By Karl W. Nehring
Aspects of America: Pulitzer Edition. Walter
Piston: Symphony No. 7; Morton Gould: Stringmusic; Howard Hanson: Symphony No.
4 “Requiem.” Carlos Kalmar: Oregon Symphony. Pentatone PTC 5186 763.
When classical music fans think of top orchestras and
conductors, neither the Oregon Symphony nor Carlos Kalmar are likely to spring
immediately to mind, but they have made some outstanding recordings for the
Pentatone label, including two absolutely marvelous SACDs that have established
permanent residence on my shelves, This England and Music for a Time
of War. Although I was mildly disappointed to see that this latest release
was not released in the usual Pentatone SACD format, but rather as a CD only, I
understand that budgetary pressures are bearing down hard on the recording
industry, and I am grateful that we have this recording at all. Times are tough
out there.
The title of this release stems from the fact that this is
an album of Pulitzer Prize-winning compositions by American composers. The
program opens with Symphony No. 7 by Walter Piston (1894-1976), a
three-movement work that was completed in 1960 and awarded the Pulitzer in
1961. The first movement is bold and dramatic, well-captured by the Pentatone
engineering team in dynamic sound. The second movement is more lyrical, very
moving, and the finale brings on renewed energy. I was not familiar with this
work before, but am certainly pleased to have made its acquaintance through
this excellent recording. The second piece is by Morton Gould (1913-1996). His
five-movement Stringmusic was completed in 1993 and was awarded the
Pulitzer in 1995. Gould composed the work for the legendary Russian cellist and
conductor Mstsislav Rostropovich. It is lyrical and lively, but because it is
for strings only, it can seem a bit of a sonic letdown after the boldness of
the Piston. Still, it is an involving work in its own right, even if it seems a
bit out of place when sandwiched between two colorful symphonies. The final
work on the program is the one that most listeners are more likely to be
familiar with, as the symphonies of Howard Hanson (1896-1981) have been
recorded several times. His Symphony No. 4 was completed in 1943 and
awarded the Pulitzer in 1944. It has an intensity about it that is quite
involving, its four movements being titled Kyrie, Requiescat, Dies
Irae, and Lux Aeterna, after the Catholic Mass for the Dead.
However, this is not music that sounds religious in any formal sense. Like most
of Hanson’s work, much of it sounds something like film music. Good film music.
Colorful, listenable, dramatic, and entertaining.
All three of the works presented on this fine Pentatone
release are a bit out of the mainstream but all are well worth an audition,
especially when presented in such excellent sound quality as they are here.
Times are indeed tough out there right now, but thank goodness for music to
help sustain our minds and spirits.
Sigfúsdóttir: Kom vinur. Horous Askelsson, Schola
Cantorum. Sono Luminus SLE-70019.
I feel impelled at the outset to point out that this is an
EP containing less than 10 minutes of music, but what beautiful music it is!
Icelandic composer Maria Huld Markan Sigfúsdóttir (b. 1980) writes of the two
compositions on this recording that they are “composed to poems by the
Icelandic poet Vilborg Dagbjartsdóttir. The poems are the absolute core of the
pieces; when composing them, I felt like excavating music from the text,
unravelling hidden sounds from the words. Kom vinur has a somber
undertone, a sense of loneliness and longing for sharing light and thoughts
with a friend in the dark winter night. In Maríuljóô the tender view is
through the eyes of a child observing subtle changes in nature and the seasons
as well as asking the mother questions about the image of the Holy Mother.”
I don’t have access at the moment to the poems, but the
choral music on this EP is so beautiful and moving that I feel inspired to see
whether I can find the poems somewhere on the interweb. Meanwhile, I know that
Sigfúsdóttir has composed other music; the 10 transcendent minutes contained on
this brief gem have been more than enough to make me seek out more. This is a
wonderful release, brief (but inexpensive) as it might be.
No Time for Chamber Music: Collectif9.
I can’t quite remember exactly where I first heard of this
release, although I believe it was a mention on Twitter. Chamber arrangements
of music by Gustav Mahler sounded interesting, so I streamed (at mp3 quality,
alas; I live in a rural area and do not have wideband internet access) a few
cuts and was quite taken with what I heard. I subsequently ordered a physical
copy from the group’s website (collectif9.ca). The musicians of Collectif9
include John Corban, Yubin Kim, Robert Margaryan, and Elizabeth Skinner,
violins; Xavier Lepage-Brault, Jennifer Thiessen, violas; Jeremie Cloutier,
Andrea Stewart, cellos; and Thibault Bertin-Maghit, double bass, who also did
the arranging on seven of the eight selections. I should note that there are
recordings out there of various Mahler symphonies arranged for small forces,
chamber orchestras and in some cases even smaller ensembles, but this recording
is not just scaled-down versions of movements from Mahler symphonies. The music
herein is clearly based on Mahler’s scores, but it really does sound like
chamber music, not scaled-down symphonic movements.
