussion and breathy exhalations and plosive pops from bass clarinet. The piece develops into a more harmonic terrain, with shades of spectra creating beguiling verticals.

The album’s closer is the string trio Lucid/Opaque, performed by members of Nordic Affect. The strings repeat pitch patterns that, while not necessarily tonal in orientation, encompass individual partials of a harmonic series. The overall effect is enhanced by a reverberant space, lending a naturally ambient character to the proceedings, even more so the case because of the number of repetitions of the opening gesture. Gradually, the opening shape is altered, with splashes of string noise and edgy bowing, changes in rhythm, and the overall duration of phrase overlaps developing the character of the main line over time. The material becomes even more forceful as octave displacements, notably a low cello line and repeating altissimo violin notes, are added. Here, and elsewhere, Hjálmarsson’s Influence of Buildings on Music Tone demonstrates a judicious approach to the selection of material that is then most imaginatively deployed and developed. Recommended.

 

by Christian Carey
CD Review, Electro-Acoustic, Experimental Music, File Under?

Supersilent 14 (Review)

Supersilent

14

Smalltown Supersound
2018

On Friday September 28th, Supersilent – the experimental trio of Arve Henriksen (trumpet, voice and electronics), Helge Sten (Electronics), and Ståle Storløkken (keyboards and electronics) – released a fourteenth album, their second for the label Smalltown Supersound. The group is best known for performances of “slow jazz:” avant jazz that unfurls at a gradual rate. Supersilent 14 revels in slow tempos, as the track “14.7” (embedded below) demonstrates. However, this time out there are a few other components shifted t0 make for a different listening experience.

The recording’s dozen tracks – labeled with numbers and nothing more – are relatively aphoristic, ranging from the horror movie industrial cast of the one-minute long “14.9” to the comparatively spacious and spacey “14.12,” which clocks in at five minutes and thirty-nine seconds. Thus, “slow jazz” tracks and more primarily electroacoustic soundscapes are allowed limited room for development, instead presented as atmospheres that often seem to begin in progress. Some Supersilent releases have hewed towards a lusher palette than 14, which instead tends towards the edgy. Henriksen’s trumpet is frequently distressed and sometimes subsumed by electronics. Sten, who also releases electronica under the name Deathprod, produced and mixed the recording. His approach revels in noise and overtones in nearly equal measure. The result is an impressive amalgam of both ends of the “sound art spectrum.” Occasional moments of recognizable patterning, like the Middle Eastern scalar passages that supply a coda to “14.4,” sounding all the more remarkable for their relative isolation in the proceedings.

At a certain point in their respective careers, most recording artists find it difficult to come up with fresh ideas. With “14,” Supersilent not only seems to have reconsidered their music afresh; they sound like a group just getting started.

by Christian Carey
Canada, CDs, Contemporary Classical, Drone, Experimental Music, File Under?, Minimalism

Jessica Moss – “Particles” (CD Preview)

Jessica Moss.

 

On October 25th, Constellation Records will release Entanglement, the second solo release by Jessica Moss. A violinist and vocalist who is one of the central members of Thee Silver Mt. Zion Memorial Orchestra and co-founder of Black Ox Orchestar, Moss draws upon a prodigious range of influences: from the post-rock and avant-klezmer of the aforementioned groups, to drones and loops reminiscent of post-minimalism. Over the past year, she has honed the material of Entanglement at over eighty concerts, developing a side-long piece, “Particles,” and a suite of four “Fractals.” Impassioned, moody, and slow-burning, her compositions are some of the most compelling fare we have to anticipate this Fall.

 

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

Christopher Fox: Headlong (CD Review)

 

Christopher Fox

Headlong

Heather Roche, clarinets

Métier CD

MSV28573

 

Composer Christopher Fox has crafted an imaginative output, employing diverse approaches and many different technical resources. His latest Métier CD, Headlong, is devoted to clarinet music, for instruments of varying sizes. Heather Roche is the stalwart interpreter of these pieces. Her own versatility and facility with myriad extended techniques make Roche an ideal performer of Fox’s music. Indeed, the clarinetist’s website serves as a compendious catalog of techniques used to play contemporary works. This recording serves as an ideal accompaniment to her web-based pedagogical forays.

 

Several of the pieces here are ten-minute essays that have time to build and, in places, to breathe (as, one hopes, Roche is afforded as well). Even slightly shorter works like the gentle, fragmentary seven minutes of …Or Just After are given time enough to display significant exploration of the materials used in their construction. Here, there is a contrast between plummy low register melodies and higher single, sustained notes. Gradually and after many iterations, the upper line gains a note or two. This subtle shift in texture feels seismic and changes the registral give and take of the work. Likewise, small shifts are meaningful moments in the six-minute long Escalation. Originally written for Bb clarinet and here played on contrabass clarinet, the piece explores a mid-tempo stream of short phrases of chromatically ascending notes. In this incarnation, the sepulchral register in which these occur accentuates a kind of “walking bass” character that imparts a hint of jazzy swagger.

