Friday, March 23, 2018
The Etudes consist of three groupings: A Premier livre (1984-85), a Deuxieme livre (1988-94) and a Troisieme livre (1995-2001). Together they function as a wide interconnected expanse, densely racing ahead, then thoughtfully pausing, then bursting forward again, creating a matrix of dynamic excitement one simply has to experience because words cannot supplant or ever quite approximate how it feels to hear the music. It is a kind of Promethean struggle of solitary human with an otherwise inert mass of wood, metal, ivory and whatever else, the piano being something of vast potential that Ligeti provides a key to, the mastery of which is formidable and not for the untalented and technically unprepared. This is music that will not be sight read with any hope of the revelatory. It is music to sink into over a long period of time. That is as true for the performer as it is to the listener. You do not just throw this music on and go about your business. That surely won't do.
Instead, pay attention. Let the sounds wash over you and after a few listens you will know that you are in the presence of something profound. I recommend you do that.
Thursday, March 22, 2018
What this volume has in abundance, as much or even more so than the Volume 4 I reviewed here, is an intimate Martinu that is modern yet almost completely outside of the Martinu style of his larger ensemble pieces. The music is more direct and at times very Eastern European-Czech folk oriented.
Some of the music here is quite rare, unrecorded, some believed lost until recently. None of it is ephemeral or ancillary. And it brings to us a Martinu we may not know well, but in its unpretentious way is essential, as essential as the more famous and spectacular works.
Get this if you value Martinu.
Wednesday, March 21, 2018
This morning for my blog discussion I have a program of French works by the Piano a Deux group, namely Robert and Linda Ang Stoodley, entitled France Revisited (Divine Art 25132). The works featured are not especially standard fare, all being music for four hands at one piano with the exception of one piece, which is for two-handed piano solo.
The inclusion of two works by George Onslow (1784-1853) is as unexpected as it is rewarding. He wrote an extraordinary amount of chamber music including 36 String Quartets and 34 String Quintets! The "Sonata for Piano Four-hands, No. 1 in E Minor, Op. 7" is masterful and strong, and the "Six Pieces Pour Piano (solo)" is a charming set of miniatures that compels and beguiles. These are revelatory, showing us a mature Onslow that has a sprawling lyricism, almost Schubertian in scope.
Claude Debussy's "Petite Suite" and Francois Poulenc's "Chansons de l'Amour et de la Guerre," the latter as arranged for piano four-hands by Linda Ang Stoodle, are beautiful works very well played here.
Piano a Deux have a remarkable fluidity and togetherness which make them a delight to hear. The Onslow works are a real find; the Poulenc and Debussy as well played as any versions I have heard. All told France Revisited gives us a unexpected joy as we hear! Recommended.
Monday, March 19, 2018
There is to be heard in this set jazz influences, a shade of beyond-Minimalism, Neo-Classicism, and Modern laced adventures that bring some of last century's experimentations into newly codified terrains. Rhythm in a forward moving way is another element you can hear nicely as a salient aspect of some of these works.
Performances are of a uniformly high caliber. Sufficient rehearsal time has been put into every work. The final recordings are vigorous and tender or contemplative as called for. Nothing is lacking in the performers. Smaller to larger chamber orchestra configurations are the rule.
There are internationalist elements to be heard too, without that being a central focus.
So we hear in succession Rob Deemer's "Cantos," Ricardo Zohn-Muldoon's "Jacaras," Gregory Wanamaker's "Music from a Story Within a Story," Zhou Tien's "Morning After the Deluge," Jorge Villavicencio Grossman's "Whistling Vessels," 'Doctuh' Mike Woods's "Libations," and Mark Olivieri's "Concertino: Stress Test."
Multiple hearings confirm the music as consistently well wrought and interestingly moving. Take the plunge with this one and you will doubtless gain another perspective on what is new out there. New and excitingly so.
Friday, March 16, 2018
There is depth and poise to the music. The half-hour opus "Hermestanze" (2013) for violin and piano forms the most remarkable of the three works, filled with intricate beauty. There is no direct similarity but one nonetheless recalls Stravinsky and Hindemith. There is a definite twist in form however that sets this work apart. In the tradition of earlier composers such as Schumann, the music is conceived of as a song cycle, in this case for violin and piano. 13 discrete yet interrelated song-like movements grace our ears, with a reprise of "Hermes, Messenger of the Gods" at the conclusion. This is no Neo-Romanticism in spite of the roots of the form. It is decidedly Modern and Classically balanced in the best ways. Jacob Ashworth commissioned the work and gives it definitive form. Lee Dionne makes an ideal partner for the performance. It is superb music, superbly played.
The "Solo Sonata" (2002) (with Ashworth on violin in the outer movements, viola in the middle) has the seriousness of purpose of similar works by Bartok, Reger and Hindemith. The imaginative and idiomatic use of violinistic articulations (such as double stops and harmonics) and a combination of momentum and moodiness mark Kander out as a worthy successor to the 20th century masters of such configurations.
"A Garden's Time Piece" (2011) is based on the poetry of Leslie Lasky. It has an introspective, contemplative air about it and a touchingly sparse demeanor thanks to Kanders well conceived parts. Ashworth's violin is the sole accompaniment to Jessica Petrus and her movingly sweet soprano voice. The nicely articulated performance and the considerable charm of the music win the day if you take the time to listen closely.
Susan Kander has genuine torque as a fully accomplished voice on the Modern scene. Get this one if a new wrinkle on Neo-Classicist New Music appeals. If you do not know whether that is so for you or not listen carefully and you may well be convinced that Kander is worth hearing and a welcome original exponent today.
Wednesday, March 14, 2018
Liberatore makes very varied and imaginative use of tunings, preparations, and both conventional and unusual sounding techniques for the twelve solo interludes on this CD. Hammering on the strings with objects, bowing, cycles of picking arpeggiation, scraping, rubbing, striking and plucking at once, glissandi, open strings along with stops, harmonics, etc.
Each composition is rather improvisatory in that it realizes a particular way to sound the guitar in a way that has immediacy. Some seem overtly, compositionally structural; others are free-flowing sound color realizations. All have in their own way a striking sonance, a special sound universe, all seem like soundtracks to some heightened state of being. Not all interludes are completely tabula rasa in terms of extended techniques. It all however holds together as a suite of musically vibrant works.
Beyond and aside from the rather ingenious ways the guitar is rethought with the various extended techniques of which Matteo makes very creative use, the music fascinates on its own. Bravo!
Tuesday, March 13, 2018
The title work is the more ambitious and memorable of the two. It is scored for a chamber ensemble of seven instrumentalists including koto (played by the composer), plus string quartet, percussion and synthesizer. It was written in remembrance and protest against the internment of Japanese-Americans in the US during WWII. "The Long Road," "The Clattering of Life," and "Survival" are the respectve titles of the three movements. The music portrays the uprootedness, suffering and upheaval of sudden and tragic displacement as it must have felt to the victims. The music has a muted anguish and an outspoken expressiveness to it consistent with the subject matter.
The second work, "Four Moons of Pluto" is written for solo contrabass. The music involves the shifting vortex of a number of heightened resonance positions via harmonic partials and enhancements gained by detuning strings. The work seeks an analogy between the movement of planetary bodies and the movement of small number ratioed intervals.
All in all we have two provocative and relatively stunning aural explorations that most New Music appreciators will likely find interesting and worthwhile. Listen.