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Tuesday, September 18, 2018

The Twiolins, Secret Places

Whether we perform music, write it or just listen, serious music lovers identify with a certain music or set of musics. It is in part what makes us who we believe we are. And for those who embrace a wider spectrum of musical possibilities than might be typical of pre-communications era local life, identity is a complex thing, malleable.

The music I bring to you today surely complicates the identity of those who might embrace it. I speak of an album by the Twiolins called Secret Places (Profil PH 17002). It is music one might call eclectic, yet so specifically so that it comes to embrace a style-set that identifies it as something in itself. If we were to give it a name (following my friend who kindly sent it to me for review consideration) one could call it Neo-Classical. Why that term is perhaps only because neither "Modern," "Neo-Romantic," "Post-Minimalist" "Radical Tonality" or "Postmodern" quite captures its stance, though in reality there is something of all of these involved, maybe even at moments "Post-Impressionist." It is far enough along into a distinct musical identity that it looks perhaps more of its time and future than of the recent or far past.

First a moment to dwell on the performers. The Twiolins are Marie Luise and Christoph Dingler, two rather young exponents who provide a marvelously evocative handle on the music and its soaring melodicism atop a well-healed series of sometimes fiddle-like double stops. They are near ideal exponents of this music, with a clean crispness of brio and folk-endowed fullness that is rather remarkable to hear. They seem  to understand why it will sound idiomatically right to not press the sentiment contained to a sort of Gypsy froth extreme, though at times there is some of the chutzpah of such roots,  to stay within a sort of Classical containment that emphasizes note-by-note synchronicity rather than a sort of vertical emotive scaling that would take away from the love of sequence and continual movement the music suggests so well. And in that the way of playing recalls Shem Guibbory and others associated with Reich performance practice.

And at times you hear the influence of jazz and rock on the music as is right for a music of our time, surely. But you might also hear echoes of a Viennese waltz and other European aspects.

This is music that dances across the aural panorama more than it tries to create a sort of profound meditation in form. Not that the music is not ultra-musical. It is. It does not try as perhaps Haydn or Mozart at times did to create a long expository idiom of musical syntax logic. And so the "neo" might as well be thought of as "near" as much as "new."

We are treated to some 13 more-or-less miniature compositions running from between 2:13 and 8:42 each. The composer's names may be new and/or unfamiliar to you as they were to me. So we have works by Rebecca Czech, Andras Derecskei, Benjamin Heim, Edmund Jolliffe, Jens Hubert, Johannes Meyerhofer, Nils Frahm, Alexsander Gonobolin, Dawid Lubowicz, Vladimir Torchinsky, Benedikt Brydern, Andreas Hakestad and Levent Altuntas.

This Neo-Classic fare embraces the space especially of Europe perhaps, and the time of the very present day. We listen and feel we participate in the musical discourse of the time, but in any event that is always the case by the sheer fact of being present in the hearing of it all.

What we have to listen to is quite enjoyable, a treasure of violin performance and composition that emphasizes the two-violin nexus and elaborate part-writing that in turn create a real confluence of sonority. There is beauty and liveliness here in abundance. If there is not quite as much depth in this music as we sometimes expect from chamber music, it is like a refreshing drive though the woods where you will not experience regret or dissatisfaction for embarking on the  journey. Like a series of folk dances, the music does not come across as deep but rather of the earth. If it is not a diving expanse of loam, it is rich loam nonetheless. It is a delight. And so I do recommend it.

Monday, September 17, 2018

Tippet Rise OPUS 2017, Daydreams

The stunning backdrop of the Tippet Rise Art Center in the Beartooth Mountains near Yellowstone Park in Montana was the spot for the chamber music celebration OPUS 2017. The previous edition, known as OPUS 2016, became in its excerpts a worthy CD offering. Type the name in the search box above, top left-hand corner for the review of that one. And now we have access to the highlights of last year's edition, entitled Daydreams (Pentatone 5186 736).

The unusual mix of the familiar in a vital context, the unfamiliar and the new is a winning one, as are the inspired and somewhat inimitable performances.