The liner notes explain the unusual album title and
concept thusly: “‘No time for chamber music… you are nothing but an academic
exercise’; these are two lines taken from the 3rd movement of Luciano Berio’s Sinfonia,
built on the scherzo of Gustav Mahler’s 2nd symphony… The composers on this
recording use quotations to create depth in storytelling… Gustav Mahler quoted
his own works with intent and delicacy, with layers and layers of intricate
detail and deeper meaning… Creating these arrangements allowed us to see the
breadth of colors he was imagining and generated the space to find this
diversity ourselves. While we might have the impression that Gustav Mahler,
with his symphonies and Lieder, had no time for chamber music, this was not at
all the case. Reflecting our daily life, our interactions, and our intimacies,
chamber music is human communication itself.”
The eight selections on this CD include two taken from
Mahler’s Symphony No. 1, two from Symphony No.2, and one each
from Songs of a Wayfarer and The Song of the Earth. The final
selection, by composer Philippe Hersant, is a fantasy based on musical themes
by Mahler. This is a truly stimulating collection that really digs into the
heart of Mahler’s inspirations. If you are a fan of Mahler, you really ought to
hear it; however, you need not be a Mahler fan to enjoy some truly fascinating
chamber music. Assuming you have the time, of course…
La traversée: Matthieu Bordenave, tenor
saxophone; Patrice Moret, double bass; Florian Weber, piano. ECM 2683 088 2928.
The ECM label has long featured music that has often been
referred to as “chamber jazz,” a term that depending on the source has served
over the years both as criticism or compliment. On La traversée (“The
Crossing”) the trio led by saxophonist Matthieu Bordenave plays music that
truly does sound like a blend of chamber music and jazz, with the absence of
drums contributing to the chamber-music ambience. The music is partly composed,
partly improvised. Bordenave explains that as they planned for the recording,
he and pianist Florian Weber “I talked a lot about how to incorporate some of
the colours of modern composition. I love for instance Messiaen and Dutilleux.
I wanted some of that sense of complexity in the chords. Too much complexity,
however, can create a prison for improvisers. In some of the pieces, like
‘Archipel’, we take just a small fragment of written material and develop it
further and further...” Bordenave also notes that the nine tracks on the album
are based on poetry by the French writer René Char, explaining that “the
melodies were responses to some of the poems, or impressions drawn from them.”
The sound produced by the trio is spare and haunting,
recorded in typical ECM style with both clarity and ambience. This is music
born out of reflection that invites further reflection on the part of the
listener. Even if you are not really all that much of a jazz fan, unless you
are someone who is pathologically opposed to the sound of a saxophone you might
well find this to be a fascinating take on the idea of chamber music.
Lontano: Anja Lechner, cello; François Couturier,
piano. ECM 2682 085 7705.
Although a good portion of the music on Lontano is
improvised, this is clearly not jazz; no, not even ECM-style “chamber jazz.”
Rather, Lechner and Couturier have produced an enchanting program of
honest-to-goodness chamber music that features their own compositions and
improvisations along with music by Ariel Ramirez, Giya Kancheli, Anouar Brahem,
and Henri Dutilleux. This is music that sings, that soars, that exults in the
sheer joy of music-making. In his liner notes, music author Stephane Ollivier
writes that “since the start of their duo collaboration in the early 2000s as
members of the Tarkovsky Quartet, German cellist Anja Lechner and French
pianist François Couturier have been inventing a music that is genuinely
impossible to pin down. Though in some senses continuing the European chamber
music tradition in its forms and instrumental colours, it is nevertheless
distinct from it in its variety of repertoire and in its approach, which
knowingly, virtuosically blurs the demarcation line between notated and
improvised music.” To hear these players make music is to hear imagination at
work and dedication at play. I love this description by Lechner: “With François
I have often set off on journeys to foreign melodies. This requires mutual
trust, courage and imagination. Together we search as if through various
countries, exploring, shaping, struggling, rejecting, and finding new forms to
finally sing the song. Then we grow wings and feel the stories that want to be
told – only on this moment, in this room, for this person who will listen.”
Having had the good fortune to be that person who listened, I invite others to
join me in enjoying this remarkable recording.
Järvlepp: Concerto 2000 and Other Works. Pascale
Margely, flute; Ivan Josip Skender, Zagreb Festival Orchestra; Petr Vronsky,
Moravian Philharmonic Orchestra. Navona Records NV6291.
