Tuesday, October 24, 2017

Patrizio Esposito, Resonating Body, Ensemble Interface

What sounds right in a modern zone can come through invariably if you have a composer and ensemble that knows what they are about.  Ensemble Interface and composer Patrizio Esposito create such a rightness on the album at hand, Resonating Body (Stradivarius 37066). We experience a minutely detailed experience of what one might call "boom-klang polyphony" on this worthy compendium of four Esposito chamber ensemble works.

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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