Pianist Jeffrey Kahane's startlingly bold and harmonically brilliant re-composition of "America the Beautiful" manages to seem so apt a comment on our times that one literally starts up. It is exquisite, really. It has some brilliance, surely, and stands as a tribute to Kahane's fertile musical imagination. And as we hear the minor modal transformations we feel some of what we may be feeling right now regardless, as there is uncertainty within the beauty and perhaps some true ugliness as well in the present moment.

From there we encounter something almost Romantically expressive, Modern and at times quite jazzy, namely Aaron Jay Kernis's "First Club Date" featuring the always commanding Matt Haimovitz on cello and Andrea Lam with all the right creative energies on piano. This was a Tippet commission and it is the world premier recording. It is a cornerstone of this program surely and we are treated to some wide-ranging spans of sound that keep our ears attuned.

The following "Prelude from English Suite No. 2" finds pianist Anne-Marie McDermott in a "take no prisoners" fettle. Eugene Bozzo's "Image for Solo Flute" centers on Jessica Sindell's very liquid sweetness. If the music sounds a little redolent of some incidental music Vaughn Williams wrote, it is worth revisiting in any event and it forwards a sort of dialog between different stations in the recent past.

Enescu's violin-piano "Impressions from Childhood" has genuine weight as vintage Enescu. I do not believe I have had the pleasure to hear this work before. Caroline Goulding and David Fung give us a violin-piano tandem that convinces us to pay attention. It is something I am in any event glad to hear and to return to going forward. And yes, it has some of the folksy qualities that are so endearing when Enescu chooses to bring them forward. Ms. Goulding is explosively dynamic and Fung responds with his own poetic vision of the music.

Pianist Yevgeny Sudbin's "A la minute (Variations of the Minute Waltz)" has virtuoso clout and a hearty imaginative thrust. It makes the very familiar ever new and so we smile with some conviction when we hear it and re-hear it.

The finale is every bit as climactic as one might wish. John Luther Adams comes forward with an ambient and poetic work for piano (Vicky Chow) and percussion (Doug Perkins). It cannot be accidental that the motif put forward in Bozza's solo flute work is paralleled and somehow echoed in the Adams work. And it is the motif that Vaughan-Williams uses in his own way as I suggest above. There is subtle use of electronic enhancements in this piece, though the instruments are completely centered in what you hear. Electronics basically put forward a piano-chord drone that enters the mix from time-to-time and feels wholly a part of it all. There is a foundational drone then.  And yet it does not remain purposively minimal but instead gives out with a relative plenty. It is a fine conclusion to a rather extraordinary program.

One savors the results of this meeting of artists-curators and an inspiring setting. I find every listen drives me a bit deeper into the substance of the music. There is a great deal to sink oneself into on the program. It is no mere sampler. It is a kind of musical weather vane for where in part we may be right now. It is surely not thoroughgoingly Modern, and in so being it maps out an eclectic tonal stance that is part of where were are now. Recommended.

Friday, September 14, 2018

Gordon Getty, Beauty Come Dancing, Netherlands Radio Choir and Radio Philharmonic Orch., James Gaffigan

The choral music of Gordon Getty, American composer, is a thing of  nearly implacable singularity. You hear this plainly and happily in a recent release of selected choral works, Beauty Come Dancing (Pentatone 5186 621). James Gaffigan conducts the Netherlands Radio Choir and Radio Philharmonic Orchestra in crisply emotive readings of eleven compositions. As the program unfurls in time I find that the intersection of performers and composer turns out to be quite a worthy thing.

The first thing you note is that Getty has a knack, an excellent sense of matching affinities of text to choral setting. The works are all  recent, having been written between 2009 and 2015. Some are completely new settings, other have been adapted from their original setting for voice solo. Some of the poetic texts are by the composer, others are by a diverse and rich stock of poets, Keats, Byron, Sara Teasdale, John Masefield, etc.

As for the music, it is tonal and firmly in the choral tradition of earlier times as the composer seeks to match the spirit of the words to a corresponding sympathetic musical vision that includes a period element. Like the English Vaughan Williams, an American parallel if you will, there is an eloquence and elegance that can be sometimes folksy but then always appears to us in down-to-earth garb.

