GVSU’s “Return”, an Intoxicating Adventure in Sound


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                                                                        Innova 983

OK, I’ve listened to this lovely CD numerous times and greatly enjoyed it each time. So why has it languished as a draft and why have I failed to publish this?

Procrastination aside there are several things I can identify as things that make this reviewer pause. First (and perhaps least significant) is unfamiliarity. The disc features three composers completely unknown to me: Daniel Rhode, Adam Cuthbert, and Matt Finch all of whom are listed as doing the additional duty of acting as mixing engineers (they are all students of the ensemble director as well).

GVSU  hails from the state of Michigan and it’s new music ensemble (consisting of Hannah Donnelly on piccolo, flute, alto flute, bass flute; Ryan Schmidt, clarinet, bass clarinet, contrabass clarinet; Darwin McMurray, soprano, alto, tenor, and baritone saxophones; Makenzie Mattes, percussion; Reese Rehkopf, piano; Jenna Michael, violin; Kirk McBrayer, cello; Niko Schroeder, sound engineer; and Bill Ryan, director and producer) is also new on this writer’s radar. Add the participation of the extraordinary violinist Todd Reynolds (on one track) and one’s attention is further piqued. Reynolds is an artist who chooses his repertoire and collaborations judiciously so his presence certainly functions as an endorsement.  But “unknown” is the heart of my interests both as listener and reviewer so that can’t be the reason though the lack of liner notes is a bugaboo (though hardly a fatal one).

On the positive side this is an Innova release and that fact alone lends credibility. Anything that Minnesota based label (the official label of the American Composers Forum) is worth your attention. Label director Philip Blackburn has a finely tuned radar which has led to many revelatory releases over the years.  Truly anything released on this label is worthy of your attention if you are a new music fan.

So we have hear a 15 track CD of 15 new works whose sounds seems to travel between ambient and postminimal. The pieces merge nicely with each other in a production which assures a fine listening experience. One can put this on either as background or for more intensive listening. It works either way. The playing is dedicated and insightful and the recording is top notch.

The pieces range in length from 1:32 to 7:32 and all seem to be just the right length communicating substance but never dallying too long. They’re bite sized, so to speak but they each have their charms as well as their complexities.  All are premiere recordings and all are commissioned by the ensemble.

Check it out. Click on the links provided in this review. And simply enjoy.

 

 

The Ecstasy of Enjoyment: Sharon Isbin with the Pacifica Quartet


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Cedille CDR 9000 190

I was delighted to have had the opportunity to speak with guitarist Sharon Isbin (1956-) about this fine album.  She appeared to be in the midst of a queue of interviewers set up by her press corps but she came across as a confident, relaxed, and skilled interviewee and a gracious person with a palpable passion for music.  Listening to this latest release and having a more than passing interest in this fine musician it is a joy to see her getting recognition.

Originally from the Midwest, Isbin actually began her studies in Italy where her nuclear scientist father was working as a consultant.  Her studies in Varese, Italy began at age 9 with Aldo Minella.  She also counts among her teachers Andre Segovia, Alirio Diaz, and Oscar Ghiglia among her many teachers.

Most curiously she spent time studying Bach with none other than pianist Rosalyn Tureck during the time she was working on her landmark recording of the Bach Lute Suites.  Isbin stated, “I don’t play piano and Tureck doesn’t play guitar but I wanted her insights into the preparation of this music.”  Apparently this collaborative scholarship resulted in the publication (by G. Schirmer) of two of these suites originally written for lute.

As an academic, Isbin is all about research, fact checking, and collaboration and this clearly pays off as listeners will be delighted to find.  But she is also the founder of the Guitar Department at the venerable Julliard School, a department which this year celebrates 30 years hosting students from 20 countries and, this year, establishing a DMA in guitar performance.  Her first graduate, Australian guitarist Alberta Khoury, is the first recipient of this degree.

Asked about being THE musician to start the guitar department at Julliard she related that Segovia had proposed the idea some years ago and was rejected but that she was actually asked to start the department.  An example, perhaps, of the student transcending the teacher.

