Luke Cissell’s Thinking/Feeling,Gently Defying Genre


cissell

Silver Squid Music

I believe the composer himself sent me this disc.  I was not familiar with this composer/musician prior to receiving this but, a quick search on Amazon revealed several albums by this artist.  Cissell‘s web page validates my initial impression of an artist who will not easily fit in a category.  That is to say that this music wears several hats.

There is nothing experimental or difficult about this CD nor is it exactly pop or easy listening.  It is a rather personal recording.  Indeed the composer plays most of the parts and the concept is entirely his own.  Not having heard Cissell’s other recordings it is difficult to say whether this most recent one is a continuation of a style or a departure.  What is clear is that this music is easy to listen to but difficult to market efficiently.

This entirely self composed and produced album consists of 13 tracks ranging from 2 to 5 minutes or so in length.  The instrumentation consists of mandolin, electric bass, strings, and electronics and all are performed by the composer.  He identifies the track, “Follies” as being most appropriate for classical radio and the track, “Serf Shop” for pop/alternative radio.  It is lovely material with some folk leanings as well as classical leanings.  Cissell has classical training and that comes across in his writing but suffice it to say that his influences are eclectic and wide ranging.  He clearly is well trained in his ability to write effectively for these instruments and hearing this work makes one wonder what his more classically oriented work sounds like.

If this disc has languished for longer than it should have in my “to be reviewed” queue then blame it in part on the reviewer’s organizational strategy but also on the difficulty pigeon holing such a release.  There is little doubt that most who hear this album will find it entertaining but it is not clear how easy it will be for fans to find such a release unless they are searching for this specific composer.

In reviewing “classical” recordings one can rely on the “sounds like” strategy to provide listeners with some idea of what to expect.  That does not seem to work here.  The music is very listenable but it is not strictly classical and not exactly pop so while it is a very good disc I’m not sure how easily it will find an appreciative audience.

This reviewer will pay attention to this composer and looks forward to hearing his more classically oriented work as well.  Kudos, Mr. Cissell.

Douglas Boyce New and Exciting Chamber Music


boyce

The rather plain cover belies the contents of this album of exciting and powerful chamber music.  This is billed as a “sampler” album and it contains three works by Douglas Boyce (1970- ).  He is a founding member, curator, and composer-in-residence of counter)induction, a composer/performer collective active in the New York region.  He also has experience playing in various punk bands.

Boyce holds a B.A. in Physics and Music from Williams College, an M.M. from the University of Oregon and a Ph.D. from the University of Pennsylvania (1999).  He has studied with George Crumb, James Primosch, Kathryn Alexander, Robert Kyr, Judith Weir, Ladislav Kubik and Robert Suderburg.  He currently serves as Associate Professor of Music at the George Washington University in Washington, DC.

All this gives only the faintest hint of what his music sounds like.  In the three works represented here the listener will notice some influence of Bartok and mid-century modernism.  The first work “102nd and Amsterdam” (2005)  reflects a composer well schooled in writing for string instruments.  This piece is a string trio played by members of the Aeolus Quartet (Rachel Shapiro, violin; Greg Luce, viola; Alan Richardson, cello) and they are given a great deal to do.  This is an energetic piece which engages the listener immediately and doesn’t really let go until the end some 14 plus minutes later.

The writing is virtuosic and the variety of techniques employed in his string writing are engaging and never seem gratuitous (i.e. extended techniques because I can).  Despite multiple glissandi and other string effects the work, like the others on the album, are basically using the tonal language common to most western music.  This is seriously engaging and masterfully developed music.  It hooked this listener immediately.

The second work is Piano Quartet No. 1 (2009).  This is an even more visceral work true to Bartokian esthetics.  In its relatively brief 8 plus minutes the listener is taken on a virtuosic journey by the musicians of counter)induction (Jessica Meyer, viola; Sumire Kudo, cello; Steve Beck, piano)  They are joined by the wonderful Miranda Cuckson who steps out of her soloist role and moves deftly into this chamber group as the finest musicians can do.  Boyce cites influences as diverse as Robert Fripp and King Crimson but the details of that are not necessarily clear to this writer nor is it necessary to the appreciation of the work.  It is a powerful and exciting piece of chamber music.  This work left this listener a bit tired by the end (it is quite a workout) but the same ability to sustain interest and attention which applied to the first work is also present here.

Finally the Trio Cavatina (Harumi Rhodes, violin; Priscilla Lee, cello; leva Jokubaviciute, piano) presents a reading of the four movement “Fortuitous Variations” (2014).  This most recent composition is the big work on this disc.  The underpinnings, if you will, involve philosophical ideas and are elaborated well by the composer on his web site but, like the influences of the previous work, the music stands very well on it’s own.

