Wednesday, January 17, 2018
His biography supplies some details. A Sephardic Jew in Florence, he was forced to leave Italy with the rise of Mussolini. In 1939 he entered the US, one of many brilliant immigrant composers to make the exodus to the New World. Like some important others he ended up as a film composer, which was then and is now ever a mixed blessing for the compositional arts. He was in no way relegated to obscurity then. But his fate in the present has not entirely allowed him much in the way of immortality. What matters is our own readiness to hear more of his music.
An excellent opportunity arises in the recent CD release Piano Works (Divine Art 25152). From the "Italian Ravel" comes some eight compositional entities, a few in their world premier recordings. The liner notes tell us that the solo piano corpus of works have all but been ignored. It was Aldo Ciccolini who discovered that the works have an incredible charm and fluency. Pianist Alfonso Soldano gains an insider's vision of the music and transfers what he so wonderfully understands into our musical selves via the recording.
There is a true wealth of subtly shimmering, poised and grandly sounding melodic-harmonic brilliance. This is music of a very high caliber, a treasure trove of fantastically pianistic utterance. Alfonso Soldano seems the ideal vehicle for these works.
I cannot recommend this one highly enough. Or perhaps I just did? Just listen.
Monday, January 15, 2018
The ability of the organ to endlessly sustain is a factor in all the music. But then what organ work does not make use of this trait in some way? It is implied in the very notion of massive organ acoustics in a large space.
And so we have music by John Cage ("organ2/aslsp"). Toshio Hosokawa ("cloudscape, sen iv") and the organist himself (carillons I-III").
So what of this music? Necessary for understanding Maestro Susteck's choice of works and their interpretation is a grounding in a sense of the traditional aesthetic regarding music. Time is a special category that helps distinguish traditional Japanese from Western musical stances. For the Japanese tradition the fundamental organizing principal is the breath. The length of phrases and their movement are not about pulses in time, but rather that which can and should be articulated in one full breath as a unit. Music imitates nature in ways that surround the fundamental breath of life.
John Cage in this regard often through his Zen Buddhist outlook brings something of the Japanese aesthetic to avant Western music. Is it a sort of breath-event for him? Not precisely. The music is rather an idealized model of nature, yet also as non-intentional, is something produced by nature. It is more complex than that. Nevertheless his organ work "Organ2/aslp" makes of the music itself and its realization like a roadmap to a territory, the landscape produced by the inner state of the performer in conjunction with the open yet specific demands of the score. Aslp stands for "as slow as possible," slow being here a relational unfolding of the sounds, the roadmap being proportional to the realized performance. Music here is a spatial thing, a sound-spatial realization of the proportionality Cage sets out. Hence it is not quite temporal and hence the title of the CD Frozen Time. These ideas are too complex fully to reproduce here.
The works that follow by Toshio Hosokawa and Dominik Susteck are other ways of establishing musical spaces.
The music as sounded by Dominik Susteck involves landscapes of emanation. The traversal of course implies a temporal presence in the Kantian sense, but the element itself is not primary to the music.
It is fascinating to me how this music functions on one plane as a series of mnemonic devices for a meta-natural state of being. That only if you care to hear it that way. You can bypass it and just listen, too.
Altogether the music presents provocative sound hermetics. Each invites the listener to experience the sounds as she or he would traverse an earthen or astral territory. We take a series of trips that are as much about the music's "pointing to" as they are about the sound sequences themselves. In this way we feel a more non-Western deconcretization of time and the intrusion of natural allocations. It is not necessary to grasp all of this to appreciate the compositions. They fit by their existence into what the modernist project makes available to the organ as instrument.
For all these reasons and for the quality of the sound production itself I expect any adventuresome soul would gain as I did a point of view about modern-as-beyond-modernist-dogmatics and so too a sensual envelopment of sound art. I recommend this one!
Friday, January 12, 2018
Pianist Jasmin Arakawa joins Veronique for a third series of works. The three composer's offerings together comprise Argot (Navona 6105).
First up is the title work "Argot: Due Pezzi per Violino" (1979) by Franco Donatoni (1927-2000), one of the premiere modernists on the Italian scene after WWII. It is a work of demanding agility for the player, both exploratory and filled with flowing musical syntactics. Ms. Mathieu carries the day in a very musical yet spectacular manner.
Pierre Boulez (1925-2016) I imagine needs no introduction to readers of these pages. His "Anthems I Pour Violin Seul" (1992) has the rigor and energy one might expect from the composer in his later period.
From there we move to three choice Witold Lutoslawski (1913-1994) works for violin and piano."Recitativo E Arioso for Violin and Piano" (1951), "Subito for Violin and Piano" (1992) and "Partita for Violin and Piano"(1984) give us the Lutoslawski depth and expression in compact terms. They are works that carry with them some of the composer's greatness. All are fully worthy of the loving attention Mathieu and Arakawa give them.
Mathieu shines brightly on this program. Arakawa tends well a second flame as brilliant as the first in the second half of the proceedings. All listeners to the modernist excellence to be heard so abundantly will surely find in this album much to treasure. The Lutoslawski makes it all worthwhile; the Donatoni and Boulez give us pause and show us vibrant possibilities we are glad to contemplate and experience.