Canadian composer Jan Järvlepp (b. 1953) has assembled an
album of entertaining orchestral music containing plenty of rhythmic energy and
variety. For example, the opening work in this collection, Concerto 2000 for
flute and orchestra, consists of three movements: a lively opening movement
that features flamenco rhythms complete with handclapping, a more serene second
movement with an Arabic-sounding interlude, and a third movement punctuated
with percussion shots and vocal shouts, a movement that Järvlepp explains was
influenced by Finnish folk music. The
next piece, titled Pierrot Solaire, is a lively romp that jumps and
whirls and whooshes in a mad rush of frantic energy. It is music you can
imagine dancing to, but only if you had superhuman energy. Better to listen,
tap your feet, and maybe wave your arms about. Brass Dance features not
just brass, but plenty of percussion, strings, and some occasionally off-kilter
rhythms that contribute to the madcap delight of the music, which is even
kicked up a notch in the next cut, Street Music, with brass and
percussion blasting out the rhythm. The mood changes significantly with the
next composition, In Memoriam, which Järvlepp composed for string
orchestra in memory of his deceased brother. It is a tender, moving piece of
simple but heartfelt beauty. The album ends with Camerata Music, a
lively romp that brings back the prominent percussion – complete with some
handclapping.
Other than the solo flute being a bit overpowering in Concerto
2000, the sound quality is just fine. All in all, this is an entertaining
album that should appeal to a wide variety of musical tastes.
Some Food for Thought: “Dazzled by so many and such
marvelous inventions, the people of Macondo did not know where their amazement
began… Something similar happened with the cylinder phonographs that the merry
matrons from France brought with them as a substitute for the antiquated hand
organs and that for a time had serious effects on the livelihood of the band of
musicians. At first curiosity increased the clientele on the forbidden street
and there was even word of respectable ladies who disguised themselves as
workers to observe the novelty of the phonograph from first hand, but from so
much and such close observation they soon reached the conclusion that it was
not an enchanted mill as everyone had thought and as the matrons had said, but
a mechanical trick that could not be compared with something so moving, so
human, and so full of everyday truth as a band of musicians. It was such a
serious disappointment that when phonographs became so popular that there was
one in every house they were not considered objects for amusement for adults
but as something good for children to take apart.” (from One Hundred Years
of Solitude by Gabriel Garcia Márquez).
KWN
Aspects of America: Pulitzer Edition. Walter
Piston: Symphony No. 7; Morton Gould: Stringmusic; Howard Hanson: Symphony No.
4 “Requiem.” Carlos Kalmar: Oregon Symphony. Pentatone PTC 5186 763.
conductors, neither the Oregon Symphony nor Carlos Kalmar are likely to spring
immediately to mind, but they have made some outstanding recordings for the
Pentatone label, including two absolutely marvelous SACDs that have established
permanent residence on my shelves, This England and Music for a Time
of War. Although I was mildly disappointed to see that this latest release
was not released in the usual Pentatone SACD format, but rather as a CD only, I
understand that budgetary pressures are bearing down hard on the recording
industry, and I am grateful that we have this recording at all. Times are tough
out there.
The title of this release stems from the fact that this is
an album of Pulitzer Prize-winning compositions by American composers. The
program opens with Symphony No. 7 by Walter Piston (1894-1976), a
three-movement work that was completed in 1960 and awarded the Pulitzer in
1961. The first movement is bold and dramatic, well-captured by the Pentatone
engineering team in dynamic sound. The second movement is more lyrical, very
moving, and the finale brings on renewed energy. I was not familiar with this
work before, but am certainly pleased to have made its acquaintance through
this excellent recording. The second piece is by Morton Gould (1913-1996). His
five-movement Stringmusic was completed in 1993 and was awarded the
Pulitzer in 1995. Gould composed the work for the legendary Russian cellist and
conductor Mstsislav Rostropovich. It is lyrical and lively, but because it is
for strings only, it can seem a bit of a sonic letdown after the boldness of
the Piston. Still, it is an involving work in its own right, even if it seems a
bit out of place when sandwiched between two colorful symphonies. The final
work on the program is the one that most listeners are more likely to be
familiar with, as the symphonies of Howard Hanson (1896-1981) have been
recorded several times. His Symphony No. 4 was completed in 1943 and
awarded the Pulitzer in 1944. It has an intensity about it that is quite
involving, its four movements being titled Kyrie, Requiescat, Dies
Irae, and Lux Aeterna, after the Catholic Mass for the Dead.
