Michala Petri in the 21st Century


amerecorder

OUR Recordings 8.226912

Since her debut in the mid 1970s Michala Petri has proven herself as one of the great masters of the recorder.  The recorder is an instrument which, until the 20th century was pretty much only heard in music written before 1750 or so.  Many previous masters such as David Munrow and Franz Brüggen restricted their playing to early music.  Petri has certainly broken that mold.  She has mastered baroque, renaissance and contemporary music for her instrument as her recent releases demonstrate.  And her skills as a musician have only grown stronger and more convincing.

This disc is her celebration of American music for the recorder.  We hear four 21st century concerti for the recorder.  Composers include Roberto Sierra (1953- ), Steven Stucky (1949-2016), Anthony Newman (1941- ), and (a new name to this reviewer) Sean Hickey (1970- ).  These are fine compositions but they are basically mainstream sort of neo-romantic/neo-classical/neo-baroque works.  These are all finely crafted compositions but nothing here is experimental.  Despite the names all are basically concerti which highlight the interplay between soloist and ensemble.  Therein lies the joy.

The disc begins with Roberto Sierra (1953- ) wrote his “Prelude, Habanera, and Perpetual Motion (2016) as an expansion of an earlier recorder and guitar piece but, obviously, with a great deal of expansion and orchestration.  Despite its colorful title the work is basically a concerto and a fine one at that.  Petri here performs with the Tivoli Copenhagen Philharmonic under Alexander Shelley.  From Sierra’s web page there is a link to a video of the premiere here.  Sierra, born in Puerto Rico, affirms his skills as a composer in this exciting work.

Next up is music of the late Steven Stucky (1949-2016) sadly known almost as much for his recent demise as for his compositions.  However Petri’s performance of his “Etudes” (2000) for recorder and orchestra goes a long way to affirming some of the gravity of the talent we lost and the wonderful legacy he left.  The Danish National Symphony under Lan Shui do a fine job of handling the complex orchestral accompaniment and Petri shines as always.  This concerto is in three movements titled: Scales, Glides, and Arpeggios respectively.

Anthony Newman (1941- ) is a name that must be familiar to classical recording buyers in the late 1970s into the 1980s when Newman’s exciting recordings of Bach dominated record sales.  It is no wonder that he composed an essentially neo-baroque concerto pitting the recorder against an ensemble consisting of a harpsichord (deliciously played by Newman) and a string quartet (in this case the Nordic String Quartet).  Clearly a more suitable sized ensemble that might have been used in the 18th century.  This is the only piece on this album that is actually called a concerto by its composer.  Concerto for recorder, harpsichord, and strings (2016) in four movements (Toccata, Devil’s Dance, Lament, and Furie) shows this performer, musicologist, and composer at the height of his powers in this lovingly crafted work.

Last (and certainly not least as the cliché goes) least is by a composer unfamiliar to this reviewer, Sean Hickey (1970- ) is also the youngest composer here.  His A Pacifying Weapon (2015) is subtitled, “Concerto for Recorder, Winds, Brass, Percussion and Harp” which tells you about the rather gargantuan dimensions of his work.  While not representing a specific “program” the work is the only one on this CD that espouses some political content.  The title reflects the composer’s desire to use this concerto to represent some of his response to “current events”.  The three movements are simply numbered 1, 2, and 3.  I can only begin to imagine the problems of balancing the little recorder against such a huge and loud ensemble but the Royal Danish Academy of Music under conductor Jean Thorel are clearly up to the task.

Hickey originally hails from Detroit and is now based in New York.  A quick perusal of his web page suggests that listeners like your humble reviewer have much to hear from this up and coming young composer.

All these are world premiere recordings which show Michala Petri at the height of her powers.  Indeed she is an international treasure whose instrumental skills and her range of repertory continue to amaze and entertain her audience.  The recording under Lars Hannibal’s direction is, as usual, lucid and very listenable.  Joshua Cheeks liner notes save this writer a great deal of research time and pretty much answered all this listener’s questions.

Happy listening all.  This recording has it going on at many levels.

 

 

 

 

 

Michala Petri Goes Brazilian


OUR Recordings 6.220618

Since her debut in 1969 at the tender age of 11 Danish born recorder virtuoso Michala Petri has been one of the finest masters of the recorder.  This ancient instrument, a forerunner of the flute, has existed since the Middle Ages and has amassed a huge repertoire and Petri seems to have demonstrated mastery over all of it and has been an advocate and promoter of new music for her instrument as well.  She has inspired composers to write new works for her and she continues to entertain audiences and has assembled an ever growing discography of startling range and diversity.  Nearly single handed she has managed to honor past repertoire and firmly ensconce this instrument in the 21st century.