There are four movements which seem to correspond (at least roughly) to the sonata form commonly used in such works.  Each maintains it’s character as said variations are rolled out and, as in the previous works, sustains interest easily.  This is perhaps a more ponderous work which is less direct than the previous two pieces but this most recent composition no doubt reflects the composer’s development and time will tell what direction his work will take.  There is, however, a sense that the composer has developed a personal style and is cultivating it.  Give a listen.

Most will want to hear these works multiple times.  This reviewer managed to find three separate drives which allowed uninterrupted listening to the entire disc and I know those three won’t be the last.

Eric Moe, Uncanny and Affable (and very interesting)


moeuncanny

New Focus FCR 212

Here I sit with an album by a composer with whom I have no familiarity.  Fortunately Eric Moe has a delightfully tenacious public relations department (at least with this particular record label) whose prompts did finally get me listening.  OMG, it says “electroacoustic”.   That could be really bad or obtuse.  Well, I did promise to review it so here goes.

Eric Moe (1954- ) is a composer with a very well organized web page.  A quick glance at that web page informs that this is the 12th or so disc from a man who boasts what looks like a list of over 100 compositions.  Moe is also a performer and participates on this disc.  This graduate of Princeton (A.B., Music) and Berkeley (M.A. and Ph.D., music) teaches at the University of Pittsburgh and is also an active performer of both his and others’ music.

moekeyb

This discs contains 6 composition for solo instrument (mostly with) electronics.  Now that combination has given this writer pause because the genre given the name “electroacoustic” can be a mixed bag.  Sometimes these works can be ponderous or obtuse with meanings obvious to the composer and, hopefully, the performer.

However your reviewer’s neurotic fears were apparently unfounded as the tracks played some truly wonderful compositions.  Each track features a different instrument.  The instruments, in order, include a drum set played by Paul Vaillancourt, a viola played by Ellen Meyer, a solo 19tet keyboard played by Eric Moe, an unbelievably virtuosic pipa played by Yihan Chen, solo piano played by Eric Moe, and flute played by Lindsey Goodman.

Suffice it to say that all the soloists here come with a high level of virtuosity as well as the ability to interact meaningfully with the electronics.  Far from being a nightmare of impenetrable experimental music this is rather a very entertaining set of pieces which tend to avoid the worst cliches of this genre.

Rather than attempting to describe each of these pieces (a task which would likely be more painful to read than write) it is best to simply provide assurances that the combination of this talented composer combined with the more than capable soloists provides a stimulating and interesting listening experience.  These are wonderful performers with great material.

The listener will want to hear each track more than once to get a good idea of what the composer is doing but, fear not, this album is much more adventure than ordeal.  It shows a composer at the height of his powers producing art which stimulates the senses and provides an emotional experience.  While there is clearly intellect behind the creation and performance of these works they tend to speak rather directly to the listener providing a stimulating entertainment that leaves the listener with a shred of hope that classical, even modern classical is far from dead.

Kudos to professor Moe and his collaborators and a nod of thanks to the tenacious publicity folks who would not let this release go quietly into the good night.  You shouldn’t either.

Telegraph Quartet Debut: Into the Light


TelegraphQuartet_IntoTheLight_AlbumCoverThis is the debut album for the Telegraph Quartet who are based in the San Francisco Bay Area.  They have chosen some curious works from the quartet repertoire to represent this nascent ensemble, Anton Webern’s Op. 5 Fünf Satze (1909, Benjamin Britten’s Three Divertimenti (1936), and Leon Kirchner’s String Quartet No. 1 (1949).

Webern is, of course well known, but relatively seldom played.  His pithy, brief, pieces belie a complexity which may delight musicologists but his music, for all of it’s craft, is never going to be a crowd pleaser like Haydn or Beethoven.  It appears that The Telegraph folks are putting together a carefully selected intro to their work.  They execute these little masterpieces with care and manage to squeeze the expression out so that the audience can begin to appreciate it.

The Benjamin Britten (1913-1976) Divertimenti were unfamiliar to this listener and, doubtless, will be a pleasant surprise to many.  Britten wrote three string quartets and a few other miscellaneous pieces for quartet.  It is a bit surprising that these little Britten gems have gone with so little notice before now.  These are three brief (though not as brief as the Webern) but engaging little compositions that clearly deserve at least an occasional performance.  The Telegraphs handle these with a powerful almost romantic interpretation.  It’s hard to say not ever having heard any other performance but these are engaging pieces.

Leaving the best for last we get to hear music by Leon Kirchner (1919-2009).  This Pulitzer Prize winning composer (he won for his Third String Quartet from 1967).  Kirchner wrote 4 quartets in total which vary widely in style.  They date from 1949, 1958, 1966, and 2006 (which remains unrecorded…hint, hint).  Kirchner wrote in pretty much all genres and even worked with electronics.  It is time for a new reckoning of his work.

