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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Wednesday, June 10, 2020
Gary Wood, Philip Swanson, Aviary, Words in Poetry and Song
The Philip Swanson works form the central component and the principal attraction of the album. That part consists of 30-some-odd minutes of the totality. The cycle "Thirteen Ways of Looking at a Blackbird" features the Wallace Stevens poem grouping of the same name, set thoughtfully, tonally, with a poetic flare but not with an entirely Modern or Post-Modern typicality. At the same time the music does not hearken to a Romanticism, either. What they are is song-ful, invariably.
The two self-contained Swanson additions to the program linger in similar territory--"Great Grey Owl" with a poem by Annie Finch and "The Wild Swans at Coole" with poetics by William Butler Yeats, leave us wanting more, or at least that has been my reaction.
A Jazz-inflected mini-set follows, with emphasis on the songs, less on the "blowing" per se. So we get Horace Silver's "Peace" stated by Swanson's piano and then Wood and Swanson doing Hoagy's "Skylark" and "Baltimore Oriole," then Sherwin-Maschwitz's "A Nightingale Sang in Berkeley Square" and closing with Tadd Dameron's "Ladybird." All of this revels in the bird theme certainly and nothing is wrong with the all of it but to me it is not as central performance-wise as the Swanson part of the program.
In the end the Philip Swanson songs are premier recordings and well worth hearing, so I do not hesitate to recommend that you listen.
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