Traceur, American Music for Clarinet and Piano


traceur

New Focus Recordings FCR-172

This is a nice little program of pieces for clarinet and piano by 20-21st century composers. It might even be a representation of the state of the art for this genre.  All of these pieces are basically tonal and would work well in a recital.

Michael Norsworthy, professor of clarinet at Boston Conservatory at Berklee has an impressive set of credentials in the interpretation and performance and teaching of new music.  This performing academic has quite a list of recordings to his credit.

David Gompper is a composer and pianist with a similarly extensive set of credentials in support of new music (his own and others’).

The disc opens with a six movement suite of short pieces by Robert Beaser (1954- ) called, Souvenirs (2001-2).  Beaser is one of the finest composers of his generation and his tonal style was a hallmark of his work from the very beginnings.  These short, personal sketches are a delightful example of his work.  These pieces were originally written for piccolo and piano and are here presented in the composer’s transcription for clarinet and piano.

The next piece, Black Anemones (1980) is originally for flute and piano and is a sort of modern classic (here is a recent review of the flute and piano version).  The Pulitzer Prize winning Joseph Schwantner (1943- ) is also among the finest composers working today. This transcription for clarinet by Mr. Norsworthy will most certainly guarantee further performances.  This is truly lovely music inspired by poetry of Agueda Pizarro.

Three American Pieces (1944-5) by Lukas Foss (1922-2009) are another sort of classic set of pieces.  These are early compositions in a neo-classical/nationalist style characteristic of this period of Foss’ compositional style.  It is great to have a new recording of these entertaining pieces.  Foss is due for a reckoning I think.

Marti Epstein (1959- ), also a professor at Berklee was represented in an earlier review of a disc (here) dedicated entirely to her gentle music imbued with memories of her upbringing in the great plains of the Midwest.  Nebraska Impromptu (2013) is characteristic of this composer’s gentle but substantial music.  Her website also contains a very interesting occasional blog that is worth your time.

Derek Bermel (1967- ) is here represented by schiZm (1993-4).  Originally for oboe and piano the composer also made this transcription for clarinet and piano.  Bermel describes some of the fascinating techniques that underlie the structure of this two movement piece but the result of those techniques is a very interesting piece of music.

Last but definitely not least is the title track Traceur (2014-5) by composer/pianist David Gompper (1954-).  It is the longest and most complex of the pieces presented and requires the most involvement on the part of the musicians as well as the listener.  I don’t mean to imply that this is difficult music because it isn’t.  It is substantial music whose charms demand close listening, an effort for which one will be rewarded.

This lucid recording was produced by Norsworthy and Gompper (with the assistance of Robert Beaser in the recording of his work).  It was recorded in 2015 with editing and mastering by Patrick Keating.  Very nice disc.  Highly recommended.

 

Jennie Oh Brown and Friends: Music for Flutes by Joseph Schwantner


jennieoh

Innova 919

At first an all flute album featuring a contemporary composer would seem to be a risky idea at best but this disc of some of Joseph Schwantner‘s flute compositions works very well.  Pulitzer Prize winning Schwantner is no stranger to the concert or recording scene and deservedly so.  He writes a modern, though not terribly experimental, style which works well in the concert hall and on disc.  He won the Pulitzer for his wonderful 1978 Aftertones of Infinity and wrote a substantial guitar concerto championed by Sharon Isbin among many other works.

Jenny Oh Brown is an unfamiliar name to this reviewer but I suspect that will not be the case for long.  This is one talented and charismatic artist and she has recruited some marvelous fellow musicians for this album.  This is not the complete flute music of Mr. Schwantner but it is certainly a very nice representative sampling.

The album starts with Black Anemones (1980), a piece which is pretty much part of the standard flute and piano repertoire now.  The performance of this lyrical post-romantic essay clearly demonstrates why this piece has become popular.  It requires a great deal of skill and virtuosity for both the flautist and the pianist and both musicians handle their roles expertly.

The next three tracks are the separate movements of a piece,, again for flute and piano, called, Looking Back (2009).  The first movement, called Scurry About is a frenetic and virtuosic little romp which gives both musicians ample opportunities to demonstrate their chops.  The second movement, Remembering, is a sort of nostalgic solo flute cadenza and the finale, titled Just Follow brings the work to a satisfying conclusion.

The highlight for this listener, though, is the three movement quartet for flutes, Silver Halo (2007).  No piano here but every member of the flute family pretty much and each gets what sounds like a very satisfying role.

In addition to Jennie the album features Jeffrey Panko on piano, Karin Ursin, flute and piccolo; Janice McDonald, flute and alto flute; and Susan Saylor, flute and bass flute.  This Innova release is a must for fanciers of the flute and of Mr. Schwantner’s music.

 

Black Classical Conductors (Black Classical Part Two)


James Anderson De Preist(1936-2013)

James Anderson De Preist
(1936-2013)

The recent passing of conductor James DePreist is a great loss to the world of classical music. I first encountered this man’s work when I bought a New World CD containing music by Milton Babbitt (Relata I), David Diamond (Symphony No. 5) and Vincent Persichetti (Night Dances). All performances are by the Julliard Orchestra under three different conductors of music by three different composers of about the same generation of east coast American Composers. De Priest conducts the Night Dances piece. He had studied under Persichetti at the Philadelphia Conservatory.