Thursday, January 11, 2018
If it sounds patronizing to say I was surprised to hear such fine music, I only mean that any new (to me) body of quartets faces the stiffest challenge from the past quartet giants of the repertoire, obviously the late Beethoven quartets, then so many after...Berg, Schoenberg, Debussy, Ravel, Hindemith, Bartok, Shostakovich, Ligeti, Carter, and on (leaving out some for now). After all the string quartet has risen to a medium where some of the most "serious" and uncompromised music has been made up to our own times. Can Michael G. Cunningham meet this challenge and win us over on his own terms? The answer, very happily, is yes.
All seven are well played by, variously, the Sirius Quartet, the Moravian Quartet, the Pedroia Quartet, the New England Quartet, and the Millennium Quartet.
All the quartets but the first have descriptive subtitles, "Three Satires" (2), "Partitions" (3), "Interlacings" (4), "Aggregates" (5), "Digital Isorhythm" (6), "Back Home" (7). The descriptive phrases give notice that the music is "about" something more than abstraction, that the intricate and moving high modernist post-Bartokian style has a human subject at its base.
These are quartets in the grand modern tradition if you will. Deeply intricate, interactive, and probing are all of them. It is a milestone set where we may not expect to find them, only because Cunningham is for most of us only now emerging into our musical life.
I do recommend this for any modern string quartet enthusiast. It rightfully holds its own and seems destined to take its place in chamber gems of our modern period. Get this one by all means.
Wednesday, January 10, 2018
Bruno Maderna, Luciano Berio, Now, and Then, Orchestra Della Svizzera Italiana, Dennis Russell Davies
As if to make that freshening an aesthetic reality, there is a recent release to give us a space of introspective languor and at the same time a new take on the modern project. Dennis Russell Davies and the Orchestra Della Svizzera Italiana pluck gently for us a crop of 20th century modern memento mori if you will, in very past-in-present, recent-past-presently works by Bruno Maderna and Luciano Berio, Now, and Then (ECM New Series 2485).
What we hear are a series of reworkings of Frescobaldi, Legrenzi, Gabrielli, Viadana and Wassanaer, transcriptions with beautiful orchestrations that make a currency of the ancient wonders we can hear very anew. There is a poignancy to these reawoken transcriptions. Maderna is an orchestrational titan and he makes it all glow.
As if to remind us that we can go back to high modernism with the same refreshing new hearing outlook, Maderna's contemporary Luciano Berio (whose "Folk Song" arrangements come very much to mind in the wake of the Maderna here) has a nicely contrasted presence with a world premiere recording of the orchestra and guitar "Chemins V," which is a resetting of the solo guitar "Sequenza XI." There is to be heard the wonderfully resonant modernist Berio, a vastly rich human modernism that has more than advanced syntax alone, the more of which all modernists need bring to the music for it to thrive.
That is the nuts-and-bolts of this recording. Performances are striking, recording values as fantastic as you would expect. The Now, and then old-in-new-in-new has a rejuvenating grace to allow you another feeling of present-past, to drive you to reflect that all past music, even later modernism takes place in a continuum that this program inscribes into your musical memory as it gives great pleasure in the doing. So I highly recommend it to you.
Friday, January 5, 2018
After listening so often to the final orchestrated versions over the years we can sometimes be so accustomed to the full unfolding in orchestral terms that we lose sight of the paradigmatic blossoming of the tones as a whole. So then it becomes time to make it all fresh again. An excellent means to that is in the piano four-hands arrangements of the works: 3 Movements from Petrushka, The Rite of Spring (MSR Classics 1628), as played by the Lomazov-Rackers Piano Duo.
These are of course two of the seminal breakthrough works in the advent of the Modern movement in music.That a century has passed since their first hearings is in many ways a blessing. We KNOW the music, understand it, and can with the right people push the performances further onto those pathways of what we hold to be so, what we can now hear clearly looking back from the vantage point of the present. So much has come after, as if to bring out the essence of this music and what it has done for us.
The Lomazov-Rackers Piano Duet make an ideal vehicle for these works. Clearly both have lived with this music intimately and can re-execute it all in ways that a long, lingering living-within makes possible a new possible.
So the Petrushka burns as brightly and as excitingly as it ever has in the piano reduction. It dazzles with light. The Duo have a technical prowess which is put in service to the music as it can be brought out in the most exciting manner. It is a wonderful thing to behold!
Then the Rites come through in ways I have not heard bettered. There is masterful control at work. The music no longer seems complicated and ineffable. It is perfectly, palpably clear and makes vibrantly musical sense. If anybody once feared or was outraged by this music, it is laughably behind us. Except there are people you might run into who cannot even understand Beethoven! My mother told me after she had finally gotten it all that "There used to be a man in the apartment downstairs from us who played classical music 78s. I was frightened by it. Until now." The present among other things is a time where the modern begins a full assimilation into the folk mind. In my mother's lifetime Beethoven became mainstream. Now today another embodiment, the modern as part of the everyday mind and ears? Yes. And nowhere better to assimilate it than with this disk by Lomozov-Rackers.