The first quartet is the least heard of the lot and is of a sort of romantic quality.  It is a passionate composition that is influenced by a variety of styles but it precedes his 12 tone compositions.  This quartet seems to have an affinity for romantic gesture and singing melodies and listeners will doubtless want to hear this work multiple times.

Some may recall a Columbia album from the 1970s that recorded Kirchner Schoenbergian second quartet as a “B side” to an album which contained Kirchner’s drama, Lily, based on Saul Bellow’s “The Rain King”.  That disc was almost a Kirchner sampler displaying two major aspects of the composer’s output.

All the works here are bound to please a concert audience and this little collection of works dating a forty year period from 1909 to 1949 are excellent vehicles for this ensemble which sports a lush sound and a feeling for the proper shaping of melodies.

The Telegraph Quartet consists of Joseph Maile and Eric Chin (who apparently share the role of first violin with the other taking the second violin), Pei-Ling Lin, viola, and Jeremiah Shaw cello.  It’s difficult to say how this new quartet will fare but this album suggests that they are already on their way musically and, judging from their choice of repertoire, they are likely to unearth (and probably commission) unheard delights of the quartet repertoire.  Well done!

Josh Modney’s “Engage”, New Music for Violin Solo and Not Solo


modneyengage

New Focus FCR 211

This is an awesome undertaking.  I recall when pop musicians were cautioned that it may be unwise to release a so called “double album” for fear that their inspiration (or talent) may not be up to the task.  Well here comes Josh Modney violinist and Executive Director of the Wet Ink Ensemble , a member of the International Contemporary Ensemble (ICE), and a performer with the Mivos Quartet for eight years.  This 3 CD set is his solo violin debut album.  And what an album it is.  There is no lack of talent, skill, or imagination here.  This is essentially three faces of Josh Modney a sort of sonic CV.

The first disc features four tracks of music by contemporary composers for violin with soprano, piano, and/or electronics.  All four are fairly recent compositions:  Sam Pluta’s “Jem Altieri with a Ring Modulator Circuit (2011), Taylor Brook’s “Vocalise” (2009), Kate Soper’s “Cipher” (2011), and Anthony Braxton’s “Composition No. 22” (1998).All of these are challenging for the musicians and none are easy listening but all demonstrate aspects of Modney’s skills as a musician

The second disc features J. S. Bach’s “Ciacona” or “Chaconne” (1720) from the second violin partita.  But this is not just another performance of this towering masterwork of the solo violin repertoire.  Modney has chosen to perform it in just intonation.  Now how’s that for versatile?

The effect is subtle and may even be lost on some listeners but fanciers of Bach and alternate tunings will likely find this to be anywhere from mildly interesting to revelatory.  It is a fine performance and it is interesting to hear it in just intonation and amazing to know that this performer has this uncommon skill of playing accurately in an alternate tuning on the violin.

Filling out the second disc is a piece by pianist Eric Wubbels, “the children of fire come looking for fire” (2012).  This is a very different piece and I’m not sure why it was paired with the Bach except that it fit the available space.  Wubbels contribution is a sort of electroacoustic collage.

The third (and last) disc is of solo violin compositions by Josh Modney.  Again we move into contemporary and experimental compositions which reflect Modney’s skill with the instrument as well as his insights into it’s potentials.  Again there are no echoes of Bach here but rather more of the experimental/avant garde/free jazz style which dominates this album.  The solo violin repertoire is not huge so it is reasonable to assume that these little gems will find a place there.

This is a lovely production with striking cover art and excellent sound.  If you like cutting edge violin music you will have a wonderful time with these discs.  And if you’re looking for a wildly skilled and imaginative musician check this set out and get ready to be wowed.

 

 

A Far Cry: Visions and Variations


farcryvisions

Crier Records CR 1801

This is the latest release by an ensemble whose debut CD was released some nine years ago.  Most recently this ensemble released a fine recording featuring Simone Dinnerstein playing piano concertos by J. S. Bach and Philip Glass.  This recording is focused on the virtuosity of this small string orchestra by focusing on some unusual but highly listenable pieces from the early twentieth century to the present.

The lovely cover art (by Bill Flynn) conjures images that evoke Picasso’s drawings of Igor Stravinsky conducting.  The album evokes a feeling of an early twentieth century salon and makes the most of this rather small ensemble which counts 20 musicians on this release.  The issue here seems to be quality musicianship exploring unusual but very listenable music.

The disc begins with the too little heard Variations on a Theme by Frank Bridge (1937) by Benjamin Britten (1913-1976).  Bridge was one of Britten’s teachers and a fine composer as well.  This is the piece that first brought Britten international recognition but it is not frequently played or recorded as one might expect.   It is a very entertaining set of variations and one can only surmise that this ensemble will likely tackle some of Britten’s other early string orchestra pieces like the Simple Symphony (1934).

