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Wednesday, December 17, 2014

Gerald Cohen, Sea of Reeds, Works for Clarinet and Chamber Ensemble

Something that is easy to like is not necessarily facile. I would say that of composer Gerald Cohen's recent album of compositions for one or more clarinets and chamber ensemble, Sea of Reeds (Navona 5979).

Quite the opposite applies in this case. Cohen's music is filled with vibrant melody, rhythmic clarity, drive and compositional construction that show a mastery of and a real sympathy towards the clarinet.

That is coupled with instrumentalists who clearly love this music and match the notes with execution that brings the music vividly to life. The Grneta Ensemble of two clarinets and piano with and without the viola of Maria Lambros or the violin of Jennifer Choi (and that includes Vasko Dukovski and Ismail Lumanovski on clarinets and Alexandra Joan on piano) bring out the Baltic-Jewish-Jazzish charm of the music rather brilliantly.

What we have are four works/suites written between 2007 and 2010 and they work together to bring you a big picture of a Gerald Cohen inspired by the instrumentation and filled with things for the artists to play/say. The music speaks naturally, unforced yet with a classic balance.

"Variously Blue," "Sea of Reeds," "Yedid Nefesh" and "Grneta Variations" overflow the disk with expressive music that revels in tonality yet of a more folksy eastern than academically classical sort. You may hear a touch of Stravinsky or Prokofiev in the driving lucidity, but that can just as much have to do with the rootedness of the music as any direct connection or influence.

This is a sheer delight to hear, a chocolate-fudge sundae of excellently intertwining musical syntax.

Three cheers for this one.

Tuesday, December 16, 2014

Amy Schendel, Uncommon Ground, Contemporary Works for Trumpet with Horn, Trombone, Piano and Organ

As per yesterday's post and the idea that brass music feels seasonal, we have another one today, quite different but equally lively. It is an anthology of modern works by trumpeter Amy Schendel and others, called Uncommon Ground (MSR 1536).

Six contemporary works are presented, all featuring trumpet and other instruments. These are not well-known composers, at least not to me, but the works have plenty of substance and spirit.

Patrick Schulz contributes "Fanfare for Trumpet and Piano," Jean-Francois Michel "Suite Pour Trompette, Cor et Trombone," and also "Eveils Pour Trompette, Trombone et Piano," Joseph Blanda "French Suite," Wayne Lu "Sonata for Trumpet and Piano," and Harald Genzmer "Sonate fur Trompette in C und Orgel."

These are works with a straightforwardly contrapuntal or generally through-composed demeanor, with a modern tonal palette to lesser or greater degree, depending. They each reflect a sort of neo-classic stance, in the sense that they take into consideration the past via a reflection on classic music for brass, yet are thoroughly of our time.

Amy Schendel acquits herself well, with a nicely burnished tone and a way around her parts that are given weight by the fine work of the other brass players and keyboardists represented on the program.

It is a program of worthy compositions, played with verve and even joy.

It's a good one!

Monday, December 15, 2014

Thompson Brass Ensemble, Barbara Bruns, Music for Brass & Organ

I associate brass ensembles with this time of the year--winter and Christmas. Part of that is because of my experience in high school band and the brass choirs my second band director assembled for winter concerts, partly because the association is part of the season anyway.

So when I received recently the new disk by the Thompson Brass Ensemble and organist Barbara Bruns, namely Music for Brass & Organ (MSR Classics 1481), I was ready and predisposed toward it.

It's a nice program covering Gabrieli, Buxtehude and Bach as one might expect, but also Strauss, Hovhaness, Schumann, Rimsky-Korsakov--and others you might not typically come across in such an anthology.

In truth it all works quite well. The ensemble and Ms. Bruns give us stirring renditions. The three Fisk organs from three New England churches sound regal and dramatic, and the brass is recorded with the spatial staging you would expect.

The beauty of the music shines forth in splendor and I find myself in the spirit of the season every time I listen. It is a very good one, with just enough of the unexpected to give your ears new life.

Very recommended.

Friday, December 12, 2014

Gapplegate Classical-Modern Review Records of the Year, 2014

As in keeping with last year, it is again time for my "Records of the Year" picks. With so many exciting new recordings coming out in 2014 it has been tough to narrow it all down to just three. See the other blogsites for the rest of my choices. Here are those that belong in the Modern Classical category.

Best Modern Classical Album, New Music: John Luther Adams, Become Ocean (Cantaloupe) See review, October 23, 2014.

Best Modern Classical Album, Repertoire: Milhaud, L'Orestie d'Eschyle (The Oresteia of Aeschylus), Kenneth Kiesler, University of Michigan Symphony Orchestra, etc. (Naxos) See review, September 29, 2014.

Best Modern Classical Album, Wild Card: Markus Reuter, Todmorden 513, Concerto for Orchestra, Thomas A. Blomster, Colorado Chamber Orchestra (7D Media) See review, June 25, 2014.

Bruce Levingston, Heavy Sleep, Music for Solo Piano

The right pianist with the right imagination can fashion a program that is very...right. Pianist Bruce Levingston has done this vividly on his album Heavy Sleep (Sono Luminus 92183). What we have in the artist's vision is a series of piano works where "each relates either directly or spiritually to the theme of death, rebirth, or both," to quote the pianist from the liners. Every work also refers obliquely or directly to other composers and/or their own works. The idea is that "together, these works offer a touching perspective on the close spiritual connectivity we all share as artists and as human beings, culture to culture, past and present."

