Collectif9 based in Montreal bills themselves, aptly, as a “string band”. This is their second album and I haven’t heard the first but this one is a hoot!
Drawing on the age old practice of transcribing music for chamber groups which used to be common in taverns and such back in the 18th and 19th centuries they create delightful riffs on the music they chose. Here they chose Gustav Mahler. If the appellation of my title, “Mahler Lite” seems pejorative fear not. This album is sheer delight.
There are 8 tracks drawing variously from the first, second, and fifth symphonies as well as Das Lied and the Wayfarer Songs. The last track is a fantasy by Philip Hersant on themes of Mahler. Nine musicians, all on bowed string instruments, do a marvelous job of evoking a big sound out of their ensemble.
Transcription is a true art and this is a shining example. Anyone familiar with Mahler’s work will find a comforting familiarity in these pieces. What struck this listener was their ability to evoke the orchestral instruments with some clever extended techniques. Tympani, trumpets, trombones, tympani, etc. are all slyly and successfully implied in their playing.
While the liner notes don’t go into much technical detail they are all the average listener will need. The charming thing here is the reproduction of the painting (apparently common in nurseries in Austria) which inspired the third movement of his first symphony. If you don’t know the painting it depicts a bunch of animals carrying a dead hunter which, perhaps, they have killed. And it is printed on the fold out liner notes. Mahler uses Brother John (in a minor key) as a starting place for a set of variations with the intent of evoking this image.
The design by Kanelloscob.com deserves mention. It deserves a closer look. They manage to integrate a group photo, a track list, credits, commentary, and a large reproduction of that nursery art. And they do it all with paper, no plastic to crack and become unusable. It’s low key but a really beautiful production.
Collectif9 is John Corban, Yubin Kim, Robert Margaryam, and Elizabeth Skinner on violins; Xavier Lepage-Brault and Jennifer Thiessen on violas; Jérémie Cloutier and Andrea Stewart on celli; and Thibault Bertin-Maghit on double bass (who actually did these wonderful transcriptions).
Of course the music is the main point and that is the best reason to buy this disc. Who knows? Maybe we’ll start seeing/hearing chamber groups like this in our coffee shops. Wouldn’t that be cool?
Shostakovich dealt with a great deal of adversity as a result of wars, the revolution, and Stalinism. That is sad but it makes for some really amazing stories. So it is with this symphony.
It was composed in 1936 and would mark the entry of more post-romantic elements into the composer’s work which gives it a Mahler-like cast at times. Unfortunately the politics resulted in the composer withdrawing the symphony. During WWII the score was lost and reconstructed from surviving orchestral parts and the present two piano transcription by the composer. The world premiere occurred in 1961 under Kiril Kondrashin.
It is the two piano “reduction” which is featured here. Reduction refers to the transcription of the piece for two pianos but the grand symphonic nature shines through with amazing lucidity. Of course this is as much due to the skill of the transcription but also of the artists. If you have never heard a great transcription this will amaze you.
Davies and Namekawa have established quite a name for themselves as a duo piano team. Davies, the long established conductor and his life partner Namekawa, herself a dazzling pianist have collaborated for some time now as a duo and this recording is testament to what they can do. Here they joyfully share their interests and insights on this masterpiece. Even if you have and know the orchestral version you will want to hear this.
There are three movements here. The outer movements are long extended compositions with a small(but amazing) interlude in between. This is not the Shostakovich of the famed 5th symphony. Rather it is a sort of transitional piece between the student work of the first symphony and the social realism of the second and third symphonies. While deeply intelligent the work has no intended program and one could almost pass this off stylistically as a lost Mahler work.
Fear not, though, the composer’s fingerprint is here. After all this is his 4th essay in the symphony genre. Unfortunately a perfect storm of politics conspired to almost destroy this work. Fortunately both this reduction and the reconstruction make the work available. It is especially curious for the Shostakovich enthusiast to listen to this work and imagine the care that must have been taken to avoid being associated with non state-approved music. It’s a good example of how politics places additional meaning on a piece of music that originally had none.
The recordings is lucid and is due for release on February 8th. One added sort of irony. The work is scheduled for its west coast premiere in San Francisco on February 10th.
Rachel Barton Pine is one of the brightest lights of the solo violin in Chicago and worldwide. Her partnership with Cedille records (also a venerable Chicago based institution) has been both fruitful and revelatory.
In addition to the standard virtuoso repertoire such as Brahms and Beethoven this soloist has demonstrated a passion and a genuine interpretive feel for music by black composers. Were we living in a less racially charged time this focus would be of minor interest. But the fact remains that music by black composers, regardless of the composer’s national origin or the quality of the music, have been seriously neglected.
Indeed this soloist has become a sort of shepherd of the lost and neglected. Her recorded catalog is testament to her achievements in a really wide range of repertoire from the Bach solo violin music to neglected concertos and occasional pieces ranging from the 17th century to the present.
