Douglas Boyce New and Exciting Chamber Music


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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.

A Far Cry: Visions and Variations


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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.