Friday, July 21, 2017
The works themselves employ a quite varied instrumentation. "The Ribbon of Mobius" features two pianists and two percussionists, "Blue Echo (Concerto for Trumpet and String Orchestra)" is indeed for that, "Bacchus and Ariadne" utilizes bassoon and celeste, "Trajectories of Silence" has the unusual quartet instrumentation of two mandolins, mandola and guitar, "Lamento" is for orchestra with voice, and "Concerto for Clarinet and Chamber Orchestra" is self-explanatory.
I would not venture to suggest that this music has some of the dynamic thrust of the new improvisation style currently practiced by some Americans, Europeans and Japanese, mostly because there may be a convergence that is coincidental or not. Nonetheless there are expressive similarities, though Vodenitcharov's examples here are more overtly planned and architecturally framed works with some of the high modern rigor of methods holding sway often enough, if my ears are a good judge.
Each work is unto itself and yet the overall impression is consistent and rewarding. I will not run down my impression of each here. Listening is key of course. Suffice to say that Vodenicharov comes to us in his own special way.
Any following modernist new music trends would be well served by this volume. It is something to immerse oneself in, to study, to enjoy and appreciate with a little effort.
Another one I do recommend as important listening.
Thursday, July 20, 2017
Franz Schmidt, Symphony No. 2, Richard Strauss, Dreaming By the Fireside, Wiener Philharmoniker, Semyon Bychkov
Wikipedia calls the score reminiscent of Strauss and Reger with some of the heroic largess of Bruckner, and my ears hear that but to the point more of an originality in the late-romantic realm in which Schmidt worked.
The new recording I have been hearing, with Semyon Bychkov conducting the Vienna Philharmonic, does much to make a case for its heroic complexities. This is a late-romantic Austro-Hungarian work that when well played as it is on the new recording comes very much into being with lyric tenderness and power (and I hear as much Mahler's influence as the others but Schmidt is here very much Schmidt). This has been described as a kind of pastoral symphony. I can hear that.
An added bonus is Richard Strauss's short orchestral interlude from his not often performed opera Intermezzo, "Dreaming By the Fireside." It is a worthwhile tidbit and serves to remind us how Schmidt is another thing apart from Strauss. If nothing else you hear a much different harmonic palette, even if both have a large and lush orchestral carpeting in common. The variational aspect of the inner movement of Schmidt's Second is of a very different nature than the tone-poem sequentiality of Strauss.
So what we have s a very stimulating and rewarding program. The care with which Schmidt is elaborated marks this as an extraordinarily fine version, a very best, and gloriously sound staged in ways we scarcely hope could be bettered. Kudos!
Wednesday, July 19, 2017
Purcell, Ayres & Songs From Orpheus Brittannicus, Harmonia Sacra & Complete Organ Music, Jill Feldman
Jill Feldman graces the program with her richly ornate and satisfyingly projective soprano voice. I have grown up associating Purcell's songs with the countertenor Alfred Deller thanks to a number of fine recordings I obtained early on. Ms. Feldman brings her own sensibilities to bear on the musical program and after a couple of listens to acclimate, I ended up hearing her interpretations as very right in their own way, quite lovely in fact.
She is joined and in some cases spelled by Nigel North on archlute, Sarah Cunningham on bass viol, and Davitt Moroney on organ. The spare period instrumentation works quite admirably on the vocal works--where lute and viol bring out the accompanymental structural bones
Monday, July 17, 2017
The music covers a spectrum from high modern event worlds to the modern new tonality. Robin Estrada's "Paghahandog" is an example of the former while Stacy Garrop's "Songs of Lowly Life" the latter. From there we are treated to Mark Winges' "Canticles of Rumi," John Muehleisen's "...is knowing...," and finally Shawn Crouch's "Paradise."
The whole entails a kind of freeze-frame snapshot of where choral music is in the modern present. It is something most certainly worth your time if you seek to follow the new and not just the already enshrined history of the new.
Volti are consummate artists. They deserve your attention.
Friday, July 14, 2017
Today we have another example: the music of Daliya Raudonikyte With, a she, Norwegian maybe? The recent album of her music, Solitarius (New Focus 186) gives us pause. It is a compendium of some six works, four involving a solo instrument, one a kind of duet, and one a chamber orchestra work.