Isbin plays a great deal of guitar music but, unlike many in her field, she has shown interest and devotion to music of our time as well.  In fact she estimates having at least 80 scores and arrangements either commissioned by her or dedicated to her.  It was with her recording “American Landscapes” featuring concerti commissioned from Lukas Foss, John Corigliano, and Tan Dun that first brought this artist to this reviewer’s attention.  She is the recipient of three Grammys (and this album may very well earn her a fourth).

Regarding the present release, Isbin spoke of the process of preparation involved with this music.  The Pacifica Quartet had been in residence at the University of Chicago and this was the connection (Cedille is a Chicago based, Chicago friendly label) that allowed her collaboration to appear of this fine record label.

She also spoke of the serendipitous discovery of finding that the composer’s granddaughter, Diana Castelnuovo-Tedesco, actually lived near her in New York.  They began discussions and Isbin was able to view and work directly with the manuscript of the Quintet which opens the disc.  Asked about the fact that this very quintet had been recorded about a year ago by Jason Vieaux, Isbin replied that it was pure coincidence but that this piece was considered by the composer to be his finest work of chamber music.

The Italian composer, Mario Castelnuovo-Tedesco (1895-1968) was born in Italy but was forced to flee the Nazis and was able, with the sponsorship of Jascha Heifetz (then a recently minted citizen himself), to come to the United States in 1939 just before the outbreak of WWII.  In fact, his family suffered a similar indignity in 1492 when they were forced from their native Spain when the Alhambra Edict forced the expulsion of Jews from the country.  The composer’s curious hyphenated name, according to Isbin, resulted when a dying friend who had no progeny asked that the composer somehow incorporate his name.  This is both sweetly romantic and evocative of the sensitivities of the man himself.

The Guitar Quintet Op. 143 (1950) is a grand romantic and virtuosic work that deserves to be heard.  It is difficult to imagine an audience not being thrilled by this music.  It is cast in four movements like a classical work (allegro, andante, scherzo, finale).  From the beginning the listener is carried along by beautiful melodies and clever collaborations between the strings and the guitar.  Isbin related that superscriptions on the score saying, “Souvenir of Spain” gave the idea for the title of this album.

This is followed by one of the most recognizable guitar concertos, the Concerto in D Major for guitar and strings by Antonio Vivaldi written about 1730.  The original is written for lute and Isbin uses an edition for guitar by Emilio Pujol with gorgeous ornamentation consistent with late baroque practice added by the present performer.  This performance is with guitar, violin, viola, and cello (no second violin) but manages to make a big sound.  This work is a personal favorite and, unlike the other works on the album, extremely well known and loved by this reviewer.  My baseline favorite recording of this piece will probably always be Julian Bream’s performance on this RCA recording but Isbin’s scholarship provides a fascinating perspective on this work.  So basically I now have two favorite recordings.

Next up is the only piece on the album where the Pacifica Quartet plays without guitar.  Joaquin Turina (1882-1949) is more or less a contemporary of Castelnuovo-Tedesco.  Offered here is Oración del Torero Op. 34 (1925).  Curiously this work was written originally for four lutes or string quartet.  Only the quartet version seems to get much play though the lute version might be interesting as well.  This work, which translates into English as “Bullfighter’s Prayer” is essentially a miniature tone poem whose drama takes on almost cinematic dimensions in its just over 7 minutes.  The Pacifica Quartet does a potent job of delivering an engaging performance.  The Pacifica consists of Simin Ganatra, first violin; Austin Hartman, second violin; Mark Holloway, viola; and Brandon Vamos, cello.  They are based at Indiana University.

Last and certainly not least is another major Quintet by an Italian composer, Luigi Boccherini (1743-1805).  His dates make him a contemporary of Mozart and Haydn, though he was born in Italy, many of his productive years were spent in Spain where he enjoyed royal patronage.  He was a prolific composer who has experienced a significant interest in the 20th century.

He wrote no less than 9 Quintets for guitar and string quartet and this one, in D Major G. 448 dates from about 1798 and is the best known of his works for this combination.  It has the rather unusual attribute of having a percussionist (one Eduardo Leandro) improvise on castanets and tambourine in the last movement, fandango.

The work is cast in three movements (pastorale, allegro, grave assai-fandango) and will remind the listener of Haydn, Mozart, and/or early Beethoven.  The music is both familiar and very entertaining.  The castanets do not appear to be included in the original score and one can find recordings without them but they really rock that last movement.