The future may still be the past, but we are catching up slowly. Anybody who might take the time to listen carefully should find the present disk a very heartening thing. I cannot think of better performances! So you should listen! Buy with confidence.
Thursday, January 4, 2018
There is a proto-primal sort of diatonicism at work in these works. Major seconds coexist together for example in a harmony not of the smooth and firmly directed sort, but rather of a personal expressive provenance. So too rhythm is pronounced and forward tending, and in its own way singular.
There is a charmingly understated lyricism at play here. Not of the jejune, happy-faced idiocy sort (for that a certain minimalist unnamed comes to mind). There is beauty in the breakup of parts to an immediacy of pulse but as much a sort of neo-classical earthiness that can be detected, yet a trace of the minimal confluence too, all set apart and reserved anew for the Myachian mode.
I love this music. There are pieces for piano duet and piano that feel as if we were auditioning musical transcriptions from an imaginative mind in another galaxy. Then there are "Two Shakespeare Songs" that ring true. And chamber works both smaller and somewhat larger, including an appealing three-part work performed by the Birmingham Conservatoire Brass Band.
The music feels new and very personal. It does not feel pretentious in the least, but instead sings with a nicely turned humanity it is heartening to hear. I recommend this if you want to smile. And why wouldn't you? Fumiko Miyachi is a welcome voice in the sometimes overabundant present new music world. I am happy!
Wednesday, January 3, 2018
Gil Rose as usual conducts. Sanford Sylvan appears as baritone on the title work.
The performances are of the caliber one comes to expect from the BMOP. There is a requisite depth and detail that these works demand.
Three works invite themselves to our inspection and pleasure. Stucky in the informative liners sees himself arising out of the classical tradition rather than blazing forth as an avowed iconoclastic innovator. He is a Brahms in contrast to a Wagner, more a synthesist than a tabula rasa.
The first is the 2006 "Rhapsodies," a short prelude to the two substantial works that follow.
"American Muse" (1999), the title composition for this program, has breadth and depth. It has a moody precision born of the best sort of conflation of text and tone, expressively dramatic brush strokes against luminous transparencies. Like the work that follows, "American Muse" comes out of the mist to take shifting form with a palette of orchestrational wholeness.
And finally we hear a very glowing turn to pure music in Stucky's 1987 "Concerto for Orchestra." A sort of bookending, an expressive abstraction-synthesis of perhaps a Ravel and a Ruggles can be discerned if you linger with the start and end points of "Rhapsodies" and "Concerto for Orchestra." A more Whitmanesque turn to sequential metaphoric realism fills out the space in "American Muse." Together they form a vibrant introduction to Stucky the overarching reworker of what-is to get a what-hasn't-been.
It is music you must live inside of for a time. That might be said of much of what I cover on these pages. But I must say that Stucky quite palpably emerges in his full musical personality in increments as we listen between the spins of our periodic existence.
Bring yourself to this music. It will add something to your life. All great art builds a space inside you if it is allowed to do so. You are the host for a musical organism that extends self rather than parasitically feeds off of it. We are the better for it. And so I recommend it to you.
Tuesday, January 2, 2018
The music speaks to the very new inside us. Does it embody the work being done today, the very music that future humans may celebrate? Our times may cloak the vividly creative work taking place right now. You wont find mention of it on TV, not on your Smart Phone, not bursting out at you from the Internet. Yet it is happening. In Iceland? Why not? Is this music the "it" of future music minds and ears as they look back over the deep pockets of history? I do not know. It is not the music of the past. That's clear.
Each of the works on this program unfolds the previously mostly latent spatial-color possibilities of the modern symphony orchestra as viewed through dynamically creative sets of lenses. We after all dwell in space, in spaces that can sound with only the limitations of our own imaginations and the dedication of those who devote their lives to making it all so, to making it ring in our ears so that the black notes of the scores become aural worlds we can live within happily.
If that seems a bit much, I can tell you that the program on the CD brings to us a new opening onto the modern project, a music of space and color, drama and steady unfolding. These are works by composers you may not know well, or even not at all. Yet none of them feel the least bit anonymous.
So we have in toto Thuridur Jonsdottir's "Flow and Fusion," Hlynur A. Vilmarsson's "bd," Maria Huld Markan Sigfusdottir's "Aequora," Daniel Bjarnason's "Emergence," and Anna Thorvaldsdottir's "Dreaming."
All are more than 10 minutes in length. Some hover around 20 or so. Some pulsate with an orbital glow. All come out of the space of silence with an expanding universe of contemplative presence. Mystical, mysterious, mytho-poetic.
It is music that strikes you increasingly yet remains ineffable and enigmatic in energizing ways. It is a something that you could well overlook. Do not do that if you seek possible futurities in the modern orchestral present. There is a lot to sink into here. And come back to. Like looking at a patch of sand on a beach, every time seems a little different. No same stream twice. So check this out, please do.