The present disc was an October, 2018 release I am reviewing for Black History Month. And it is a gem. No fewer than 11 composers, 5 of whom are still living. It is both an acknowledgement of some of the classics produced by black composers over the last 100 years and an introduction to new and emerging voices.
The recently deceased David N. Baker (1931-2016) is represented here in the first track, Blues (Deliver My Soul ) and provides a context immediately. The word “blues” is used to refer to the uniquely black musical form which consists of a poetic form in which the first line is repeated. The vocal styles that are the blues are probably the most recognizable aspect of this musical form. But one can’t miss the persistent subtext of the neglect of such fine music as yet another insult to widen the racial divide.
In fact many of these pieces are not, strictly speaking, blues. But that is not the main point here. Pine, along with her quite able accompanist Matthew Hagle, present a beautiful and wide ranging selection which presents some wonderful music and, for those with a conscience, illustrate what can be lost when listening choices are hampered by prejudice.
The Baker piece helps to create a context. It is followed by Coleridge-TaylorPerkinson’s (1932-2004) Blue/s Forms for solo violin. This man’s career alone is worth a book at least. His eclectic and learned musical style found him writing music for movies, television, and the concert hall. He was also versed in jazz and blues and even played drums with Max Roach for a while. These solo violin songs are a beautiful example of the composer’s melodic gifts. One can easily imagine these pieces programmed alongside the Bach solo music.
William Grant Still (1895-1978), truly the dean of black American composers, is next. His Suite for Violin and Piano is happily performed with some frequency and deserves to be recognized as one of the masterpieces by this really still too little known composer. The piece is in three movements, each a representation in music of a painting.
Noel Da Costa (1929-2002) is a new name to this writer. He hails originally from Nigeria but made his career in New York City. His “Set of Dance Tunes for Solo Violin” makes a nice companion to the Perkinson pieces. This is one of the world premieres on the disc. Here’s hoping we get to hear more of this man’s work.
Clarence Cameron White (1880-1960) is another unfamiliar name. His Levee Dance is next. He was one of the lesser known of the group of early twentieth century black composers which included R. Nathaniel Dett, Dorothy Rudd Moore, Florence Price, and Samuel Coleridge-Taylor.
By far the best known name here is Edward Kennedy “Duke” Ellington (1899-1974). One out of eleven here has “household name” status. He is represented by Wendell Logan’s arrangement of, “In a Sentimental Mood”. This is the premiere of this arrangement.
Now to the living black composers. This is a forward looking recording which pays homage to the past but also acknowledges a living tradition. Dolores White (1932- ). Her “Blues Dialogues for Solo Violin” add admirably to the solo violin repertoire.
Belize born Errollyn Warren is next with her brief, “Boogie Woogie”. Warren is a composer with a wide range and, while this is a fun piece, she has composed a wealth of music for various sized ensembles including orchestra. She was the first black composer to be represented at the famed Proms concerts. Wallen was a featured composer at Other Minds in San Francisco.
A slightly longer piece by Billy Childs (1957- ), “Incident a Larpenteur Avenue” gives the listener a taste of the work of this prolific composer. This is a world premiere which was written for the soloist. Childs won a Grammy for his jazz album, “Rebirth” in 2018.
Daniel Bernard Roumain is of Haitian roots and works in New York City where he works with turntables and digital sampling to augment his classical compositions. His work, “Filter for Unaccompanied Violin” is given its world premiere recording here.
Charles S. Brown (1940- ) concludes this amazing recital with, “A Song Without Words”.
This is a rich and rewarding recital which will take the interested listener into wonderful new territories. Listen, read about these composers, enjoy their artistry. This is just a beginning.
I’m skeptical about year end lists but I have enough people asking me that it would be impertinent to skip this task. I make no claims to having even listened to enough to make any definitive statements about the “best” but I have my own quirky criteria which I hope at least stirs interest. Here goes.
Let’s start with the most read reviews. Without a doubt the prize here goes to Tim Brady’s “Music for Large Ensemble”. This reviewer was enthralled by this recording by this Canadian musician whose work needs to be better known.
This little gem was sent to me by a producer friend and I liked it immediately. I knew none of these composers but I enjoyed the album tremendously. Don’t let the unusual name “Twiolins” stop you. This is some seriously good music making. It is my sleeper of the year.
Running close behind the Twiolins is the lovely album of post minimalist miniatures by the wonderful Anne Akiko Meyers. Frequently these named soloist albums of miniatures are targeted at a “light music” crowd. Well this isn’t light music but it is quite listenable and entertaining.
The creative programming and dedicated playing made this a popular review to New Music Buff readers. Definitely want to hear more from the Telegraph Quartet.
Another disc sent by my friend Joshua. This one is a DVD/CD combo of music by a composer whose existence was only revealed to me a couple of years ago. Marin includes a clever animated video which accompanies the title track.
I was fortunate enough to have been able to hear Terry Riley and Gloria Cheng in an all Terry Riley program at the Yerba Buena Center for the Arts. Both were in spectacular form and the audience was quite pleased.
