Monday, February 20, 2017
This, I assume the final volume in the series, affirms both Taneyev's largely unheralded stature in the quartet literature and Carpe Diem's authoritative performances.
Quartet No. 8 is filled with marvelous contrapuntal inventions, sounding for all generalities as a sort of Russian Beethoven in the late romantic-pre-modern zone. Anyone who might appreciate previously unknown, extraordinarily crafted and spirited quartet-quintet gems will readily take to this volume 5 in particular and all five in general, from what I have heard of them.
Taneyev is but one, yet nevertheless an important one of the too little examined treasures of the Russian 20th century as a whole.
Recommended for chamber music fans and Russophiles!
Friday, February 17, 2017
I have a relative who can only appreciate music with lyrics, songs. This essentially closes her off to the most sublime moments that music can give us. That is sad. What such people miss! Of course (and thankfully for the rest of us) those more dedicated to musical arts know and grasp the deeper communicative levels instrumental music can convey. We are the lucky ones and I thank the heavens every day for that. We can appreciate the musical equivalent of "tweets" (when done well) or the complexities of a long musical "novel." There is so much more available to the sensitive listener and you are my audience, surely.
Violinist Yevgeny Kutik and pianist John Novacek have put together a wide-ranging program of duos which communicate in this way on the album Words Fail (Marquis 774718147721). The results play themselves inside your head with varying degrees of urgency, but all "say" something profound with notes alone.
We begin auspiciously with three of Mendelssohn's "Songs without Words" arranged for violin and piano by Friedrich Hermann. These are paradigms of song forms that use melody alone to communicate moods to the listener, and in so doing leave a distinct impression.
Next up is the Adagio from Mahler's "Symphony No. 5," a heartfelt, searchingly poetic utterance that when translated to violin and piano by Robert Wittinger seems all the more direct.
Two world premiere recordings follow: Michael Gandolfi's "Arioso Doloroso/Estatico," a very expressive mood piece for unaccompanied violin; and Timo Andres' "Words Fail," which winds itself out as a central rhythmic motif joins a varying sequential melodic-harmonic pattern that seems perhaps melancholy or regretful but is complicated by its non-literal nature.
Tchaikovsky's own "Song without Words" (here arranged by Fritz Kriesler) has like Mendelssohn's series by that name a definite litero-evocative subtext that one senses gladly.
Following the program we next hear Prokofiev's rather rare "Five Melodies, Op.35bis." Prokofiev nearly always strikes me as a musical mind that can via instrumental utterance communicate intricate, multiple feeling complexes quite beyond verbal description. That is much the case with these five movements. Wonderful music to hear!
Further on in the modern zone is Messiaen's "Theme et variations," with his own complex rhythmic-melodic-harmonic sense, creating meaning with fully dense language that goes far beyond the verbal. Kutik comes through with an especially inspired performance.
Lisa Auerbach, a living force in composition and string playing whom we have familiarized ourselves with on an ECM recording a couple of months ago, makes a lovely appearance with her "T'filah (Prayer) for solo violin." The musical-speech aspect of this work is pronounced, though of course we get no voice nor verbal equivalence. It is haunting.
Kutik's sweetly expressive power on the violin is exactly what all this music demands. He never flags but soars and whispers his way through the music like the young master he is. John Novacek (and Timo Andres on the title piece) give pianistic structure and a unwavering poetic concentration as perfect foils to Kutik's eloquence.
This program comes at you like a breath of springtime air, just sweet enough to evoke complex associations but never evoking outright sentimentality.
Thursday, February 16, 2017
I have been schooled in the thought that everything in life is related to everything else, to look at social life systematically. At the same time I grew up in an environment that believed strongly in the idea of progress. So to me the most modern art, the most modern music was to be sought out and experienced. My attraction to science fiction classics and the futurism of the '50s outlook reassured me that the future was going to be better, with the exception of the classic dystopias of 1984, Brave New World, or H.G. Wells' Time Machine. But even then everything worked, there was no noticeable poverty, and government control in various guises was the main negative force.
Gradually the future unfolded and yes, we have a great deal of technology in our everyday lives, but like Blade Runner the stubborn messiness of the past, the decayed nightmare of inner cities, strife between political parties and world religious fundamentalists have a huge role to play in the world arena. Much of this infiltrates all of our daily lives. And often enough at the economic fringes the technology doesn't work because capitalism has moved on with newness and ignored functionality?
So we go. I start my morning on a temporary computer hookup that is extraordinarily erratic. Here I am one hour and forty minutes into my blog writing and I've managed to find the proper cover art and download it, only to experience multiple glitches and freezes while attempting five times to write an opening sentence for this article, each one automatically deleted via a cursor defect. Now finally I have success, only my frustration gives me the impetus to vent on this future I no longer like. My partner attempted to eat the 2015 dated oatmeal we got from the food pantry (our more kindly version of what was the bread line during the depression), eventually threw it out and here we are at the edge, the periphery of modernity and, really, nothing is working from where we sit. Our leaders say "we hear you, we'll fix everything" and then proceed, some of them, to give even more to the rich and so it goes. The rich must be placated with more money, the idea of trickle down posits, so they can be in a better mood and so more inclined to help those who may well do without. OK.
Yet I still believe in the future, in modernity, and so I also out of habit and appreciation respond favorably to the experimenters, those who go boldly in music where the vast majority of musical humanity has never trodden, not at least until the turn of the last century when humanity found musical wunderkind who opened up the fertile vistas of harmonic, rhythmic and melodic possibilities we as a species had never considered before.