One listens and recognizes Getty's true talent. The choral music comes very much alive and it all seems tailor made for the Netherlands Radio Choir. The orchestral parts blossom forth and add significant color and depth to the choral center and here too the Netherlands Radio Philharmonic are in their element.

This music might well have been written in, say, 1910 or so. I mean to say that it is not at all Modern with a capital /M/! Yet it is nearly timeless and carves out a space where the words of the poetry amplify the music and vice-versa. This may not be for someone who wants to dwell only at the cutting edge of Modernity, yet it has such musical torque that we forget about where we are and simply thrive happily inside it all. I do recommend this for choral lovers. It is just what you need today, maybe.

Thursday, September 13, 2018

Stockhausen, Klavierstucke I-XI, Sabine Liebner

As the years seem to keep rolling by the status of Karlheinz Stockhausen as a major voice of Modern Music is never really in doubt. At least not among those who know his music well enough to experience it properly. Perhaps now we can look back and further a wider appreciation for his music going forward? By that I mean promoting a serious listen to the body of works without letting controversy mar our evaluation. Take his Klavierstuck (Piano Pieces) I-XI, written between 1952-1961. It was at the height of the Serialist period, yet we can listen now and we can hear for ourselves how expressive and alive the music is. This is not the music of a dogma! It breathes like the best of piano works that have come down to us. And I must say it deserves to be numbered among the very best of the last century.

I think such things as I listen again to the new recording of the first eleven (in 1979 he wrote eight more) by Sabine Liebner (Wergo 7341-2). The liners remind us that these works as his works in general were meant to sensitize us to the kind of inner growth music is so able to provide. There is a special work the listener must do in hearing the work. Working for the works involves opening up to what happens in each, to perceive "vibrations and vibrational relationships, organisms, and processes in order to become more alert, intelligent, thoughtful, polyphonic, aware and sensitive."  One might first think then that listening for Stockhausen is a sort of utopian project? But then anyone who took classes in "ear training," anyone who attended music school will recall that without stating it, the task of training the ear was indeed to accomplish such things. Yet of course most of the time the overall benefits of a keen ear were never overtly stated. Then again, music belongs to a utopia more than not! So. It should be a part of that, surely.

There is so much incredible music to hear in the Klavierstuck that I hardly know  what to say. This is music so well into its own discourse that words are at best a sort of sloppy seconds. And in the end the very involved things one might say about Stockhausen's very pliable sense of form in these pieces might take up reams of paper were the words turned into print. Indeed Wolfgang Rathert's admirable liner notes to this release supply some insights into all that. I will only note here that there is an involved Serial methodology the composer enacts most of the time. It entails permutations and specially defined parameters. Yet also there is a wealth of choice given the pianist at times, so that the role of performer is enhanced in parallel to what Cage sometimes built into his works. For telling evidence of such things Ms. Liebner gives us two versions of Kavierstuck XI (each running around 15 minutes) and to compare the two is to understand how in the act of performance the work gives maximum torque to the act of playing.

For this and other reasons there up to some point would be very good reasons why one might want to hear and perhaps even study all recorded renditions of the works. But I do not know in the end how one might align them all in some discussion. The version I first had many years ago I unfortunately had to jettison before I went on to graduate work, so I cannot even put into words my impression of this version by Liebner vis-a-vis the earlier recording. And notable too the experience of hearing such eloquently expanded music changes with time and one's own auditory and psychological states. One continually experiences new discoveries on repeated hearings and I can happily presume there can be no end to it.

What I can say however is that there is no mistaking the poetic beauty of Sabine Liebner's interpretations of these pieces. Others may be different and we would expect that. But I do not believe there can be better! It is a remarkable journey one undertakes when setting about on a listen through of these recordings. And then to return and hear again is to step into a different stream each time, really. In no case however would I question the striking musicality of Ms. Liebner's readings.

