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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Thursday, August 29, 2019
Erika Fox, Paths, Goldfield Ensemble
The five substantial and even brilliant compositions performed for us on the CD take a bit of concentration to assimilate fully and that is only natural with such nicely detailed music. There is a sort of lyrical High Modernism consistently at work on each of the pieces, but other things as well. In the liners Katre Romano, Artistic Director of Goldfield Productions, calls the music "bold, feisty, uncompromising and uncommonly fresh." She notes the influences of the composer's upbringing that we can hear in the works at hand--Eastern European classical music plus "Hasidic Music, liturgical chant" and "modal ancient melodic lines reminiscent of Eastern European folk music."
We listen to the program in sequence and Erika Fox's own special world opens up to us with impact and expressive mystery. Richard Baker conducts the larger version of the Goldfield Ensemble and soloists on the dramatic end-pieces "Paths Where the Mourners Tread" and "Cafe Warsaw 1944."
In between are smaller chamber gems, "Quasi una Cadenza," "On Visiting Stravinsky's Grave at San Michele," and "Malinconia Militaire."
Everything has mass and weight; there are no superficial or facile byways. As Romano poignantly states in the liners, there is not so much a matter of development in the New Music language she so adroitly takes on as her own. It is more a matter of endless invention, or variations that have an organic connection with what came before but most assuredly do not directly comment on any of it. It means that the listener is given a continual tabula rasa yet everything is profoundly joined as in eloquent speech.
It is a most enjoyable and enlightening program. Erika Fox is a real treasure and I recommend you hear this by all means!
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