This is another triumph for Ms. Isbin and a feather in the caps of the Pacifica Quartet.  It is sonically spectacular album as well having employed the producer/engineer team of Judith Sherman and Bill Maylone.  They achieve a lucid and warm sound field with an appropriately dry resonance that makes for an intimate listening experience which reveals the details the musicians coax from the score.  Get this one, you’ll play it often.

 

 

 

Mathew Rosenblum: Klezmer, Witches, and the Avant-Garde


Conjuring the spirits of the 1950s/ 60s avant-garde and a few musical references composer Mathew Rosenblum (1954- ) enlists the klezmer spirit of none other than David Krakauer and master conductor Gil Rose with his wonderful Boston Modern Orchestra Project to bring life to this klezmer clarinet concerto.

The concerto, titled, “Lament/Witches Sabbath” (2017) is a tour de force for the soloist and certainly a challenge for the large orchestra.  Using elements of klezmer style along with musical references such as Berlioz in suggesting the evil sabbath revels the composer creates an unusual but fascinating canvas.  Nothing evil here, just some truly exciting musicianship. In addition we hear various noisy avant-garde effects and even voice overs reminiscent of Robert Ashley.  Ultimately it is also a species of classical which has a sociopolitical view and this is both memory and homage to the composer’s past, lamenting the suffering and pondering the evil that fueled it.

Krakauer’s facility with his instrument is simply astonishing.  He has the klezmer thing down but he also brings with him a great virtuosity as a classical clarinetist and a working knowledge of free jazz.  It’s not clear how much creativity this soloist was allowed within the constraints of the piece but the bottom line is that it works very well.  Gil Rose’ expertise in handling all this potential chaos is impressive as always and he delivers ultimately a very enjoyable performance despite those noisy avant-garde moments.  Indeed it is Rose’ ability to select repertoire with which he can grasp and from which he can conjure a compelling performance.  It is Rosenblum’s family biography taking him from the pogroms of the Ukraine to the United States.

The second track (of 4) is a solo for percussion.  Again the avant-garde remains interesting and both performance and recording communicate well with the listener.  Northern Flicker (2013) is no filler, it is an interesting, if rather brief, work.  Lisa Pegher is the busy soloist.

Falling (2013) is a complex work involving pre-recorded audio as well as a chamber group in a song cycle based on the James Dickey poem of the same name.  It is a retelling of an incident in which an airline stewardess who died when she was sucked out of a defective emergency exit in the plane and fell to her death.  The cycle recounts an imagined look into her psyche as she fell to her death.  It is an affecting, if unusual, presentation but Rosenblum’s judicious use of modern elements  while still using recognizable melodies and more traditional techniques make for a listenable, if harrowing, experience.

Here the Pittsburgh New Music Ensemble consisting of Lindsey Goodman, flute; Eric Jacobs, clarinet; Nathalie Shaw, violin; Norbert Lewandowski, cello; Ian Rosenbaum, percussion; and Oscar Micaelsson, piano/keyboard join with soprano Lindsey Kesselman with conductor Kevin Noe to produce this rewarding work.

Finally we get another large work, this time for multi-tracked string quartet with percussion titled Last Round (2015) which is also biographical in that the composer is attempting to evoke a time in the 1980s when he frequented an establishment with fellow composers.  The composer, in his entertaining and informative liner notes recounts his time with fellow composer Lee Hyla and friends and seeks to evoke elements of the downtown scene of that era.  This is a rather large work with its own complexities but one which speaks easily to an audience, even one not experienced in the time and place the composer attempts to evoke.

This is a marvelous recording of a music by a composer unfamiliar to this writer (until now) whose work deserves your attention.

Fantastic New Music for Piano and Strings, The Jupiter Quartet with Bernadette Harvey


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There is no small irony for this reviewer in the title of this offering.  As soon as it was removed from its packaging I, much as Alice was implored by the comestibles in Wonderland, felt compelled by joyous expectation to consume it with eyes and ears.  And I was not disappointed.

Three composers are represented with one work each (two by Mr. Jalbert) in an album of recent compositions in modern but essentially tonal chamber music for highly skilled musicians. All But one (Secret Alchemy) are world premiere recordings commissioned by the Arizona Friends of Chamber Music and all contribute most handsomely to the piano and strings literature.