It is highly remarkable music and Sabine Liebner is a highly sympathetic artist, an ideal exponent. I cannot recommend this one more highly. But you must listen closely or there is no point to it all. This should never be relegated to the background. It will open up your ears if you let it. There is transformation built into the music, and Stockhausen expected it would change you in the hearing. We can be thankful for the chance to hear it. But that is up to you. It comprises some of the most important acts of Modernity in the last century. That is why I cherish having the set to hear many times.

Wednesday, September 12, 2018

Leslie Ross. Drop By Drop, Suddenly, Extended Music for Bassoon

The Avant Garde realms of Modern Music remain plastic and ever-adventurous. The scientistic (meaning in the manner of science) phase of experimental music has never really quite left us, yet it has decisively been suborned nowadays to the ultimate need to express. That is a healthy thing, surely.

Enter Leslie Ross, bassoonist, instrument maker, composer, magic master of sound. Her album Drop By Drop, Suddenly (XI 141, 2CDs for the price of one) has found its way into my review playing cycle and I emerge refreshed and ready to talk.

The music is all about the long tone and its kaleidoscopic permutations Ms. Ross explores in thoroughly poetic ways.The program is a well-paced series of works for solo bassoon, more-or-less gradually lengthening in time and scope. The premise to begin is the long tone articulated on bassoon with various fingerings that allow for a myriad of tonal colors and overtone presence. The results are uniformly uncanny, all created by the bassoon and an elaborate 15 microphone array. Then there are computer alterations that take advantage of the MAX/MSP program to further enhance the signal, so that in the end we enter a world nearly orchestral in scope yet all derived from the simple sounding of one bassoon.

If you do not mind being patient with the unfolding sounds you are bit-by-bit and yes, then suddenly aware that you are in the center of some sea change. It is some of the best in gradualist unfolding sound poetry. If you are an adventuring musical soul I suspect this will be much to your taste. For those who self-select for the avant garde, I recommend this surely.

Tuesday, September 11, 2018

Rameau, Le Temple de la Gloire, Original 1745 Version, Philharmonia Baroque Orchestra & Chorale, Nicholas McGegan

Jean-Philippe Rameau (1683-1764), it need not be said to most readers, was the leading light of the French Baroque and a singular force in the music of his day. His musical eloquence and sweet lyricism make him a singular exponent of his time and allow us continually to regenerate his music with modern-day ears as he remains a timeless titan of the muses.

Today I have the pleasure to report in on a release that we Rameau lovers  might well consider a major event--that is a first recording of the original 1745 version of his opera Le Temple de la Gloire (PBP-10, 2-CDs), as performed ably and brilliantly by soloists and the Baroque Orchestra & Chorale under Nicholas McGegan. As a live recording it has energy and frisson-inducing panache with nothing in the way of serious imperfections, far from it.

Why is the original version of great interest to us? The liner notes duly explain. Some of the historical reception problems that made the opera rather scarce arose at the very beginning. The controversy started via the libretto, written by Voltaire. It was an  allegory for the edification of the then reigning King Louis XV, who attended the premier. The opera's plot deals with three kings who attempt to enter the Temple of Glory, which according to legend and the opera plot was presided over by Apollo himself, and attended by the Muses. The "object lesson" involved the fate of three kings, only one of whom was welcomed into the Temple. The occasion was supposed to celebrate Louis XV's victory in battle, but the moral of the plot did not please him. He was offended. The Opera went on to have several more performances in its first version, then was withdrawn to be replaced by another drastically revised, which did not meet with commercial success either. Up until recently the revised 1746 version was the one that remained in circulation for later day performances, and of that rendering only a relatively small portion of the original version survived within. The rest was utterly different. Aside from kingly disapproval the opera was apparently further problematic to contemporary audiences as a whole.  As an opera-ballet of the times it was not a problem for its length--since the amount of music and dance required to fulfill both dream and visual dancer spectacle usual meant for a long program. Nevertheless such a work was supposed to remain light on serious subject matter. The object lesson Voltaire built into the libretto was that the worthy King must put the interests of the people foremost. He was never to be a conqueror or tyrant. It was too much apparently for the pleasure-seeking public of those days! Their brains hurt!