And for all that intro I do introduce a new (to me) high modernist voice, from Russia, one Vyacheslav Artyomov (born 1940) and a CD of two choice orchestral works, Symphony Gentle Emanation and Tristia II, Fantasy for piano and orchestra (Divine Art 25144). Surprise! This is a fully developed voice in new music, someone who has carried over the mysterious cosmos of late Scriabin and Messiaen and made something new out of the unrealized potentials that lurked behind those composers's most prescient creations.
In spite of my grouchy social-critical beginnings today the music of Artyomov truly speaks to me. He has a full grasp, a vision of the modern orchestra and what he might make it do, and on these two symphonic works, two sides in a way of his vision, he combines brash and bracing dissonances punctuated by mysterious ruminations on the universe in play, at work, simply being in all its shining glory and mystery, its endless processual flux that presumably has purpose that we only have a dim idea of in our religions and our science, an idea of our place in it that we continually confront with the facts and revelations that humanity thus far has managed to gather about ourselves and the cosmos. That to me is fundamental to the modernist project, in music a sonic analog of what we do and do not know.
That is what Artyomov speaks to me, in elegant and vivid eloquence. The Russian National Orchestra under conductors Teodor Currentzis and Vladimir Ponkin bring this complex and very personal music into vivid relief against the seeming silence of the universe. Artyomov is a Russian who travels in the wake of those before and manages to say something new and different. That is a remarkable achievement and he most certainly deserves a hearing.
All you modernists and seekers of the new look no further, at least today. Give a listen to Vyacheslav Artyomov on this very moving sample of his work. It gives us another way to thread the futurist needle.
And bravo to that!
Wednesday, February 15, 2017
The Duo CD features a nice mix of music from classical to modern times. Mozart's 15 minute "String Duo in G K423" sets the stage nicely, followed by Martinu's "Duo No. 1 H313," Spohr's 22 minute"Grand Duo, op. 13," Manuel Ponce's 14 minute Spanish tinged "Sonata a Duo" and John Halvorsen's classical-modern "Passacaglia on a Theme by Handel."
The various periods and styles are well in hand with a nice blending and lively expression by the two virtuosos. It is interesting to hear how each composer situates melody and figuration to create an individual fullness and balance of ranges, and for how the two artists create a balanced articulation between figure and ground or polyphonic totality, depending.
The concerted CD features two relatively obscure and one well known example. Pleyel's "Symphonie Concertante in B flat B112" has plenty of classical dash, Bruch's "Double Concerto in B minor, Op. 88" rachets up the expressive temperature a few notches in a post-Beethovian manner, and Mozart's "Sinfonia Concertante in E flat K364" has a near perfection in form and inspiration that justifies its iconic status. Alogna and Alejo give us an almost reverent reading and the Camerata de Coahuia sound convincing and on the mark, as they do throughout.
In the end we have a wealth of wonderful showcases for violin and viola, played with the emphasis on faithful and spirited execution.
Monday, February 13, 2017
One is struck upon repeated listenings with how very musical these pieces are. Everything has complexed pitched relations with everything else, and the timbral contrasts and confluences make for near symphonic chamber resonances.
Tod has always been a master of transformations. In the end each sound complex defies simple reduction to a set of sources, just like a finished score in performance, when of a high caliber, speaks wholly and timelessly without concern for the real-time creation of each vertical or horizontal phrase.
You accept it as each a one and each a complete sonic utterance, even though Dockstader might well have applied additional combinatory logics on what we have as the whole.
The richness of extraordinary sound takes over your listening consciousness with vivid and continuous sound imagery that in the end maintains a poetic totality. Wonderful music, this.
Tom Steenland and his Starkland label are celebrating their 25th year as a continuously active presence, a bellwether for what directions new music has taken over these epochal times. Tom himself has notched 40 years on his belt as producer of new music, so it is a double-milestone year.
Like the purveyor of a cutting-edge art gallery, Tom has had an enormous influence on what we recognize as new and pathbreaking. Sample his extensive catalog and worlds will open unto you!
We salute the Starkland label on their 25th, and Tom himself on his 40th!
Friday, February 10, 2017
You can hear good performances at the Naxos price on Symphony No. 8 (Naxos 8.573343), a 2008 work which enjoys its world premiere here. You also get the characteristic, modern-laced "Concerto for Violin, Piano and Orchestra" (2006) and the premiere recording of the chamber orchestra version of his "Two Songs to Poems of Marina Tsvetayeva" as orchestrated by Leonid Rezetdinov (1970/2014).
All sounds well in the hands of Yuri Serov conducting the St. Petersburg State Symphony Orchestra. Guest soloists Mila Shkirtil (mezzo-soprano), Chingiz Osmanov (violin) and Nikolai Mazhara (piano) fulfill their roles with commitment and charm.
Surely none of this is filler. All three works show Tishchenko in full bloom, with brooding Russian power and lyricism as needed, but never a speck of sentimentality. He and this disk are not to be missed!
Thursday, February 9, 2017
Vaughan Williams' first songs are firmly in a romantic realm. They are fascinating but mostly uncharacteristic. From 1901 and the song "Linden Lea" we come into familiar Vaughan Williams territory, songs with hints or direct use of folk material, lyric gems, some with the mystery of mature Ralph. These comprise around 3/4 of the album and will be manna for the Vaughan Williams aficionado. Most are for single voice and piano, some are duos and a few include a violin part.
The vocalists seem generally well-suited to the music; William Vann does everything right with the piano parts, as does Thomas Gould for his four appearances on violin.
This is not precisely an essential disk unless you are a Vaughan Williams completist. Nevertheless it will enchant you much of the time if you let the music into your experience.