The highly skilled musicians are the extraordinary Australian Bernadette Harvey on piano with the Jupiter Quartet (Nelson Lee and Meg Freivogel, violins; Liz Freivogel, viola; and Daniel McDonough, cello).  They play extremely well together despite having to navigate all new and challenging material.  Harvey, in addition to traditional repertoire is a major advocate for living Australian composers.

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Pierre Jalbert

The album opens with Piano Quintet (2017) by Pierre Jalbert (1967-  ) which draws as much on the romantic tradition (can one hear the ensemble name “piano quintet” without thinking of Schubert, Brahms, and Schumann?) of that ensemble’s configuration as on his more modernist sense of rhythm and harmony.  It is cast in four movements titled, Mannheim Rocket, Kyrie, Scherzo, and Pulse.  This is a major work by a composer new to these ears and apparently very substantial.  This is highly engaging music with romantic leanings perhaps but there is nothing derivative here.  This composer is a voice that deserves an ear or two.

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Steven Stucky

Next up is music by the late lamented Steven Stucky (1949-2016).  While I regret not having gotten to know a lot of his music during his lifetime I find myself enthralled at the power and lyricism of each work I hear (the man was prolific too so I have much listening to catch up on).  This one is no exception, Piano Quartet (2004-5) is in a single movement with multiple sections of varied character.  Anyone who has heard any of Stucky’s music will find this piece both exciting and accessible.

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Carl Vine

Carl Vine (1954- ) is a prolific Australian composer (the only non-American composer represented) whose work certainly deserves to be better known outside of his native country.  He does appear to get recognition and respect there and with Fantasia for Piano Quintet (2013) we can see why.  This one movement work is (like the Stucky piece) divided into sections played without pause.  This is another work of both power and virtuosity which holds the listener’s interest and, ultimately, provides a satisfying concert experience.

The program ends with another substantial work from Mr. Jalbert, a piano quintet in all but name.  Secret Alchemy (2012) allows us to hear some earlier chamber music writing by this composer.  Again each movement is given a title but this time they are more like expression markings and less poetic.  They are: Mystical, Agitated, Timeless, and With Great Energy.  Why that’s practically a program note!  And like the piece that opened this disc it indeed has great energy and will engage the listener.

This album exceeded my enthusiastic expectations and I will listen again, probably many times.  Well done.

 

Janoska Ensemble: Revolution


 

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Deutsche Grammaphon 60257 725 9326

Not your typical Deutsche Grammaphon release, this disc is of a genre in which classical musicians toy with pop music arrangements (in this case two violins, piano, and bass) as well as a few showpieces.  Such novelties when done carelessly (evidence the plethora of string quartet arrangements of rock music) it can be tedious but with clever arrangements and energetic musicians they can be marvelously entertaining.  This disc is in the latter category.

This traverses some of the territory of the late great Yehudi Menuhin and his collaborations with the likes of Stephane Grappelli among others.  This spirit of exploring the fun side of classical music (so to say) is very much present here.  The virtuosity of the selections by Fritz Kreisler and Henryk Wieniawski  are contrasted with virtuosity of variations written and arranged by the Janoskas.  Add a cello and I’d love to hear these guys do the Schubert Trout Quintet.  They rock in their way.

Here are the track names:

The Marriage of Figaro (Mozart)

Yesterday (Lennon and McCartney)

Praeludium and Allegro in the style of G. Pugnani (Kreisler)

Hello Prince! (Roman Janoska)

Air (Bach)

Len’s Dance (Frantisek Janowska)

Melodie (Tchaikovsky)

Night and Day (Porter)

Penny Lane (Lennon and McCartney)

Variations on an Original Theme (Wieniawski)

Let it Be (Lennon and McCartney)

The ensemble consists of Ondrej Janoska, violin; Roman Janoska, violin; Frantisek Janoska, piano; and Julius Darvas, double bass.  Nothing truly “revolutionary” here except for the title but fun and entertainment certainly are.