Fast forward to today. The original manuscript of the 1745 version remained obscure until the University of California at Berkeley found out about its existence and acquired it a number of years ago. The upshot of it all was a new working edition of the opera based on this original and ultimately a triumphant staging of it at Berkley with the artists before named as the performers. The present recording is taken from those World Premier performances. And a very good thing it is, surely.

I have not had the pleasure to hear the 1446 version of Le Temple de la Gloire so I cannot comment on the differences. But in any event there is so much in the 1745 version that is not in the later version that this perforce becomes a major event in Rameau reception.

What I can say is that the music is most delightful. As an opera-ballet it has a good deal of instrumental-only sections and the 146-minute playing time means we get a great expanse of unfamiliar Rameau to like.

The performance is very nicely idiomatic of the French Baroque period. The vocal soloists, the choir and the period orchestra sound as pleasing as one might desire. No matter what measure you use, this is a landmark occasion, for the newness of what we hear, for the quality of the music, for the quality of the performance. Anyone who loves Baroque opera and/or Rameau will be pleased to hear and have this music, I would warrant.

Highly recommended.

Monday, September 10, 2018

Malats, Pedrell, Granados, Spanish Piano Trios, Trio Arbos

The world of Spanish Classical music is something special to me. There are so many aspects of it, just like Spanish music as a whole is a wide and fertile legacy to explore. Today three composers, one more known that the two others, give us Spanish Piano Trios (IBS Classical 122018) brought to us by the talented and brightly lively Trio Arbos. The works are a product of the Modernist impetus, of a turn of the 19th-20th century aim to rejuvenate the chamber music world with works that were for the time expressions of the Spanish contemporary current, well constructed, lyrical and expressive

We are here treated to some music that is pretty much out of the way and tucked into the corner of history. All of the works have an expressiveness on the level of Late Romantic works, but then there are pronounced quasi-Impressionist Modernisms and a pronounced Spanish influence that set them apart as something definitely more than ordinary fare.

The Enrique Granados "Trio in C Major, op. 50" is the very high point of the program. Granados has a presence that is undeniable in the four-movement work. The opening slow movement continues the introspective somewhat sad mood of what precedes it (see below). The Scherzo contrasts with a bounding exuberance that is thematically distinguished and worthy of the Granados autograph.  The Duetto features the trio-as-trio yet breaks the piano and strings into two groups. It has an appealingly  tender, lyrical quality. The Finale movement, marked Molto Allegro, does not fail to charge the musical psyche with very brisk and dynamic threesome pyro-dramatics.

Joaquin Malats was by the time of this work an old friend of Granados. They got to know each other as fellow-students and both looked to write a music imbued with local character.  The Malats "Trio in B-Flat Major" is distinguished right away in the opening allegro with a kind of folk-derived dance-like movement of pronounced Spanish feeling, expressive and soaring forth in ways that set the work apart in the repertoire as singular. The following Andante movement is movingly lyrical and perhaps a bit melancholy. The music has a kind of passion in reserve that breaks loose at times to soar movingly. The final Vivace movement bristles and tumbles along while continuing a Spanish-rooted sensibility. The music singles out Malats as a real voice of his time, helped not a little by the Trio Arbos devotion to bringing out the nuances and dynamic thrust of the music.

Felipe Pedrell, a Krausist in sympathy, teacher of Granados, gives us a supremely lyrical brood in his "Nocturne-Trio op. 55."  It is in no hurry to move ahead, but rather takes a long and lingering look inward to a quietly burning sort of longing with a kind of minor modalityvery much tapping into the local fount of inspiration. The slowly moving regret of the following "Elegia a Fortuny" extends and expands the melancholy mood with some very beautiful passages. Trio Arbos let the music get inside them and the overall effect for us is one of unrelenting, exquisite immersion. It washes over us and we are transformed by it. That is if we allow it to enter our musical-experiential beings.

In sum this is music anyone following the rise of the Spanish Modern period will welcome; but then so would anyone who appreciates a lyrical trio program and all who love Spanish classical music as a whole. It is played in lovely fashion by Arbos Trio, who seem born to these sounds. Bravo.