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Tuesday, October 12, 2021

Voces 8, Infinity


Each day we go forward and with any luck learn good things. Musically that is ever the case in my life. Today we have something not entirely expected, but then once the music plays a number of times it starts to sound like some part of home, the home of the contemporary world, the Modern as it twists and turns in ways we never thought around, say, 1974.

It is voces8 and their enchanting voices giving us a 15-work program entitled Infinity (Decca 4851626). Their website tells us that the album "embraces renowned composers alternative, film and contemporary classical music" for voices, and at times accompanying instrumental parts. Eight works were specially commissioned for the album, while the remaining are "choral versions of calming instrumental pieces."  Now that "calming" aspect might be telegraphic for some kind of "New Age" mélange, but serious listening to this program affirms that the musical content is by no means facile and purely functional.. Plenty of effort and musical inspiration has gone into this music as a whole.

In other words the program plants its stylistic flag squarely into a kind of Postmodern ambiance, a rather meditative spatial emission. Now I like most everybody these days recognizes a planetary malaise that can heighten all kinds of anxious thoughts, fears, worries, and if some music promises to counter that, are we to reject such a thing in the interest of High Modernist insistence? Probably not. It is our call. And I do not mind the idea of something sprawling spatio-temporally outward to a calm place.

An old friend years ago announced to me that he had basically had it with the Avant Garde in music because he already felt a kind of misery of life and, he went on. "Who needs to hear that all over again in the music?" What I said then in response is not relevant to today, really. Of course with the advent of the Postmodern per se, Brian Eno's ambiance, even some of the later works of Cage, well one might find plenty of music made since 1975 give or take, music that pulls the shade down on dissonance and fire in favor of something potentially soporific but then has the challenge of being contentful, structurally sound, syntactically perhaps looking far back into the Early Music worlds as it also carves out a vision of the futuristic present.

What could be wrong with that in those simple terms? And do we need to assert then, like my friend unfortunately did, that we should abandon music that challenges our sense of confluence and rips asumder the staid musical worlds it had tried to replace on some level? Certainly not. I've said this before but think about it differently--if we get away from musical considerations for a minute, we would be perhaps too extreme if we, for example  decided that all movies from this point forward were to avoid tension, dramatic horror, contrary plot suspense? Probably a bad idea.

So my response to the music on this program is not supposed to be an advocation that this music replaces other styles. Iti s rather than it can stand along other altogether different things and not be the everything in music that we perhaps increasingly find an outmoded idea? 

If along the way this album might prove popular to listeners who would perhaps avoid the Modern music worlds of the higher octane dissonant  realms like they might avoid watching "Psycho?" Well probably but that does not force us to follow in those footsteps.ourselves. I  might venture to say that even Elevator Music of the '50s at its best might be heard with some pleasure, without assuming the genre has some right of hegemony over our musical tastes.

So the music comes to us not as some obligation, but more as a gift, free to receive and enjoy. So we hear some 15 miniatures by people you may or may not know of, Sophie Hutchings, Slow Meadow, Jon Hopkins, Porkell Sigurbjornsson, Johann  Johannsson,  Kelly Lee Owens &Sebastian Plano, Olafur Arnalds, Anne Lovett, Benjamin Rimmer, Ola Gjeilo, Stephen Barton, Nainita Desai, Hildur Gudnadottir, A Winged Victory for the Sullen and finally Luke Howard. All in common is the kind of placid Ritual Tonality and sometimes a tinge of early music spatiality, some reaching out after a few listens and staying with you, others take a bit more focus but altogether we get a distinct mode locality, a planar expanding outwards for a beautifully lucid chamber vocal group of extraordinarily consistent lyricality.

After a good number of listens the music retains its consonance but began to stand out as content worthy, a goodly ways beyond what New Age requires of its composers. If this was the music we were somehow required to like to the exclusion of all else, I would probably balk. Given our ear freedom that is not the case, and so this becomes a pleasant change of mood and a substantial batch of chamber choral music that should appeal to a good number of folks out there. I recommend this one without hesitation. Voces8 is a beautiful ensemble and the music has a lurking sweetness that does not cloy.

The Vivaldi Project, Discovering the Classical String Trio, Volume Three, Antes, Hoffmeister, Hofmann, etc.