In this release, produced by Lars Hannibal (himself a fine guitarist and frequent Petri collaborator) Petri takes on the music of Brazil and, despite the fact that recorders have seldom found their way into the music of this geographic region, she delivers a convincing and hugely entertaining program on this disc.  Along with Marilyn Mazur on percussion and Daniel Murray on guitar the listener is given an entertaining cross section of Brazilian music ranging from the more classically oriented work of Heitor Villa-Lobos (1887-1959) and Ernesto Nazareth (1863-1934) to the smooth jazz/pop sounds of Antonio Carlos Jobim (1925-1994) and Egberto Gismonti (1947- ).  In between are included works by the album’s guitarist Daniel Murray (1981- ) and a few names unfamiliar to this reviewer including Paulo Porto Alegre (1953- ), Paulo Bellinati (1950- ), Hermeto Pascoal (1936- ), and Antonio Ribero (1971- ).

There is a remarkable unity in this Danish production which stems from a meeting between producer Lars Hannibal and Daniel Murray in Vienna in 2014.  Hannibal’s ear found a kindred spirit whose musicality is a good match for that of Petri.  And like a good chef he added the delicate and necessary spice of the tastefully understated (but extraordinary) percussionist Marilyn Mazur to create a unique trio that sounds as though they’ve played together for years.  Here’s hoping that they’ve secretly recorded enough material for a second album.

All the tracks appear to be transcriptions though the transcriber is not named (I’m guessing they’re collaborative).  What’s nice is that there is nothing artificial or uncomfortable about these arrangements.  The overall impression left is that of a skilled ensemble and listeners encountering the original forms of these works might well assume those to be the transcriptions.  So convincing are these performances.

One last thing.  The sound.  This super audio CD release was engineered by Mikkel Nymand and Preben Iwan and the sound is fabulous.  I don’t have a machine that can read the super audio tracks on this hybrid disc but what I can hear is a lucid recording which embraces the subtleties of this unique ensemble.  Enjoy!

Huang Ruo: Red Rain, a New Generation From the East Makes Itself Known


redrain

This recording grabbed my attention in wonderful ways from the very beginning and didn’t cease to amaze me until it ended.  Huang Ruo (1976- ) is one of the most striking new voices this reviewer has heard in some time.  This Chinese born American composer draws on his ancestral culture, modern culture and synthesizes it with contemporary compositional techniques in new and interesting ways.  He provokes the same sort of excitement in this reviewer that first contact with the music of Bright Sheng and Ge Gan Ru did when they first came into earshot some years ago.

huangruo

Huang Ruo (1976- )

(Perhaps it is due to the rising star nature of this artist but there seems to be relatively little reliable info on him.  His website is apparently not yet complete and even his Theodore Presser page fails to even give dates for his scores.  I’m hoping these glitches get resolved soon because I think this is a composer who deserves serious attention.)

The very first track, Four Fragments (2006?) in the version for cello solo (apparently there is a version for violin solo but it is not clear which came first) is a powerful and virtuosic piece loaded with various pizzicati, glissandi and other effects that perhaps only a score could really tell you with certainty.  What is interesting is the really organic nature of these effects, that is to say that they serve the composition and aren’t simply “golly gee what a virtuoso” type fireworks. The amazing Canadian Korean cellist Soo Bae handles this work beautifully and seemingly with relative ease.  This is the second longest (by about ten seconds) of the pieces on this disc and the music, the performance snagged me immediately.  What a powerful piece!

After that I was prepared for perhaps a let down, something more “ordinary”.  But, no, the next track, the title track, Red Rain (200?) for piano played by the wonderful Emanuele Arciuli is another distinctive statement which seems to mine the riches of the composer’s native culture and place it anew in a contemporary and relevant modern context.  At 10:50 it is a substantial piano work.  Like the cello piece it seems to use some unconventional idioms for the instrument and by that I mean it sounds nothing like Mozart, Beethoven, Debussy or even Boulez or Stockhausen.  It seems infused with an eastern musical flavor no doubt gained from techniques native to non-western traditions.

In another assault to any expectations I might have had the three movements of Shifting Shades have the pianist using a whistle such as your gym coach likely used with the pea inside to create a tremolo.  Here the pianist whistles (and plays some sort of flute, maybe a recorder or shakuhachi? at one point; he also apparently plays directly on the piano strings at times) whilst playing the rapid tremolos and the drones that seem to characterize Huang’s keyboard writing. Stephen Buck is the hard working pianist here.

Buck comes back again for the Tree Without Wind for piano (this time played a bit more conventionally).  This is the longest piece on the disc at 13:57 and rewards the listener’s attention.  It seems to probe mythological depths and was suggested by a Chan Buddhist narrative by Hui Neng.  Tremolos, clusters, drones and melodic fragments take on a symphonic grandeur at times.  There is a wide range of dynamics and tempi as the pianist recounts in sounds the meaning of movement and silence.

