Modern classical and avant garde concert music of the 20th and 21st centuries forms the primary focus of this blog. It is hoped that through the discussions a picture will emerge of modern music, its heritage, and what it means for us.
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Tuesday, October 24, 2017
Patrizio Esposito, Resonating Body, Ensemble Interface
Instruments in single or clustered outbursts make a tightly woven whole out of intricate instrumental entrances and exits, and the timbral contrasts that affords. Nothing is lacking in the four works represented. And the instrumentation varies slightly or radically to keep our ears refreshed. "D'amor la vecchia canzone" (2010) makes use of flute or clarinet plus violin, cello, piano and electronics for a sequencing that is bracing and conflates in good ways the sensibilities of new music and avant jazz without alluding to quotation.
"Resonating Body" (2016) is scored for flute and bass clarinet, both doubling on slide whistle, along with violin, cello, piano and percussion. "While" (2016) features flute, clarinet and bass clarinet, cello, piano and percussion. Finally "nachinander" (2016) is for a single "Jack of all trades" percussionist.
The ensemble under the direction of the composer grabs on to the essence of each work and delivers powerfully. Esposito shows great poise and balance in these modern gems. They all have something to do with Joyce's Ulysses. I will leave you to the liners and your ears to uncover that. The liners also posit a relationship to this music and the pathfinding Nuova Consonanza, which I agree is there and has to do with an avant jazz-new music nexus one relishes from start to finish. Suffice to say that this is one of those essential modernist forays in our current situation.
It satisfies and stimulates. Excellent! All new music devotees will want this one in their collection.
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