However, this is not music that sounds religious in any formal sense. Like most
of Hanson’s work, much of it sounds something like film music. Good film music.
Colorful, listenable, dramatic, and entertaining.
All three of the works presented on this fine Pentatone
release are a bit out of the mainstream but all are well worth an audition,
especially when presented in such excellent sound quality as they are here.
Times are indeed tough out there right now, but thank goodness for music to
help sustain our minds and spirits.
Sigfúsdóttir: Kom vinur. Horous Askelsson, Schola
Cantorum. Sono Luminus SLE-70019.
EP containing less than 10 minutes of music, but what beautiful music it is!
Icelandic composer Maria Huld Markan Sigfúsdóttir (b. 1980) writes of the two
compositions on this recording that they are “composed to poems by the
Icelandic poet Vilborg Dagbjartsdóttir. The poems are the absolute core of the
pieces; when composing them, I felt like excavating music from the text,
unravelling hidden sounds from the words. Kom vinur has a somber
undertone, a sense of loneliness and longing for sharing light and thoughts
with a friend in the dark winter night. In Maríuljóô the tender view is
through the eyes of a child observing subtle changes in nature and the seasons
as well as asking the mother questions about the image of the Holy Mother.”
I don’t have access at the moment to the poems, but the
choral music on this EP is so beautiful and moving that I feel inspired to see
whether I can find the poems somewhere on the interweb. Meanwhile, I know that
Sigfúsdóttir has composed other music; the 10 transcendent minutes contained on
this brief gem have been more than enough to make me seek out more. This is a
wonderful release, brief (but inexpensive) as it might be.
No Time for Chamber Music: Collectif9.
release, although I believe it was a mention on Twitter. Chamber arrangements
of music by Gustav Mahler sounded interesting, so I streamed (at mp3 quality,
alas; I live in a rural area and do not have wideband internet access) a few
cuts and was quite taken with what I heard. I subsequently ordered a physical
copy from the group’s website (collectif9.ca). The musicians of Collectif9
include John Corban, Yubin Kim, Robert Margaryan, and Elizabeth Skinner,
violins; Xavier Lepage-Brault, Jennifer Thiessen, violas; Jeremie Cloutier,
Andrea Stewart, cellos; and Thibault Bertin-Maghit, double bass, who also did
the arranging on seven of the eight selections. I should note that there are
recordings out there of various Mahler symphonies arranged for small forces,
chamber orchestras and in some cases even smaller ensembles, but this recording
is not just scaled-down versions of movements from Mahler symphonies. The music
herein is clearly based on Mahler’s scores, but it really does sound like
chamber music, not scaled-down symphonic movements.
The liner notes explain the unusual album title and
concept thusly: “‘No time for chamber music… you are nothing but an academic
exercise’; these are two lines taken from the 3rd movement of Luciano Berio’s Sinfonia,
built on the scherzo of Gustav Mahler’s 2nd symphony… The composers on this
recording use quotations to create depth in storytelling… Gustav Mahler quoted
his own works with intent and delicacy, with layers and layers of intricate
detail and deeper meaning… Creating these arrangements allowed us to see the
breadth of colors he was imagining and generated the space to find this
diversity ourselves. While we might have the impression that Gustav Mahler,
with his symphonies and Lieder, had no time for chamber music, this was not at
all the case. Reflecting our daily life, our interactions, and our intimacies,
chamber music is human communication itself.”
The eight selections on this CD include two taken from
Mahler’s Symphony No. 1, two from Symphony No.2, and one each
from Songs of a Wayfarer and The Song of the Earth. The final
selection, by composer Philippe Hersant, is a fantasy based on musical themes
by Mahler. This is a truly stimulating collection that really digs into the
heart of Mahler’s inspirations. If you are a fan of Mahler, you really ought to
hear it; however, you need not be a Mahler fan to enjoy some truly fascinating
chamber music. Assuming you have the time, of course…
La traversée: Matthieu Bordenave, tenor
saxophone; Patrice Moret, double bass; Florian Weber, piano. ECM 2683 088 2928.
referred to as “chamber jazz,” a term that depending on the source has served
over the years both as criticism or compliment. On La traversée (“The
Crossing”) the trio led by saxophonist Matthieu Bordenave plays music that
truly does sound like a blend of chamber music and jazz, with the absence of
drums contributing to the chamber-music ambience. The music is partly composed,
partly improvised. Bordenave explains that as they planned for the recording,
he and pianist Florian Weber “I talked a lot about how to incorporate some of
the colours of modern composition. I love for instance Messiaen and Dutilleux.