I would be remiss if I didn’t include the fabulous 6 night series of concerts produced by Other Minds. This is why I am a rabid advocate of OM programs. More on that soon with OM 24 coming up.
And lastly I want to tell you about two more composers who are happily on my radar.
One of the joys of reviewing CDs is the discovery of new artists to follow. Harold Meltzer is now in that group for me. This basically tonal composer has a real feel for writing for the voice and has turned out some seriously interesting chamber music.
Another composer unknown to these ears. I bristle at the term “electroacoustic” because it sometimes means experimental or bad music. Not so here. Moe is fascinating. Definitely worth your time.
OK, gonna can the objectivity here to say that this is possibly the most underappreciated album I’ve heard this year. Combining a recording of the Debussy Preludes along with Schoenberg’s rarely heard “Hanging Gardens”, Webern’s Variations, and Berg’s Piano Sonata creates a picture of a moment in history when music moved from impressionism to expressionism. Jacob Greenberg is very much up to the task. Buy this one and listen, please. It’s wonderful.
Also beyond objectivity is this fascinating major opus by Kyle Gann. It didn’t get much recognition on my blog but it’s a major work that deserves your attention if you like modern music.
Well this is one of my favorite reviews in terms of the quality of my writing. The work is most wonderful as well. Though this review was actually published on December 31st I’m still including it in my 2018.
This is definitely cheating on my part but after that concert at Yerba Buena I can’t resist making folks aware of this wonderful set on the independent label, “Irritable Hedgehog”. Trust me, if you like Riley, you need this set.
I review relatively few books on this site but by far the most intriguing and important book that has made it across my desk to this blog is Gay Guerilla. The efforts of Mary Jane Leach, Renee Levine Packer, Luciano Chessa, and others are now helping to establish an understanding of this composer who died too young. Here’s looking forward to next year.
I know I have left out a great deal in this quirky year end selection but I hope that I have not offended anyone. Peace and music to all.
Well it’s been 100 years since Claude Debussy (1862-1918) left the earthly plane and anniversaries are good times for a re-evaluation. Usually this just means issuing recordings of a given composers works, mostly the composer’s most popular. Jacob Greenberg has chosen to record Debussy’s Preludes for Piano Books I and II (1909-1913). But that alone seems a bit pedestrian so he adds in Alban Berg’s (1885-1935) Op. 1 Piano Sonata (1909), Anton Webern’s (1883-1945) masterful Variations for Piano (1936), and Arnold Schoenberg’s (1874-1951) “Book of the Hanging Gardens” Op. 15 (1908-9) as well as a few additional Debussy pieces. Greenberg is a sort of refugee from the International Contemporary Ensemble. For this recording he also conscripts the fine soprano (and fellow ICE refugee) Tony Arnold. These two have already amassed quite a few recordings of repertory from this era.
This mix provides a context for the listener which shows where the Preludes fit historically and demonstrates some of the similarities in sound between these early 20th Century works. We hear music written between 1908 and 1936 by four composers. Hearing these works together gives the listener a sense of how some of the best “contemporary” compositions of this brief era sounded. Indeed there are similarities here and one can see the emerging style which would become known as “expressionism”. It is clearer how this emerged from Debussy and Ravel’s “impressionism” when you hear related works from the same era.
This reviewer had not been familiar with Schoenberg’s “Book of the Hanging Gardens”. It is one of the less performed of his works. These songs have a militantly atonal sound. Vocalist extraordinaire Tony Arnold puts real muscle into her reading of these songs. The disc is worth acquiring for her performance alone.
In some ways this cycle appears to have been Schoenberg’s “Tristan und Isolde” meaning that he had stretched the limits of tonality and, unlike Wagner, he chose to develop a method which would ensure that there is no tonal center in his music. He developed his method of 12 tone composition and rolled out his first example of this new method in 1925.
What is striking is that this Schoenberg song cycle dates from pretty much the same time as the Debussy Preludes and Alban Berg’s Piano Sonata. One gets a sense of some of the tensions involved here. Try to imagine being in the audience and hearing the wide stylistic differences between these two works and realizing that they are essentially from the same era. Add in the much later Variations by Webern and one gets a sense of how far music could go, stylistically, based on Schoenberg’s methods.
Obviously the Debussy Preludes are the main focus here and these are acknowledged as classics of the repertoire. They are most ably performed here but what struck this listener the most was the sound of those preludes in the context of the other pieces here which were part of that same 30 year span. One can begin to hear perhaps some affinity between the Debussy and the later thornier harmonies and rhythms that typify the expressionistic style which would dominate much of the mid-twentieth century.
This is a fabulously entertaining recording and a sort of music history lesson as well. Greenberg is a strong and assertive musician with an obvious feel for these pieces. His choice of repertoire makes this a particularly good choice for the listener who is just beginning to explore this musical era and an eye-opening program for the seasoned listener. Great set.
This 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!
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.