Thursday, October 19, 2017
He was a student of Taneyev and studied piano at the Moscow Conservatory. A severe bout with mental illness undermined his health. The pilgrimage put the final punctuation on his life. But he left behind a bold and daring series of piano works, some remarkable examples of which can be heard as played with zeal and precision by Ekaterina Derzhavina on this fine volume.
The first bars of his first opus "Zwolf Skizzen" let us know we are in for something unusual. Sorabji or Alkan come to mind, not so much as an imitation as a parallel. Then there is Mussorgsky, surely. The rest of the pieces in this startling opening salvo bear out the first impression. This is a remarkable late romantic kind of modernism that must have startled its hearers even more than it does our modern listening selves. More than 100 years later, however, we nevertheless sense we are in the presence of a unique musical voice.
The "Praeludium," "Erste Sonate," and "Lieder ohne Worte" confirm our first encounter. Often enough there is a thoroughly "conventional" Lisztian overwrap of rhapsodic effusiveness to be heard. But even then the actual sequences can startle for the unexpected progressions or melodic directions the music takes. And that veneer can strip away and you get another look at a musical mind that strikes boldly out on then untrodden paths. As the liner notes state about the sonata, there is a "distinct predilection for the juxtaposition of diatonic modes [instead of the customary development of chromatic harmonies]." Yes, and how they sequence is not expected either. Chords in fourths, even, but not like Scriabin. There are all kinds of things in this music that set it apart. Yet it reflects the veneer of the grand romantic piano tradition, too, when that seems appropriate. Unexpectedly, always.
The sessions come from 2004 and 2005, so my guess is this has been released before? It makes no difference. This is a revelation. Stanchinsky, had he lived, could have taken us into another universe of possibilities. Yet there is plenty to hear already in his short life's output. Ives went his very own way in the US. In Russia Stanchinsky was going somewhere bold, too. He was cut short. Thankfully we have this volume to savor. Stanchinsky may have been a well kept secret. We can now let this music out in the open. Let it breathe. Thank you, Ms. Derzhavina for giving us these beautiful performances. Thank you, Stanchinsky for your short life and its music!
Wednesday, October 18, 2017
And in its longer form is becomes something more than a quotation of his seminal "Fanfare for the Common Man." It instead becomes a central thematic element.
Yet it is more than merely that. Like "Appalachian Spring," where the Shaker hymn "Simple Gifts" tops off the work and gives it a trajectory, yet contains all in all some of Copland's most evocative pastoral music, so too the Third is redolent with an earthy joy, at once pastoral and filled with both rural and, if you will, some of the bustling celebratory complexities of the American town. And too the "Fanfare" is a thematic culmination.
So many years later, we can be less mindful of the central role the end of WWII is meant to play out in this symphony, written in 1946. Like Shostakovich and Prokofiev did in their symphonies of this period, it expresses a relief that the struggle is over. Copland's general sanguine outlook gives us something more in the line of pure joy than his Russian counterparts may have expressed. That is only to say that Copland remained Copland, as Shostakovich and Prokofiev remained true to themselves as well.
And in all that we hear a near ideal reading of the symphony by Slatkin and the Detroit Orchestra. The placid beauty of America at peace, the bustle of renewed life and the tribute to the heroic efforts of "the common man"come together for a whole that I seem to hear cohesively as if for the first time. The longer version of the final movement helps give the work a new balance it may not have quite as readily in the version we usually hear. But Slatkin gives each element equal and detailed weight so that we come away moved and satisfied.
As a bonus we also get a nice performance of Copland's 1971 "Three Latin Sketches," which fits in as a rewarding coda to all the music here.
So that is what we have on this one. It is a version of Copland's Third that makes very musical sense out of the score, balances out expression and nuance, draws out the very powerful totality Copland meant us to hear. It is landmark and worth the trouble, very much so.
