A Wonderful Survey of Helmut Lachenmann via his Clarinet Music


aestheticapp

New Focus FCR 196

Helmut Lachenmann (1935- ) is a composer who has been “on my radar” for some years now but, like a lot of names I get, I had yet to hear much of his music.  Along comes Gregory Oakes  from, of all places, Iowa.  The Midwest in the United States doesn’t have much of a reputation for embracing the avant garde (though they actually do).  So into the CD player goes this one and…wow, I really need to hear more Lachenmann and whoever this Oakes guy is I want to pay attention to what he is doing with that clarinet.
Admittedly this disc languished a bit before I heard it but I am now glad I did.

This disc consists of only three tracks comprising three works by this major German composer from three different periods in his career.  Dal Niente (Interiur III), Trio Fluido, and Allegro Sostenuto.

Dal Niente (1970) is for solo clarinet and, as the title prescribes, the music is to be played as “from nothing” the meaning of the title.  In fact this seems to be practically a textbook of extended techniques for the clarinet.  But far from being a dull accounting of dry techniques, this is a tour de force which will challenge the skills of even the most experienced players.  It is quite musical and listenable but the virtuosity will knock your socks off.  Oakes pulls it off with a deceptive ease that demonstrates his rather profound knowledge of his instrument.  It is easy to see the seeming cross pollination between the avant garde and free jazz here.

Next up is Trio Fluido (1966-68) which is a respectably avant garde trio for clarinet, viola, and percussion with Matthew Coley, percussion, and Jonathan Sturm, viola.  Like the previous work this one is also about extended techniques (for all three instruments this time).  This is a fine example of mid-twentieth century modernism and deserves a place in the repertoire.  All three musicians are challenged to play their instruments in unconventional ways and the effect is almost like some of the electronic music of the era.  It is a complex and pointillistic texture that has a strong and serious content.

Finally Allegro Sostenuto (1986-88) is another trio, this time for clarinet, cello, and piano.  So while this work would make a fine companion work to the Brahms clarinet trio the work is unambiguously avant garde in the finest Darmstadt traditions.  It is, at about 30 minutes, the longest piece here and it reflects the further maturity of the composer as he creates another challenging but almost surprisingly satisfying work.

This album serves as a nice way to be introduced to Helmut Lachenmann and to get to know some major new champions of the avant garde.  And one would do well to stay informed about the work being done by this fine new music clarinetist.

 

Between the Lines, New Percussion Music by Neil Thornock


Between the Lines

Between the Lines

Other than the information on this CD and the composer’s faculty page (here) information seems limited on this composer,.  He earned a BM, Organ Performance, Brigham Young University, 2001, an MM, Music Composition, Brigham Young University, 2003 and a DM, Music Composition, Indiana University Jacobs School of Music, 2006.  Currently he is associate professor of music at BYU where he teaches theory and composition as well as electronic music.

Thornock is that rare breed of percussionist (or is it keyboardist?), a carriloneur  and he takes the opportunity to display those skills on this all percussion release, apparently the first recording of this composer’s music.

It is very difficult to assess a composer based solely on their percussion music and sometimes that genre can take on the insider feel of, say, band music or some more rarefied and sequestered niche of music.  As popular as percussion music has become in the 20-21st century it seems sometimes to be an orphan genre.  This is also, no doubt, due to the all-inclusive nature of the term “percussion” which leaves a huge list of potential instruments to consider.  So an album of tympani music or bongo music or marimba music (conceivably even piano and harp can be included under the percussion rubric).might all be spoken of generically as percussion music.  This recording uses a wide variety of instruments.

Having said that this disc appears to show a composer with a wide palette and knowledge of the medium and it is an opportunity to hear carillon music which is itself a relatively rare experience in recordings.  His writing is accessible and, no doubt, well-tailored to the skills of the musicians.

There is nothing familiar here.  All are new works written, presumably, in the last few years.  It would be interesting to hear more of this composer’s output in the areas of chamber, orchestral and electronic music.  But this little tease will have to do for now.

Matthew Coley, the percussionist, seems to be the real star here.   He plays on all tracks and seems to be a highly skilled player.  His website was the most useful to this reviewer as well.  Along with him are the Iowa Percussion Group, the Iowa State University Percussion Ensemble and, as mentioned earlier, the composer on carillon on tracks 7-10 with Gerard Norris conducting.

This New Focus recording FCR 156 is beautifully recorded and I think that is no simple task given the variety of instruments involved.