De Preist had a fondness and a feel for contemporary music. Among his fifty some recordings (no reliable discography is available online just yet) he recorded music by Paul Creston, George Walker, Gunther Schuller, Ellen Taaffe Zwilich, Easley Blackwood, Aulis Sallinen, Giya Kancheli, Alfred Schnittke, William Walton, Nicholas Flagello and Joseph Schwantner among other more familiar names as well.

He was the nephew of Marian Anderson and cared for her in his home in Portland, Oregon until her death in 1993. De Preist was the conductor of the Oregon Symphony and served as it’s music director from 1980 until 1993. He conducted nearly all of the world’s major orchestras and was awarded the National Medal of Arts in 2005.

His passing this February, Black History Month in the United States, got me thinking about the legacy of black classical conductors. There have been a few luminaries that also deserve attention and I will attempt a short survey a few of those whose art has touched my own life.

Paul Freeman

Paul Freeman

Paul Freeman (1936- ), now retired, was the founder and music director of the Chicago Sinfonietta, an alternative orchestra to the Chicago Symphony which played a distinctly different program from them introducing a great deal of new music by young composers along with an unusual selection of older music and some classical warhorses. His 9 LP survey recorded 1974 to 1979 and released by Columbia Records in 1986 of music by black composers is a landmark set of recordings surveying music by black composers from various countries with some emphasis on American Composers. He followed this in 2003 with 3 CDs of music by black composers on Chicago based Cedille records and has continued to give exposure to these unjustly neglected artists. Along with his promotion of black composers Freeman has recorded a great deal of 20th century music by other unjustly neglected masters such as Leo Sowerby, Meyer Kupferman, Bohuslav Martinu, Tibor Serly, Robert Lombardo, William Neil, Richard Felciano to name a few. He recorded a delightful complete set of Mozart Piano Concertos with frequent collaborator, pianist Derek Han (the set was incorporated into the Complete Works of Mozart released on the Brilliant Classics label).

Michael Morgan (1957- )

Michael Morgan (1957- )

Michael Morgan who I recall as having been the assistant conductor of the Chicago Symphony from 1986 to 1990 under both George Solti and Daniel Barenboim. I had the pleasure of hearing him conduct the Chicago Symphony’s fine training ensemble, The Civic Orchestra, on several occasions.

Currently he is the music director of the Oakland East Bay Symphony, a post he has held since 1990. In that time he has done much to strengthen the orchestras standing artistically and financially and he has forged alliances with the Oakland Youth Orchestra and the Oakland Symphony Chorus.

Unfortunately Morgan has made few recordings but his choice of repertoire and championing of new music continues to endear him to critics and to bay area audiences.

Thomas Wilkins (1956- )

Thomas Wilkins (1956- )

In 2011 Thomas Wilkins became the first black conductor appointed to the Boston Symphony (a city historically resistant to integration in the 1960s). He is the conductor of that city’s youth orchestra.

He was appointed music director of the Omaha Symphony in 2005 and has held appointments with the Richmond Symphony, the Detroit Symphony and the Florida Orchestra.

Henry Lewis (1932-1996)

Henry Lewis (1932-1996)

California born Henry Lewis was the first black musician to join a major symphony orchestra when, at the age of 16, he joined the double bass section of the Los Angeles Philharmonic. He became the first African-American to lead a major symphony orchestra when Zubin Mehta appointed him assistant conductor of that same Los Angeles Philharmonic in 1961, a post he held until 1965. He is credited with founding the Los Angeles Chamber Orchestra as well

Lewis is probably better known in the media for having been married to soprano Marilyn Horne from 1960-1979.

Carl Van Vechten's portrait of Marilyn Horne with her husband Henry Lewis in 1961

Carl Van Vechten’s 1961 portrait of Marilyn Horne with her husband Henry Lewis.

Horne credits Lewis with her early development as a singer.

Charles Dean Dixon (1915-1976)

Charles Dean Dixon
(1915-1976)

Dean Dixon, as he was known, was born in Harlem and studied at Julliard and Columbia University. He formed his own orchestra when racial bias prevented him from working in most settings and in 1941 gave a concert at the request of Eleanor Roosevelt who in 1939 famously arranged for Marian Anderson to sing on the steps of the Lincoln Memorial after she had been prevented by racial bias (and the Daughters of the American Revolution) from singing in any concert venue in Washington D.C.

While he did guest conduct the NBC Symphony, the New York Philharmonic, the Philadephia Orchestra and the Boston Symphony he left the United States in 1949 to further his career in overseas. He conducted the Israel Philharmonic Orchestra during 1950-51, was principal conductor of the Gothenberg Symphony from 1953-60 (by popular demand), the HR Sinfonieorchester in Frankfurt from 1961-74, the Sydney Symphony Orchestra from 1964-67.

Dixon returned to the United States and had various guest conducting engagements with major orchestras. And he conducted the Mexico City Orchestra during the 1968 Olympics. His legacy includes quite a few recordings made in the 1950s, some of standard repertoire, but some of American music like that of Randall Thompson, Leo Sowerby and fellow black American William Grant Still among many others. These were some of the first recordings I ever heard of much of that repertoire.

He, like those who followed him, did a great deal to promote the music of Americans and of the 20th Century in general. And his recordings are an important part of his legacy that remains largely untapped (though Naxos historical has reissued some on CD, bless their hearts). The racial bias he encountered is our American legacy. Dixon once defined three phases of his career by the way he was described. First he was the “black American conductor”. Then he was the “American conductor” and, finally he simply, “the conductor Dean Dixon.”