Monday, October 16, 2017
The recording documents a concert held last year at the Tippet Rise Art Center in Montana, set on a stunningly beautiful natural and sculptural site that most apparently lends itself to inspired music making. Domo gives us a remarkable chamber music program of mostly early modern Russian chamber landmarks and a few notable other works, all performed with uniformly high caliber artistry.
Everything begins with a roaringly dramatic performance of Scriabin's "Piano Sonata No. 5," a very singularly passionate reading by Yevgeny Subdin that to me stands out as one of the most moving I've heard. It is followed by two songs and a piano work by Anton Garcia Abril, performed with care by pianist Christopher O'Riley and soprano Emily Helenbrook.
O'Riley then joins with cello master Matt Haimovitz for a ravishing version of Rachmaninoff's "Vocalise." Then we are treated to an infectiously joyful version of Stravinsky's third movement for the solo piano version of "Trois mouvements de Petrushka" played with nearly ecstatic verve by Jenny Chen.
From there we get quite stimulating versions of the second movement from his "Suite No. 1" (O'Riley and Anne-Marie McDermott, pianos) and Chopin's "Nocturne Op.15, No. 2" (Stephen Hough).
The fitting and most notable climax and finale comes with a trumpet and two piano version of Scriabin's "Poem de l'extase," with O'Riley and Svetlana Smolina on pianos and Elmer Churampi on trumpet. I've never heard the chamber version and I must say in the very capable hands of these three artists the music has all the mystery and thrust of the orchestral version but at the same time an intimacy that is different and refreshing.
So I am not one to gush about what could on the surface seem to be an ordinary concert of mostly well-trodden repertoire pieces. It isn't. The performances are marvelous, uniformly so. Anyone who cherishes the Russian early modernists will surely find this a very memorable recording.
Friday, October 13, 2017
Just as you cannot step in the same river twice, you cannot hear this work each time without feeling a new aspect of what you hear. And as a reviewer, if your original article was somehow wiped out as mine was sometime this past Tuesday, you cannot write the same review twice! Technological life is filled with such temporal anomalies. We no longer need Star Trek to experience virtual worm holes in the space-time continuum. Involuntary erasure gives us all we would ever want, which in fact is very little in this case!
There is the constant of the dramatic arc of the music, beginning quietly and gradually building in developmental sequences of sostenuto shimmers of radically tonal rolls of chordal clusters that flow along river-like, adding embellishments and thematic directional cues that turn it all after all into musical syntax and not just atmospherics, though even if Lentz kept it entirely primal we would be transfixed. But no, he wants us to embrace its long sprawling arc of cosmic event unfolding as a very long whole.
This is an excellent example of the Cold Blue school of mesmeric tonality. It speaks with a sprawling yet disciplined eloquence and takes us on a trip as would a river's endless flow. Beauty is there for us. We only have to stand (or sit) and hear the music go by.
Thursday, October 12, 2017
Nonetheless I am very glad to make the composer's aural acquaintance on his new collection of orchestral compositions, Transformations (BMOP Sound 1053), with the ever-essential Boston Modern Orchestra Project doing the honors under conductor Gil Rose, and the PRISM Quartet stepping in for the spotlight role on the work "And the Winds Shall Blow."
He writes complex chromatic music, high modernist shrines of intricate latticework. If you imagine Elliot Carter, and why should you not, you might put Wayne Paterson in his league, so to speak, not as some clone, but another highly individual later modern chromaticist.
That to me is an extraordinarily good thing!
In the three works on this recording, we hear Peterson at his best.
The Pulitzer Prize work "The Face of the Night, The Heart of the Dark" (1990) gets focused attention and we are all the better for it. It like the other works here give us a swirl of continually evolving phantasmagorias of sound, classic but evolved sound color matrixes of brilliant explosions and implosions of vivid hues and rhythmically charged musical utterances.
And with the opening works, "Transformations" (1985), "And the Winds Shall Blow" (1994), we get variational fireworks of constant refluxive reiterations and post-iterations, if you will have it.