Years ago I came upon an LP of Classical Period String Quartets by composers not all that familiar to me (or as it turned out, the world). It was a rather marvelous collection of finely crafted chamber gems played with a lot of brio and energy. It was fun. Now these many years later I received a new CD by the Vivaldi Project entitled Discovering The Classical String Trio, Volume Three (MSR Classics MS1623). I've been listening and, quite happily, it is the String Trio equivalent of that old LP. The music again is finely crafted and there is plenty of gusto and brio on the performances by the Vivaldi Project.

The performers give us an insight into their reasoning for this comprehensive multi-volume collection of trios. Most thinking, they note on the dust jacket, about the Classical Era assumes the String Quartet as primary and the String Trio as a kind of minor afterthought, as a sort of quartet minus one. The Vivaldi Project counter with the idea that given the popularity of the Trio Sonata in the Baroque period, one might instead understand the String Trio to be the more readily institutionalized form, the logical culmination from Baroque to Classical, with the quartet beginning in this period as a sort of trio plus one. With the carefully enthusiastic readings of the seven trios here they make a case for the primacy of the trios as flourishing nicely at that point.

So the program explores multi-movement trio works by Giovanni Battista Sammartini, , Maddalena Lombardini Sirmen, John Antes, Francesco Zannetti, Franz Anton Hoffmeister, Leopold Hofmann. and Paul Wranitzky. I must say I am not very familiar with any of these composers but the music is worthwhile. Volumes 1 and 2 have some of the more obviously familiar names. I reviewed Volume 1 some time ago--see the posting of August 31, 2016 for the first volume review. Volume 3 is all the more a discovery given the relative obscurity of the names. Either way you get beautiful performances and the works are very enjoyable.

All told this is a fine volume that anyone who loves Classical form and engaged performances will gravitate towards. High recommendations.

Wednesday, October 6, 2021

Christina Petrowska Quilico, Retro Americana, Piano Music by Cowell, Rzewski, Gershwin, Westcott, Meredith Monk, Tatum

Christina Petrouska Quilico is a pianist I admire and appreciate. She did an album of French visionaries that I like a good deal and reviewed last August. Type her name in the search box above for my reviews of the very nicely done performances of the late Ann Southam's compelling music as well as some other fine Quilico things I have been happy to hear and write about.

And now today another of note, a collection aptly titled Retro Americana (Navona NV6361). What is the first thing that strikes me? The broad breadth of composers and works covered. Some George Gershwin, that is expected, but then Henry Cowell, Frederic Rzewski, Bill Westcoff, Meredith Monk and a couple of transcriptions of a few choice Art Tatum improvisations.

What it gives you as you listen is the idea that, as you might expect, Gershwin and Tatum cover the artistic transformation of the earlier vernacular--Jazz and Popular music of the earlier time. Tatum of course excelled at taking standards and making them his own pianistically. On the other hand Gershwin does something different but equally pianistic to his own staple song classics, but either way they address a content that typifies the more cosmopolitan aspects of Americana proper. Westcott does something transformative to earthy jazz-rag piano roots, nicely so. The "Suite" has some beautifully wrought, harmonically rich jazz inflected music that makes me want to hear more.

Meredith Monk's four pieces are folkishly somewhat ritualistic and perhaps a commentary on the Jazzier sides of Americana roots. It involves a pronounced movement, a dynamic of forward motion that suggests the hard swinging of early Jazz without stating it directly.

The "Six Ings" of Henry Cowell makes his pioneering early Modernism palpable and retro in its very own futuristic way.. Ms. Quilico shows us how splayed in wonderful spaciousness an excellent reading of such Cowell classics can be. The music reminds us how the Early Modern period in North America was a special, bold time for expressive pianism--we have the Cowell works which we get a worthy sampling of here. Of course there is much else we might hear as well,  the Ives beauties among others. Cowell's "Six Ings" nevertheless sound wonderful in these brilliant readings. No doubt we would get something very interesting if Ms.Quilico did an Ives album! I certainly would want to hear that. But this anthology has plenty going for it so we listen with pleasure, or I do anyway.

After the sad loss of Frederic Rzewski it is fitting we hear his "Winnsboro Cotton Mill Blues," which has the insistent rhythmically of machine production and simultaneously reminds us of the lively juke blues rhythmicality of the early 20th century and beyond, from Boogie to Jump. Christina sounds perfect in her deft realization of ostinato and overlying melodic expressivity.