In each case there is a literary quotation as a springboard--Thomas Wolfe, Picabia, Virginia Woolf, Chopin, Stefan Zweig. What results is distinctive, carefully sonorous music that stays within to reverberate with your being. There is sonic acuity, deliberation, gesture, and a special envelope full of the present.
Expect very appropriate ventures into extended techniques, a contemporary modernism that has more than the norm of invention, often far more. "Grues et Nix," the single orchestral work, has a kind of uncanny opening onto a personal sonic mapping of what Woolfe declaims as "Melancholy were the sounds on a winter's night." This work is in its very own way as evocative as something like Ives' "Central Park in the Dark," and without sounding like Ives at that, but equally home-spun, native individual like.
The other works each have a particular personal With touch, whether it be "Solitarius" for clarinet, "Ventus" for alto sax and electronics, "FCH" for piano, "Primo cum lumine solis" for guitar, or "Idem non semper idem" for alto sax. Nothing is tentative, even if nothing seems exactly formal in some scientistic way, and so much the better because With is expression first perhaps, structure second?
In the end it is all of course about the listening experience. With gives us an excellent one while being very much herself.
So I do suggest this one as rewarding, essential in its own way as music of this very second!
Thursday, July 13, 2017
Errante has agility and remarkable tone control. He can dive artistically into extended techniques and revert to more conventional articulations with ease and grace. Indeed his formidable and imaginative approach seem tailor-made for the works on the program.
They are lively, exciting and varied in the most capable hands of Errante. Especially welcome to me are two compositions by new music-jazz icon clarinetist and composer William O. Smith. His "Solo for Clarinet with Delay System" and "Asana" (the latter making use of the MXR Digital Delay and Pitch Transposer) remind us that he has long established an original voice for himself.
Vladimir Ussachevsky's "Four Studies for Clarinet and EVI" (the latter an electronic keyboard) brings us some classic early modernism from a composer who broke so much ground in modern American new music.
But the music continues into equally interesting areas with exceptional performances of Adolphus Hailstork's "A Simple Caprice," (with Lee Jordon-Anders at the piano), Dana Wilson's "Piece for Clarinet Alone," Errante's own "Souvenirs de Nice," and finally the tumultuously irrepressible "The Dissolution of the Serial," which chaotically and beutifully does exactly that via brilliant performances by William Albright on piano and Errante on tenor sax.
It is a re-release that fully rewards us with a program of all-too-neglected music in remarkable performances. Errante soars and the music does not fail to enchant! Need I say more?
Wednesday, July 12, 2017
Arvo Part Live, Choral and Orchestral Works, Chor des Bayerischen Rundfunks, The Hilliard Ensemble, Muncher Rundfunkorchester
Arvo Part Live (BR Klassik 900319) combines contributions from the Chor des Bayerischen Rundfunks, the Hilliard Ensemble and the Munchner Rundfunkorchester, under the various direction of Peter Dijkstra, Robert King, Ulf Schirmer and Marcello Viotti.
The performances are culled from various concerts recorded between 2000 and 2011. The selected works covered on the CD are well matched and not entirely what you might expect.
What is most unexpected and welcome is the opening orchestral "Collage Uber B-A-C-H" from his earlier period. There is unabashed modernism to be heard, yet there is no mistaking the Partian sensitivity to time and place that continually marks his ongoing originality. Here the music is based on the B-A-C-H motive but also a transformation of a Saraband from Bach's "English Suite."
Part's period of crisis from 1968-1976 ultimately gave rise to the special "old-in-the-new" style we hear so effectively and performatively in the works that follow on this program. We are treated to competitively enchanting versions of "Sieben Magnificat-Antiphonen" for a capella choir, "Cecilia, vergine romana" for choir and orchestra, "Cantus in Memory of Benjamin Britten" for string orchestra and bells, and "Litany - Prayers of St John Chrysostom for Each Hour of the Day and Night" for soloists, choir and orchestra.
These works provide the key in microcosm to all that has given us pause and wonder in the special spirituality that is the mature Part for us.
This is a fine collection that everyone should probably hear. Certainly anyone who follows new music today needs to know Part, but then anyone of a general classical bent should also, and, why not, just everyone out there who loves music as well. Confirmed Part appreciators will find in this anthology many reasons to own it, even if you already have versions of some of these works,
A triumphant offering! Listen.