"Winds" distinguishes itself via the welcome presence of the PRISM Saxophone Quartet, who with wind and percussion create an aura of deft interwoven complexities.
This is fabulously complicated high modernist profundity. Anyone (like me) who still thrives on the ear stretching kind of contemporaneity will take to this as exceptionally invigorating.
Modernists, do not miss!
Monday, October 9, 2017
Unlike his pupil Webern, Schoenberg intentionally straddled the future and the present-past. His music no matter what else came out of and advanced the music of his time. Webern was no doubt the more radical in his rethinking of thematic means and avoiding direct rootedness. To note this is not to denigrate either. It is only to situate both.
An excellent way to take Schoenberg's music seriously as music is with a recent recording of his String Quartets 2 & 4 (BIS 2267) by the Gringolts Quartet with soprano Malin Harlelius joining in for the 2nd Quartet.
Both of these quartets are masterpieces of their kind.
The Second Quartet was in effect a product of a personal breakthrough, brought on in part by Mahler's abandonment of Vienna for the United States, an affair between Schoenberg's wife and an artist who was living with them, and Schoenberg's own turn to painting. It was 1907-08. The Second Quartet marks a serious turn in Schoenberg's approach, essentially away from Late Romanticism towards an expressionism that incorporates the limits of tonality and a motival intertwining that no longer quite relates to harmonic movement. The fourth movement and its incorporation of a soprano part shot outwards to what at the time were the limits of expression. It no doubt shocked its hearers in those days, but most certainly not us, those of us who have become accustomed to outward movement in modernity.
Then there is "String Quartet No. 4," which takes us ahead to 1936 and Schoenberg's exodus-exile from a toxic Nazi state. Understandably it was another trying time for the composer. This is fully mature Schoenberg, an extraordinarily complex and brilliant construction of color and motif, beautifully idiomatic string writing, and dynamic upheaval that transports one to a very rarified modern musical world.
This happens to be an excellent performance of the two quartets. The Gringolts Quartet know very much what they are about and pay close attention not just to the notes themselves, but the syntactical sense behind them. Whether you already love Schoenberg's music or need to expose yourself to the best of it to learn to love it, this release is an essential!
Friday, October 6, 2017
One of the obvious things about the 5th is true to a greater or lesser degree of all the symphonies. They do not so much sound like Beethoven, Bruckner, or Tchaikovsky at root, of course. Even though the opening theme of the symphony at hand alludes to Beethoven's 5th. It does so in such an oblique fashion as to have a similar rhythmic element, little otherwise. So too Mahler's treatment of the strings throughout the symphony. What they do in part relates to the classical-romantic tradition of what strings can do. But Mahler conceives of them in a matrix where much of the time the winds and brass are equal partners.
Osmo Vanska and the Minnesota Orchestra grasp all of this beautifully and give us a truly balanced reading of the 5th. It sounds like Mahler and nothing else, exactly. The three instrumental families blend together in perfect symmetry as the score requires, yet the tender melancholy of the Adagietto lets the strings shine in their heartfull outpouring of mixed feelings.
This is a work that exemplifies the brilliance, yet also the beginning of the twilight of fin de siecle Vienna. Culturally all is still at a peak, yet the Austro-Hungarian Empire's containment of so many social-cultural subgroupings is troublesome and of course eventually the center could not hold. What "bothered" some contemporary hearers of the 5th is the inclusion-extrusion of "impure" folk ethnic elements interspersed throughout the work, Bohemian, Viennese, Slavic, Jewish strains of an earthy sort taking their place beside more classically derived thematic material. Of course this is part of what makes Mahler Mahler. The 5th has no grand choral finale ascending to high heaven, which only served I suppose to remind sceptical listeners that what remained made them uncomfortable.