The performances throughout are uniformly moving, well informed and practiced in making come alive the style requisites that are critical to get this music truly to sing. It is a rather perfect joining of artist and compositional style. I suspect you will find this one a real winner, even if you do not know all or even perhaps any of the music. Kudos, bravos! Listen to this one by all means!

Jan Jarvlepp, High Voltage, Chamber Music


There is no one way to compose these days, it goes without saying. That is a healthy thing to my mind. So as I listen to the chamber music offering by Jan Jarvlepp entitled High Voltage (Navona NV 6366), I am happily reminded that one can encounter the unexpected even among the expected "deviations" from orthodoxy.

The program covers four Jarvlepp chamber works, namely the Quintet 2003, a Woodwind Quintet, a Bassoon Quartet and his String Quartet No. 1. What stands out in this music as it first strikes me is the musical-stylistic syntax. It steadfastly goes beyond either the Romantic or the High Modern possibilities to explore possibilities inspired by Folk and general vernacular influences. Listen to the "Fancy Fiddling" movements of the Quintet 2003, and  too the alternately rollicking versus the more contemplative sections of the Woodwind Quintet with diatonic and quasi-pentatonic earthy rocking Folksy countenances. As can be the case throughout, the middle movement "Solitude" may bring to mind a bit of Bartok and Janacek, only distinctively Jarvleppian, which grounds itself on the combined Finnish-Estonian parental roots with a Canadian life locality. The musical result is a unique self-created amalgam that transcends the obvious to go into new territory.

The Bassoon Quintet engages nicely with an inventive atmospheric and in the final "Jig" movement a sturdy insistence which has almost a Rock solidity and irresistible force of sound.

The final String Quartet No. 1 is perhaps the more ambitious of the four but all the same characteristically personal as is the music as a whole. The opening movement is nicely heavy in a block of rocking insistence yet brio in a wider way, too. The middle slow movement is introspective and ravishing in a somber kind of way.

The performers are world class. Kudos to the Sirius Quartet, the Arcadian Winds, and the bassoonists on the Bassoon Quartet. Jarvlepp is an original. Hear this one out by all means.

Tuesday, October 5, 2021

W. A. Mozart, Solo Keyboard Works, Keiko Shichijo, Vintage Pianoforte


Pandemic, social turmoil, isolation, there has been nothing especially easy about life of late, at least for me. As much as ever music gets me through. Today there is a good example of a musical bridge to a happier place, namely Keiko Shichijo performing W. A. Mozart Solo Keyboard Works (Bridge 9570).

What is an important part of the remarkable nature of this album is that Ms. Shichijo performs the whole of the program on an 1802 Frere et Soeur Stein d'Augsborg a Vienne, a slightly later incarnation of the Stein models Mozart first favored beginning in 1777. Unlike modern pianofortes the instrument did not have a back check to prevent the hammer from rebounding after initially striking the strings. As a result the piano requires a technique that does not favor hard-edged attacks, but rather a more gentle overall keying which the pianist after some getting used to reportedly found remarkable in the ways one might vary the string attack and the piano's unique response. If you listen with some care you start to understand how she individualized the attacks in very interesting ways.

Interestingly the piano also features a knee activated sustain mechanism.

Listening to the program one is struck how the marvelously individual tone of the piano makes logical sense to the sound of Mozart's solo piano style. What in retrospect seems a little cold and stark in hearing modern piano versions of works like his "Fantasia in D minor, K. 307" in particular, but then too the other works heard here, is on the Stein a very different experience--with a warmth and singular fullness of sound color. The music makes a different kind of sense with the magnificent sound of the piano and Keiko Shichijo's mastery over the special beauty of the combination of soundboard and key action. The various pitches come at us together with each note remaining colorfully distinct, more so than in a typical modern period rendition, as I hear it anyway.

The program includes the aforementioned Fantasia in D minor, K.397, along with the Sonatas K. 311, K. 283, and K. 310, plus the Rondo K. 511. Every piece has a kind of revelatory quality in the pianist's hands and how she realizes the pianoforte's unique sound.

Keiko Shichijo is a true poet of the ivories. This rivals some of the best Mozart solo piano performances ever, to my mind. You owe it to yourself to hear it.