I wanted some of that sense of complexity in the chords. Too much complexity,
however, can create a prison for improvisers. In some of the pieces, like
‘Archipel’, we take just a small fragment of written material and develop it
further and further...” Bordenave also notes that the nine tracks on the album
are based on poetry by the French writer René Char, explaining that “the
melodies were responses to some of the poems, or impressions drawn from them.”
The sound produced by the trio is spare and haunting,
recorded in typical ECM style with both clarity and ambience. This is music
born out of reflection that invites further reflection on the part of the
listener. Even if you are not really all that much of a jazz fan, unless you
are someone who is pathologically opposed to the sound of a saxophone you might
well find this to be a fascinating take on the idea of chamber music.
Lontano: Anja Lechner, cello; François Couturier,
piano. ECM 2682 085 7705.
improvised, this is clearly not jazz; no, not even ECM-style “chamber jazz.”
Rather, Lechner and Couturier have produced an enchanting program of
honest-to-goodness chamber music that features their own compositions and
improvisations along with music by Ariel Ramirez, Giya Kancheli, Anouar Brahem,
and Henri Dutilleux. This is music that sings, that soars, that exults in the
sheer joy of music-making. In his liner notes, music author Stephane Ollivier
writes that “since the start of their duo collaboration in the early 2000s as
members of the Tarkovsky Quartet, German cellist Anja Lechner and French
pianist François Couturier have been inventing a music that is genuinely
impossible to pin down. Though in some senses continuing the European chamber
music tradition in its forms and instrumental colours, it is nevertheless
distinct from it in its variety of repertoire and in its approach, which
knowingly, virtuosically blurs the demarcation line between notated and
improvised music.” To hear these players make music is to hear imagination at
work and dedication at play. I love this description by Lechner: “With François
I have often set off on journeys to foreign melodies. This requires mutual
trust, courage and imagination. Together we search as if through various
countries, exploring, shaping, struggling, rejecting, and finding new forms to
finally sing the song. Then we grow wings and feel the stories that want to be
told – only on this moment, in this room, for this person who will listen.”
Having had the good fortune to be that person who listened, I invite others to
join me in enjoying this remarkable recording.
Järvlepp: Concerto 2000 and Other Works. Pascale
Margely, flute; Ivan Josip Skender, Zagreb Festival Orchestra; Petr Vronsky,
Moravian Philharmonic Orchestra. Navona Records NV6291.
album of entertaining orchestral music containing plenty of rhythmic energy and
variety. For example, the opening work in this collection, Concerto 2000 for
flute and orchestra, consists of three movements: a lively opening movement
that features flamenco rhythms complete with handclapping, a more serene second
movement with an Arabic-sounding interlude, and a third movement punctuated
with percussion shots and vocal shouts, a movement that Järvlepp explains was
influenced by Finnish folk music. The
next piece, titled Pierrot Solaire, is a lively romp that jumps and
whirls and whooshes in a mad rush of frantic energy. It is music you can
imagine dancing to, but only if you had superhuman energy. Better to listen,
tap your feet, and maybe wave your arms about. Brass Dance features not
just brass, but plenty of percussion, strings, and some occasionally off-kilter
rhythms that contribute to the madcap delight of the music, which is even
kicked up a notch in the next cut, Street Music, with brass and
percussion blasting out the rhythm. The mood changes significantly with the
next composition, In Memoriam, which Järvlepp composed for string
orchestra in memory of his deceased brother. It is a tender, moving piece of
simple but heartfelt beauty. The album ends with Camerata Music, a
lively romp that brings back the prominent percussion – complete with some
handclapping.
Other than the solo flute being a bit overpowering in Concerto
2000, the sound quality is just fine. All in all, this is an entertaining
album that should appeal to a wide variety of musical tastes.
Some Food for Thought: “Dazzled by so many and such
marvelous inventions, the people of Macondo did not know where their amazement
began… Something similar happened with the cylinder phonographs that the merry
matrons from France brought with them as a substitute for the antiquated hand
organs and that for a time had serious effects on the livelihood of the band of
musicians. At first curiosity increased the clientele on the forbidden street
and there was even word of respectable ladies who disguised themselves as
workers to observe the novelty of the phonograph from first hand, but from so
much and such close observation they soon reached the conclusion that it was
not an enchanted mill as everyone had thought and as the matrons had said, but
a mechanical trick that could not be compared with something so moving, so
human, and so full of everyday truth as a band of musicians. It was such a
serious disappointment that when phonographs became so popular that there was
one in every house they were not considered objects for amusement for adults
but as something good for children to take apart.” (from One Hundred Years
of Solitude by Gabriel Garcia Márquez).
KWN