This germinating set of ideas gives Levingston the inspiration to make the music express deeply. It is a pianistic monument in its own way to the ideas and composers involved.

Two modern works serve as bookends to the music of Bach himself or his music as represented in piano transcription. It begins with Timo Andres' "Heavy Sleep," then proceeds to the Bach-Reger "Chorale Prelude in B Minor," the Bach-Siloti "Prelude in B Minor," continues with a Bach Prelude and a Fugue, both also in B Minor, his "Chromatic Fantasy in D Minor," a Fugue in D Minor, Bach-Kurtag's "Gottes Zeit Ist Die Allerbeste Zeit" and finally Mohammed Fairouz's "El Male Rachamin" in memory of Gyorgy Ligeti.

I won't give you a blow-by-blow description of the music here. Suffice to say that Levingston makes of the Bach something entirely contemporary seeming and/or brings out the linear baroque qualities of the modern works. Levingston makes all flow as one by his sheer pianism and his abundant interpretive instincts.

The new works (in their recorded world premieres) are significant and deep, and share with Bach an ingenious overarching sense of the drama of intensely realized inner workings. Bruce Levingston is a pianistic poet of the highest sort. The disk fills you with the wonder of music and how it can express some of humanity's most profound concerns.

I recommend this one to you without hesitation. It is a winner on every count.

Thursday, December 11, 2014

Grazyna Bacewicz, Symphony for String Orchestra, Capella Bydgostiensis Chamber Orchestra, Smolij

I was fortunate to come across the music of Grazyna Bacewicz (1909-1969) in the course of a concert I attended of the NY Philharmonic under Kurt Masur back in the '90s as part of my regular NY beat. Since then the Polish composer has gotten my attention and rewarded me with some excellent music.

That continues today as we have a new release by Mariusz Smolij and the Capella Bydgostiensis performing the Symphony for String Orchestra (Naxos 8.573229) along with her "Concerto for String Orchestra" (1948) and a new chamber orchestra version of her "Piano Quintet No. 1" (1952/2013) put together by the conductor.

This is vintage Bacewicz at her very best, played with zeal and distinction. The "Concerto" leads off the program with a stirring first movement and delivers throughout. Bacewicz has a basic modern, harmonically advanced sensibility and a pleasing, rhythmically forward momentum during this period that puts her very loosely in a neo-classical realm, somewhere between Stravinsky and Bartok but also fully Bacewiczian.

The 1946 "Symphony" has no less charm and invigoration and the "Piano Quintet" arrangement gives us yet a third work, this beginning with great mystery and following through with a singing modern quality, both jaunty and expressive. Ewa Kupiec takes on the piano part convincingly, which as arranged now seems more concerted than it might otherwise sound in the original quintet version.

Smolij and the Capella come through with interpretations of great dash and panache, plus a sensitivity toward the brittle lyric qualities that also set Bacewicz off as something special.

This is prime Bacewicz, done with the spirit the music demands. It is an excellent recording. Highly recommended!

Wednesday, December 10, 2014

Deep Listening Band, Dunrobin Sonic Gems

There are improvisatory outfits that engage in a fully improvisational approach who nevertheless form in the main a part of the new music covered on these pages. AMM and MEV are well-known outfits who became known especially in the '60s. Another is the Deep Listening Band, who celebrated their 25th anniversary in October 2013 with a concert in Ottawa that is now out on CD as Dunrobin Sonic Gems, subtitled "A Live Recording Simulating the Cistern Acoustics" (Deep Listening Institute 47-2014). A word of explanation: the original Deep Listening album was recorded live in 1988 inside the Dan Harpole Cistern, a remarkable acoustic environment that naturally produces sustained reverberations of 45 seconds. That acoustical environment is electronically recreated for this concert by Jonas Braasch. This recording reproduces what was heard at Dunrobin Sonic Gym. It is a performance of the band's work-in-progress, "Sonic Gems."

The two key members of the band over the 25 years of its existence are composer-accordionist Pauline Oliveros and trombonist-composer Stuart Dempster, both names that should be familiar to anyone who listens to new music in any depth. David Gamper was a third long-time member who passed away, sadly, in 2011, for whom the recording is dedicated.

The band includes a number of guests in Jonas Braasch on saxophone in addition to the acoustic modelling, Jesse Stewart on percussion, Johannes Welsch on gongs, and IONE on opening incantation.

Though there is collective improvisation as an important part of this music, it is guided by the sorts of sounds that work in such an extraordinary acoustic world. How much is generally pre-planned I cannot say, but most certainly the heightened musical instincts of the band play a key part, and also that the music has a definite flow to it that implies structural elements, in whatever way they may be realized.

In the end you surrender to the magic of the musical world created and let it envelop your senses. The long sustains allow the music to blossom forth with sound that is remarkably full at times for the size of the ensemble, at other times there is a sacred, intimate quietude no less captivating. In any case "deep listening" between the musicians and between the band and the audience, which includes us, is maximized in ways that make one feel a part of something cosmically larger than what one experiences in ordinary life.

The original 1989 recording in the cistern set the tone for the music we hear. Some 25 years later the sounds continue to grow in a profound sense.

This is music to take you both inside and outside your normal plane of being. It is more than just ambient. It is cosmic.

Highly recommended.