After that workout we are treated to another set of variations.  This time by one Ethan Wood, a violinist with the ensemble.  His contribution is a set of variations on the French song, “Ah vous dirais-je, Maman” (better known to some as “Twinkle, Twinkle Little Star”).  This little fantasy is billed as “a folk tale for 18 players based on characters created by W. A. Mozart”.

And, finally, we have a lively transcription of Sergei Prokofiev’s ” Vision Fugitives” Op. 22.  Originally for piano, this string orchestra version is a unique but interesting idea.  The ensemble handles this complex music well and this version provides a perspective on these little miniatures that will produce discussion among fanciers of the original piano versions.

All in all this is basically a pretty conservative program stylistically but the intelligent choices of repertoire and the wonderful execution make this a stand out release with incredible potential that will leave listeners waiting for their next release.

Anne Akiko Meyers’ Romantic Post Minimalism Enthralls


aameyers

Avie AV 2386

Admittedly I am a sucker for nearly all things minimalist and post-minimalist.  Such programming can lead to some potentially dull or cloying experiences.  Not so with this lovely collection of miniatures though.  While minimalists like Glass and Pärt make their appearances the concept here seems to reach for larger goals.  We have a mix of relatively simple chamber compositions along with electroacoustic works, a revelatory take on Ravel’s Tzigane and and arrangement for violin and orchestra of a solemn choral piece by Morten Lauridsen.

This eclecticism seems to flow from the artist’s choices rather than choices imposed by a producer.  In this respect she reminds this reviewer of pianist Lara Downes whose repertoire choices are similarly eclectic but born very personally from the artists’ experiences and preferences.

The opening Philip Glass Metamorphosis Two (1988) is presented in an arrangement by none other than Glass’ long time champion Michael Riesman.  It is followed by two violin and piano pieces by Arvo Pärt, Fratres (1977) and Spiegel im Spiegel (1978).  These lovely works serve to draw the listener in most pleasantly.  Akira Eguchi is the fine pianist who plays on all but tracks 4, 7, and 8.

Next up is a piece of musical archaeology.  Tzigane (1924) was originally written for violin and piano.  It was later orchestrated and it is that version which is best known and probably most recorded.  Well it turns out that Ravel had made a version for a now defunct instrument called a Luthéal which is an instrument invented in the early 20th century (patented 1919).  It’s actually not so much an instrument as an add on.  It modifies the sound of a piano.  The device now exists in museums but that hasn’t stopped innovative producers from utilizing an electroacoustic version.  Elizabeth Pridgen plays the keyboard to which the lutheal is virtually attached.

Apparently this version has been recorded before but this writer encountered it first in this release.  It is a very different sound than the piano or orchestral versions and is a lovely take on the music.  Many may buy the album for this track alone.

This is followed by a charming lullaby written for Meyers’ youngest daughter.  John Corigliano has absorbed only a small bit of the minimalism bug (maybe his 1985 Fantasy on an Ostinato  qualifies) but he is one of our finest living composers and he appears to infuse this violin and piano miniature, Lullaby for Natalie (2010) with a tender romanticism that is both sweet and touching.  In the notes we learn that it did seem to put her daughter to sleep but I doubt it will do that to most listeners.

The next two tracks are works by one Jakub Ciupinski  (1981- ) who also has a stage persona under the name Jakub Ζak under which he performs live electronic music.  This Polish born composer is now based in New York and works with various forms of electronics including a theremin.  Both “Edo Lullaby” (2018) and “Wreck of the Umbria” (2009) come from a similar place musically.  Both use electronics in varying degrees to enhance and accompany the solo violin.  Both are delightful little gems that give a nod to some minimalist roots but stand on their own merit and prompt this listener to keep an eye/ear out for more of this composer’s work.

The concluding piece is an arrangement by the composer Morten Lauridsen (1943-  ).  The performer states she pursued Lauridsen for a new piece and when he finally acquiesced he presented this lovely arrangement of his well known choral piece, “O Magnum Mysterium”.  The arrangement is for string orchestra and violin and orchestra here given its world premiere performance.  It should come as no surprise to new music fanciers that the Philharmonia Orchestra is conducted by none other than Kristjan Järvi, a fine conductor, composer, and avid new music advocate who can always be found near some interesting musical projects.

This album stands out in that the choices of the musical selections and the personal connections between the composers and the soloist are clearly collaborative and  inspired.  This is substance rather than fluff but it may appeal to a wider audience.  This one can be said to have crossover hopes but it does not pander.  This is a wonderful album and will likely prompt listeners who, like this writer, have yet to know this soloist to go and seek more of her recordings and live performances.  Brava!