Sunday, October 3, 2021

Duo Diagonal, Anytime, Anka Zlateva, Adam Orvad, with Georgiana Maria Orvad


If the album up today for discussion strikes me as being "home grown," it is not because it lacks a professional element, it is that it sounds like it is a product of coming out of a kind of musical home, that the players have worked together to form an original singularity that is far beyond the sort of slick productionism that new releases sometimes end up having (which in itself is not a bad thing, just different from the direct appeal of this album). Duo Diagonal on the contrary is earthy and disarmingly centered in a musicality all its own. That is what seems important to me in considering their album Anytime (Solist Solist Foreningen Gateway Music).

What one is perhaps first struck with is the interesting instrumentation of accordion (Adam Orvad) and harpsichord (Anka Slateva) and at times the youthful vocals of Georgiana Maria Orvad. The choice of repertoire for the album is quite interesting, a mix of Baroque, Modern and some Folk-rooted numbers.

The musicianship of Orvad and Zlateva have a lot to do with why this program is fascinating and worthwhile. The unusual instrumental pairing is somewhat startling in itself, but the together confluence and individually expressive talent of the two give us much to appreciate. A valuable addition to select w0rks is the youthful vocals of Georgiana--on the ornate Bulgarian folk songs and Bernstein's song cycle "I Hate Music" from 1943. Both have a remarkably refreshing quality, not quite like anything else out there really. Just the Bernstein alone is very good to hear, but there is so much more in all of this.

Then the Rameau "Pieces de Clavecin" arranged for the duo has a kind of outstandingly lyrical heft to it that one might not assume would be there unless one listened. Then you listen with a happiness, something you might not quite have expected, a pleasure of an added bonus. That applies to the Baroque gems by Buxtehude and Purcell as well.

In the Modern realm the strident movement of John Frandsen's "Sisytos" has a convincing togetherness and exploratory feel that seems just right. Louis Aguirre's "Toccata" jumps out with a manic dissonance that is in the end rather a perfect vehicle for the two. The title work "Anytime" by Hanne Orvad gallops into a Modernity that pits the duo against one another in an exciting exchange. Finally Axel Borup Jorgensen's "Fur Cembalo und Akkordeon" has depth and a dynamic movement that the Duo realizes perfectly and excitingly.

In the end Anytime works because all the pieces fit together in rewarding ways--repertoire, pacing, musicianship and aural surprise. They help us savor the old and the new in ways unusually convincing. Bravo, bravo!

Wednesday, September 29, 2021

Robert Schumann, Dichterliebe, Liederkreis, Laure Colladant, Stephen Lancaster


Robert Schumann's lieder were some of the very best of his era. In many ways he took the torch from Schubert. I suppose you could say I am generally pre-selected to like a good recording of such things. And the album up today is very much that. It features baritone Stephen Lancaster and pianist Laure Colladant on a lovely sounding vintage Molitor pianoforte. They take on two cycles with great poise, clarity, deliberation, gravitas--namely the Dichterliebe opus 48 and the Leiderkreis opus 39 (BCR56

Perhaps needless to say there may be no genre more dependent upon the performers for the ultimate product than lieder. The vocalist is of course everything and the pianist a close second. It is so much the case that one is tempted to remember Ornette Coleman's dictum that there is no bad music, only bad musicians! But of course with Schumann lieder an awful lot has to do with the beauty of the music itself. it goes without saying.

Beyond those considerations one ideally surrenders to the lyrical beauty of it all. The vintage piano sounds very sweet and Lancaster responds to Colladant's exceptionally sensitive reading with a refreshing ponderousness that does not stray from the matter-of-factness of the music as they approach it. You who read along here no doubt know at least a few of the songs in these cycles and if you do it is interesting to compare the versions you know already. For me at least there is something substantial with these readings, when I compare with others I know. They soar, true, but they also have a pronounced earthiness that seems right to the world we live in today.

So in the end I must say these complete versions of the cycles have a kind of benchmark definitiveness that makes me happy to have them. And that in itself makes me recommend the album without hesitation. Lancaster and Colladant give us detailed and inspired readings that open our ears to the beauty of it all and contrast nicely with other readings so it is worthwhile no matter what listening level you are on for Schumann's lieder. overall. A big bravo for this one!

So and the feelings about feelings as we live through this rather peculiar period.