 

Some of the pieces include overdubs, either of electronics or other clarinets, and a couple are transcriptions of works originally written for other instruments or else for unspecified woodwinds. Originally composed for oboist Christopher Redgate, Headlong includes an ostinato electronic accompaniment that the composer suggests could sound like video games from the 1980s. The real fun here is the morphing of tempos through three different ratios:  5:4, 9:8 and 5:3. It makes for intriguing interrelationships between the instrumental part and the accompanying motoric bleeptronica. Headlong is an engaging mix of tempo modulation and minimal pulsation that shows a different and appealing side of Fox’s creativity.

 

On stone.wind.rain.sun, Heather Roche overdubs a duet with herself. The two clarinets converge and diverge throughout, with sustained and repeating notes in one instrument serving as a sort of ground for the chromaticism of the other voice. Registral changes, such as a leap downward to the chalumeau register to add single bass notes to the proceedings, divide the counterpoint further still, at any given moment affording one the impression of three or four distinct voices in operation.

 

One of my favorite compositions on the CD is Straight Lines for Broken Times, another piece employing overdubs. One track samples bass clarinet playing polyrhythms while the other two explore the “harmonic riches of the instrument,” as Fox describes a plethora of upper partials. Extended techniques are abundantly on offer. Altissimo notes, multiphonics, microtones, and harmonics create a swath of textures. However, the polyrhythmic underpinning assures that the piece feels guided in its course, beautifully shaping what could be a melange of overtone clouds. Straight Lines for Broken Times encapsulates Fox’s proclivity for experimentation in multiple domains: that of the recording medium, a wide palette of pitches that encompasses microtonal harmonics, and fluidly morphing tempos with intricate layers of local rhythms. The result never ceases to be of interest.

 

Fox and Roche are an ideal pairing. While Fox has a number of CDs to his credit, listening to this one, an ideal future project comes to mind. Next time out, one imagines the composer adding a couple other instrumentalists or a vocalist to the mix to provide Roche with more foils and a few less overdubs. Fox’s ensemble pieces also expansively embrace the musical materials that exemplify today’s experimental wing of contemporary music. With Roche aboard as “team captain,” the result would certainly be another serving of diverting performances.

 

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

James Romig – Still (CD Review)

James Romig

Still

Ashlee Mack, piano

New World Records 80802

Composer James Romig has spent the past twenty years cultivating a body of work that embodies both rigorous structuring and a wide-ranging gestural palette. As is explained in Bruce Quaglia’s excellent liner notes for Romig’s first New World CD, Still, there is good reason for these two aspects to be so important to Romig. His training as a composer was with American modernists Charles Wuorinen and Milton Babbitt, while his background as a performer – a percussionist – included a number of works by minimalists such as Steve Reich.

Extra-musical touchstones also play a significant role as inspirations for the composer. A series of National Park residencies has provided him with natural beauty to contemplate while composing. Abstract Expressionist painters such as Clyfford Still, who is the titular reference point for Romig’s piece on this CD, also enliven his imagination.

Nowhere in Romig’s output to date is this confluence of influences more apparent than in Still, a nearly hour-long piece for solo piano. One can see the pitch material’s progression in a chart in the liner notes and note the comprehensiveness of its organization. Unlike Romig’s portrait disc Leaves from Modern Trees, where the pieces tend towards tautly incisive utterance, here the progression of pitch material evolves slowly in a prevailingly soft dynamic spectrum. Ashlee Mack, a frequent performer of Romig’s music, provides a sterling interpretation. Slow tempi are maintained no matter what local rhythms (some complex) ripple the surface texture. In addition, Mack voices the harmony skilfully, allowing the piece-long progression to be presented with abundant clarity.

One more composerly ghost lurks in the room: that of Morton Feldman. Also an appreciator of Abstract Expressionism, who created long single movement pieces that transformed slowly and remained primarily soft, Feldman could seem to be Still’s natural progenitor. While surface details and scale of composition are similar, there is a significant musical difference between Feldman’s paean to a painter like Philip Guston and Romig’s reference to Clyfford Still. As pointed out by theorists such as Thomas DeLio, the undergirding of a Feldman piece is indeed subject to an organizational structure. That said, his work seems more intuitive than Romig’s, which is methodical in the unfurling of its linear components and their constituent harmonies. Whether Feldman’s surface in any way inspires the depths of Still, I am not sure; it would be an interesting question to pose to Romig. Either way, Still is his most engaging and beguiling piece to date. One looks forward to hearing more works that accumulate Romig’s proclivity for parks, painters, maximalists, and minimalists; these many ingredients make for intriguing results.

by Christian Carey