Ravel and Bartok Go Electric


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While this album is not likely to cause as much of a stir as Bob Dylan did when he went electric in 1965 at the Newport Folk Festival it is revelatory in its own way. Of course Ravel and Bartok did not write for even acoustic guitar but they, like all western classical musicians, were very familiar with the art of transcription. Functional electric instruments wouldn’t come into use until the late 1940s. But the art of transcription (essentially a synonym for “Covers” as used in pop music) can be applied to any instrument and, at its best, transcription brings out perspectives in the music that were not obvious in its original incarnation. That is what is achieved here.

There are no liner notes but it appears that these musicians have done the transcribing themselves. And their backgrounds include having played guitar with the likes of Chris Cornell, Natalie Merchant, Rufus Wainwright, Joan Baez, Patti Smith, Ian Hunter, and others. Their facility with their guitar playing comes from (the more traditional role of the guitar) in rock/pop genres and here they apply this knowledge to playing classical repertoire which they came to love. Why can’t they have both?

A more pedestrian choice of repertoire for a debut might have been Bach inventions or Scarlatti sonatas (which worked remarkably well for Wendy Carlos) but these guys made what, on first look, seems very unusual choices. Ravel’s Mother Goose Suite (hardly that composer’s best known work) and 6 (of the 44) duos for violins by Bela Bartok (among the composer’s least known compositions). So I approached this release with a great deal of skepticism.

Well, the sounds they create, recorded so lucidly too, instantly won me over. This is a spectacular release and makes a very enjoyable listening experience. Their transcriptions provided a perspective that sent this listener back to the original compositions for another listen. I had a minimal familiarity with the Ravel and even less familiarity with the Bartok but the sheer energy of their performances combined with a real feel for the jazz roots that underlie the Ravel as well as a curious set of sounds chosen for the Hungarian folk derived Bartok effectively recasts these pieces in a very different perspective.

Like Bob Dylan, they thrust the modern electric guitar center stage and provide what will be for some, a jarring or disturbing experience. Purists may find these transcriptions sacrilegious but I suspect that many will be charmed and (perhaps their endgame) may find electric guitars to be anywhere from acceptable to revelatory as instruments which can do justice in the classical world.

Electric guitars are now pretty common in folk as well as rock and blues. Dylan gets significant credit for this and these guys seem to be aiming at a similar goal, that of bringing electric guitars into legitimacy in the performance of classical music. Whether this eventually happens remains to be seen but this is a mighty well conceived and executed effort and, in the end, it is a very fine piece of sonic art. Kudos to Jack Petruzzelli and Cameron Greider as well as to Sono Luminus.

Beethoven, Bartok, and Davidovsky with the Julliard Quartet


The Julliard Quartet is a hallowed name in classical music. This release reflecting its current generation of musicians is consistent with their practice of playing established classics alongside the modern. These are interesting choices of string quartets from the 18th, 20th, and 21st centuries.

Many will likely speculate on the motivations for these choices but it is a typical set of choices for a Juilliard Quartet recital, an intelligent mix of standard repertoire, not the “usual suspects” or most popular but musically solid pieces. And, of course, there is their all important embrace of the modern.

The Beethoven and the Barton are lovely choices intelligently played but the real draw, at least for this reviewer is the Davidovsky. Mario Davidovsky (1934- ) is a major American composer who deserves more performances and documentation of his work. Fortunately Bridge Records has taken on this task.

He is best known for his “Synchronisms” series pairing electronics with various acoustic instruments. This won him a Pulitzer Prize. But his music sans electronics is just as substantial and this 2016 String Quartet, his sixth, provides ample evidence of that substance.

Near as I can tell this is only the second recording of any of his quartets but it is sufficiently intriguing to whet the appetite for the other 5.

As a recital disc this one is thoroughly enjoyable and it’s inclusion of the Davidovsky is gloriously consistent with the overall image of the hallowed name of the Juilliard Quartet.

Jason Vieaux and  Julien Labro, Chamber Music with Afro-Cuban Roots


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This album seems to have been characterized as fusion/crossover perhaps for marketing purposes but it is in fact a fine compilation of too little heard works by Afro-Cuban/Latin American/South American composers of the mid to late 20th century.  Start with the rapidly rising star of guitarist Jason Vieaux whose earlier recording of the stunning Ginastera guitar sonata seems to place him in the position as a specialist in Latin American music.  Then add Julien Labro, a specialist in the bandoneón, an instrument best known for its ubiquity in tango music. Combine them with good audio engineering and an intelligent production and you have this album.

If there is a sense of “fusion” here it is due to the creative efforts of the composers involved.  In fact this is pretty much in the same tradition of Bartok, Kodaly, Copland, Thomson and others who mined folk and ethnic musics very successfully to infuse their “classical” compositions with new life.

Leo Brouwer (1939- ), Radamés Gnattali (1906-1988), and Astor Piazzolla (1921-1992) are all composers deserving of serious attention but are little known in North America and the reasons are clearly not musical talent.  All three composers are featured here in works arranged by Julien Labro who plays bandoneón, accordion and accordina on this recording.  He is joined by Jason Vieaux on guitar, and Jamey Haddad on percussion.

In addition we are treated to a composition by Pat Metheny and a curious arrangement of “Everybody Wants to Rule the World” by Roland Orzabal, Ian Stanley, and Chris Hughes to round out a diverse and engaging program.

One hopes that this will kindle further interest in these too little known composers but, until then, we have a marvelously entertaining recording that will likely please Latinists, guitar lovers, bandoneón lovers, and the like.

This is a fine and crisply recorded CD with some truly fine musicians.  Call it fusion if that helps you want to listen but please listen when you get a chance.  You won’t regret it.

 

 

Poems to Sing at Night, New Piano Music by Brian Buch


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This is the second album by composer/pianist Brian Buch.  He holds a B.M. in composition with emphasis in piano performance from Indiana University and a Doctorate from Boston University.

He studied composition with a variety of notable teachers including Don Freund, P.Q. Phan, Sven-David Sandstrøm, Nancy van de Vate, Sam Headrick and Richard Cornell.  He lists his mentor as Alla Cohen, a name unfamiliar to this writer but no doubt a significant teacher and composer.

This album was released in 2015 and contains tracks comprising 5 compositions with multiple movements.  These represent a small portion of his output which apparently includes music for various ensembles including vocal, orchestral and chamber music.  All the pieces on the present album were written between 2014 and 2015.

These seem to be very personal pieces and the poetic titles reflect a sort of post-romantic style reminiscent of Bartok and Scriabin and perhaps even Debussy. This music benefits from multiple hearings and his performances are engaging and, no doubt, definitive. His muscular and assertive playing matches the poetic intensity of the music.

Poems to Sing at Night 1 and 2 both have poems which are to be recited before each performance though that is not done on the recording for some reason.  Both pieces are in four distinct movements while all the others are in three movements.

One hears jazz and classical influences here and the medium is basically tonal.He is not afraid of dissonance and unusual harmonies but the listener need not fear either because the music is always listenable.

John Weston recorded and engineered this album which was recorded in April, 2015 at the Futura Studios in Roslindale, MA.  The sound is warm and lucid.

In some ways this album seems to hearken back to the romantic composer/performer of the 19th century with its very personal style and poetic rather than classical forms.  This young man (b. 1984) has established and is developing a very personal style which bears watching/listening.  Very enjoyable album.