 

Fatu Duo: Unusual and Beautiful Romantic Gems for Violin and Piano


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Tzigane Music 192914643470

No, this is not your typical violin and piano recital disc.  At first hearing it conjured memories (seen on television) of Jascha Heifetz performing his unique selection of virtuosic and popular short works for violin and piano.  The spirit here is essentially the same but the choice of repertoire distinguishes this recording.  Its name “Treasures from home”.  Here they present a very personal selection of music from their Russian and Romanian backgrounds much as Heifetz chose his repertoire.

There are 13 tracks by 13 composers and I seriously doubt you will duplicate anything you may have currently in your collection.  This album is, in a way, an updating of one of those Heifetz recitals in spirit.  Here the focus is on music mostly from the ancestral lands of the performers which includes Russia, Romania, and related regions.  However it is important to view these choices as musical interests, not a nationalist statements.

Mention needs to be made of the intelligent choices made.  We get and Ave Maria but not Schubert’s or Bach/Gounod, we get one by Astor Piazzola.  The too seldom heard Meditation from Thais gets a gorgeous reading.  The Fritz Kreisler piece speaks to a violinist perhaps a half generation older than Heifetz whose tradition inspired Heifetz.  All in all a thoughtful but ultimately enjoyable selection.  This is virtually a calling card for some musicians who are worth watching.

My only complaint here is, perhaps, a minor one.  There are few notes and nothing on the background of any of the composers.  Rather than try to correct this I will simply provide a list of the compositions recorded.  They do stand well on their own as compositions but listeners like your reviewer here thirst for more.  Anyway here is the list:

Jo Knümann: Rumanisch

Bela Kovacs: Sholom Alekhem Rov Friedman

John Williams: Schindler’s List Theme

Isidore Burdin/F. Dobrinescu: Hora Primaverii

Grigoras Dinicu: Hora Martisorului

Jules Massenet: Meditation from Thais

Matthew Jackfert: Hootenanny

Grigoras Dinicu: Ciocarlia

Antonio Bazzini: The Dance of the Goblins

Astor Piazzola: Ave Maria

Fritz Kreisler: Miniature Viennese March

Myroslav Skoric: Melodya

Vittorio Monti: Csardas

Williams, Kreisler, Massenet, and Piazzola are familiar names to this writer.  The rest I shall leave to the curious listener to learn more.  The end result, though, is a thoroughly enjoyable recital played with love and  passion.  It would be a nice addition to any collection of violin and piano chamber music.

 

 

From the Simpsons to the Concert Hall,Classical Gems by Danny Elfman


Album Art

Danny Elfman (1953-) has had a varied and successful musical career working in diverse areas.  From his days as lead singer and songwriter for Oingo Boingo, he has cultivated his love of film music into a successful career having scored numerous films and television shows.

Now a great divide seems to exist between composers who score films and composers who compose for the concert hall.  Few have demonstrated the ability to be successful in both arenas.  Erich Wolfgang Korngold is a notable exception as is Aaron Copland.  Both men have succeeded rather famously in both film and classical concert hall music.  In fact John Williams, though known primarily as a film and television composer has written quite a bit for the concert hall as well.

Now here comes Danny Elfman, known best perhaps as the composer of the Simpsons them for the long running animated series.  He has gotten the bug to write for the concert hall and this recording presents two major works.  The first is his violin concerto “11/11)(2017) with soloist Sandy Cameron.  You can read the liner notes about the composer’s obsession with the number 11 or you can relax and enjoy a genuine violin concerto, not a reworking of themes as one might expect from a lesser composer.  The second is a nice addition to the chamber music repertoire, a piano quartet (2017).

The concerto is played by the wonderful Royal Scottish National Orchestra under the direction of the esteemed John Mauceri.  Sandy Cameron is the soloist who handles the concertos four movements flawlessly and does justice to Elfman’s work.  It’s really a beautiful piece.  Only time will tell the work’s eventual place in history but we can certainly enjoy it for what it is, a good and entertaining violin concerto.

The Piano Quartet is played by the Philharmonic Piano Quartet Berlin which consists of Andreas Buschatz, violin ; Matthew Hunter, viola; Knut Weber, cello; and Marcus Groh, piano.  This five movement work would happily grace any chamber music recital.  It is in turn pithy, melodic, humorous, and serious.

This is stronger music than this reviewer had imagined would come from this composer’s pen.  I can’t say, “If you like his film scores you’ll like his music” but there are, perhaps inevitably, snippets of his film music style which work actually quite well.