Three Pieces for Piano gives names to the short movements.  Prelude: Diffluent, Postlude: Left… and, Interlude: Points and Lines all contain the same techniques as the other piano pieces here (though without any additional instruments this time).  These sound like they might be earlier works and perhaps studies investigating different techniques though they seem fully fleshed out and complete in themselves.  The three movements are varied and the last one is apparently the composer’s only dalliance with twelve tone techniques and is by far the most conventional sounding work here though Huang’s distinctive fingerprint is present.  Once again we hear Stephen Buck navigating the score.

In the last track we get to hear the composer himself at the piano with Arash Amini (a member of the American Modern Ensemble) on cello in Wind Blows…  Like the previous tracks and as indicated in the fine notes by Stephen Buck this piece utilizes specialized effects to produce a unique sonic image.  The piano part is referred to as a “drone” and it is indeed static at least in relation to the part for cello. Unlike the preceding pieces there seems to be less concern about evoking images and more concern for just the sound itself which is described aptly as “meditative”.   In fact it is powerfully lyrical, even “Brahmsian” if I can be forgiven for that comparison.

The brief biography in the overall fascinating liner notes describe the composer as having been influenced by a wide variety of musical styles ranging from traditional Chinese folk musics to Chinese Opera, various western classical traditions including modernists such as Lutoslawski and various “pop” traditions as well.  He studied at the Shanghai Conservatory and he appears to have achieved a fascinating synthesis in what seems to be his mature style.  He is a composer, conductor and vocalist.  His music is unique and beautiful as a Taoist painting but grounded in traditions that embrace perhaps the entire world as filtered through his creative mind. Bravo Innova for bringing this music to light in this fine and interesting CD.

Definitely keep and eye and ear out for this guy.  He has many things to say and interesting ways to say them.

Paula Matthusen’s Pieces for People


matthusen

This is the first disc devoted entirely to the music of Paula Matthusen who as of July is a newly minted associate professor at Wesleyan University where she walks at least partly in the footsteps of emeritus professor Alvin Lucier whose course Music 109 she inherited from him.  I had the pleasure of meeting Ms. Matthusen at Other Minds 18 where she was one of the featured composers.  In our all too brief conversation she was affable and unpretentious but certainly passionate about music.

Paula Matthusen

Paula Matthusen performing her work, ‘…and believing in…’ at Other Minds in 2013

 

She holds a B.M. from the University of Wisconsin and an M.A. and PhD. from New York University.  She announced her recent promotion to associate professor on Facebook as is, I suppose, customary for people of her generation.  It is on Facebook that I contacted her to request a review copy of this CD to which she quickly and graciously agreed.

This CD contains 9 tracks representing 8 works.  They range from solo to small ensemble works, some with electronics as well.  Her musical ideas seem to have much in common with her emeritus colleague Alvin Lucier but her sound world is her own despite some similarities in techniques, especially her attention to sonic spaces and her use of electronics to amplify sonic micro-events which might even include her heartbeat.

 

sparrows in supermarkets (2011) for recorder looks at the sound of birds in the acoustic space of a supermarket and their melodic repetition.  It is for recorder (Terri Hron) and electronics

limerance (2008) is another solo work, this time for banjo (James Moore) with electronics.  She says she is working with the concept of reciprocation here but that seems rather a subjective construct.  Like the previous piece this is a contemplative and spare work with some spectral sounds as well.

the days are nouns (2013) is for soprano and percussion ensemble and electronics.  Here she is concerned with resonances within the vibrators of the instruments as well as the acoustics of the room.  It is a dreamy, impressionistic setting of a poem by Naomi Shihab Nye whose poem supplies the title but the text is fragments of a Norwegian table prayer.  A very subtle and effective work.

AEG (2011) is represented by two movements (of four?) all of which were written for the Estonian ballet.  It is similarly concerned with resonances and words at times.  Of course it would be interesting to hear those other movements but perhaps another time.

of architecture and accumulation (2012) is the first of two purely acoustic compositions on this disc.  This one is for organ solo (Will Smith) and explores long tones within the acoustic space.  It is a very satisfying work even if one doesn’t go into the underlying complexities.

corpo/Cage (2009) is  the longest and largest work here and is the second purely acoustic piece on this recording.  It has echoes of Stravinsky at and it is an enticing example of Matthusen’s writing for orchestra.  This reviewer certainly looks forward to hearing more of this composer’s works for larger ensembles.  Very effective writing.

in absentia (2008) is the earliest work here.  It is written for violin, piano, glasses and miniature electronics (not quite sure what that means).  Like many of the works on this disc the concern or focus seems to be on small events and sounds.  This is a rather contemplative piece that nicely rounds out the recording.

Matthusen resembles Lucier in some of her techniques and focus on small sounds otherwise missed and she certainly owes a debt to people like Pauline Oliveros.  But in truth she sounds like no one as much as Paula Matthusen.  The composer presents a strong and intelligent voice and one wishes for more from this interesting artist.  Thank you for the opportunity to review this.