Today of course we revel in such carefully intersected contrasts, such synthetic brilliances. Osmo Vanska understands all of that and gives us a sonically full, sympathetic reading of the totality that goes into Mahler's 5th. The details are everything. Not all versions of the symphony I have heard do justice to the at first perplexing jumble or elements. It is no jumble, in the end. It is all Mahler heard and embraced around him, and it is his brilliantly personal concatenation that the Minnesota plays for us so engagingly and idiomatically.
There is joy and sadness, a hazy nostalgia and a briskly contemporary Viennese encompassing of what need not be thought of as opposites, all elements taking their essential place in the artful scheme. The Minnesota Orchestra brings us the score in all its fulsomeness, with vivid sound staging and dramatically detailed balance. It is music that must be allowed to breathe. There may be divinity in its sublimity, but it is firmly of this world. Vanska feels the totality of it and brings it to us in spectacular Mahleresque ravishment.
Here is a reading that puts together what Mahler intended, true to the tabula rasa deja vu complexities and beauty. Strongly recommended!
Thursday, October 5, 2017
The duo pairing rules with the exception of one trio. Some of the works have a solemn majesty, some a jazzy approach, all have a reflectiveness in some way, and all show Chris Gekker to be a marvelous, singing trumpet presence. Some have a modernistic edge harmonically, but all seem contemporary in the wide sense of the term.
"Fall" (2016) by Robert Gibson sets the tone with an almost aching retrospection and beauty, the piano setting up lush tapestries of sustains that the trumpet completes in kind. "Ghost Dialogues" (1993) for trumpet and tenor by Lance Holmes deepens the mood and has an open freedom that reveals vistas ahead.
Carson Cooman brings us three movements of seasonal change with his "Equinox Sonata" (2015) for trumpet and piano. A timeless feeling and a lyrical facticity makes this one stand out.
Another Lance Hulme work, "The Street has Changed" (2015), takes a reflective text and creates still more reflection for mezzo-soprano, trumpet and in the final movement offstage piano. There is space to punctuate, notes to remind us that space is not the primary element!
Two shorter goodbyes top off the program memorably, "Served Two Ways" (2011) for trumpet and tenor by David Henrick is filled with jazz lyric strength, then buzzing energy. And Kevin McKee's "Song for a Friend" (2015) for trumpet and piano gets the last word with a kind of regal, beautifully tuneful musing.
I guess you could call this one a sleeper in the best sense. It is filled with many small and less-small treasures. All performers are peak, but Chris Gekker is the very artful, brilliant constant.
It may not be what you might ordinarily seek. That is why I am here, to tell you about the things you might overlook. Do not do that with Ghost Dialogues. The brown study side of you will gravitate happily to this program.
Wednesday, October 4, 2017
What first impresses is the sheer quantity of quality high modern moodiness. In all we get 19 works from the long time span. There is a continuity of style, generally speaking.
Bergman lived a long life and was compositionally active for most of it. As the prominent Finnish modernist of his time, he was celebrated in his home country but less so in the world at large.
He wrote extensively for choral groups. The selection of mostly mixed choral works on the disk have not been often heard, so we are fortunate to have this set to fill out the picture of Bergman's oeuvre.
The music will certainly appeal to you if you are a modernist at heart. Bergman goes his own way. There is much to explore. Give it a listen!
Monday, October 2, 2017
Randall Thompson, Symphony No. 2, Samuel Adams, Samuel Barber, National Orchestral Institute Philharmonic, James Ross
It is a bit of Americana without going out of its way to be so, quasi-Nationalism without any overt gestures thematically. Thompson's Second has syncopation that is not quite jazz (of 1931) but has something of the lively rhythmic bustle of the age and place.
Samuel Barber's First has American pathos and breadth.
Samuel Adams and his "Drift and Providence" updates the quilted earthiness of American symphonic form for today yet does not insist on overt modernity.
We get a generous sampling of the symphonic form beyond the overtly romantic. All is well played by the National Orchestral Institute under Ross.
It is not music that will change your life, exactly. Nonetheless there is much pleasure to be gained in the hearing. Recommended.