International New Music Consortium, Inc.Group-in-Residence at New York University 87-27 Santiago Street, HOLLISWOOD, NY 11423Spring 2001
SELF PORTRAIT - ANDREA CAVALLARI. "Self Portrait" is a mature collection of works by composer Andrea Cavallari. The title suggests a reflection of the artist's subjective and personal view of his work and himself. After listening to the recordings of Mr. Cavallari's work, I was struck with curiosity as to what compositions, what styles and lengths of works he would choose to represent himself, ten or twenty years from now. His works,currently, display a stylistic continuity. His works employ running lines, a disjunct continuity which remains lyrical an a strict adherence to rhythmic clarity, most evident in his RED (Berlin, 1995) series of short ensemble works. Ritratti for piano and flute is also rhythmically notable but it is more important as a performance for achieving a great balance between immensely differing instruments. Cavallari's compositions for solo instruments strongly present diversity within exploration. Fantasia Per Flauto performed wonderfully by soloist Michele Marasco on alto flute, is a tasteful composition with abundant earthliness. The piece displays restraint and care not to overuse the many possibilities of sounds one can produce on or from the (alto) flute. The flip side to his restraint was his diabolical attack, Achrome, on the double bass, challenging it's range, agility and execution of harmonics. Solo bassist, Corrado Canonici met the challenge with feverish retaliation keeping the listener(myself) edgy through a climax which calmly concludes with the soft harmonics it began with. I was equally engaged by Cavallari's Passages, intensely realized by solo violinist Adelina Hasani. This particular work had me curiously contemplating his influences, Bartok, Ligeti, Feldman ? In contrast to his instrumental works are two vocal works, specifically, Magnificat for two soprano and alto and Red as a Song for voice and flute. The voices appeared to lament creating a haunting atmosphere reminiscent of early polyphony. Self portrait is an achievement of diversity and style within a composer. These recordings are a great introduction to the composer, Andrea Cavallari. (J.C.Maffia)
WALL OF SOUND, a CD by Ulrich Krieger/saxophonist (sopraninno, alto, tenor,baritone, bass), brings together a series of solo saxophone works by various 20th century composers. Krieger's unique ability to put together a CD of strictly solo saxophone works, and for it to be as interesting and compelling as it is, is highly admirable. It is a beautiful and tasteful compilation. Although works are by four different composers, all the pieces flowed with ease from one to the next with feelings of a rich meditative tapestry of sound. Saxony, by John Tenney includes digital delay with many different saxophones. The piece is based on an extended exploration of the fundamental. Fundamental tones are overlayed upon themselves (via the use of the delay), as overtones deliciously bubble up into the mix. As the various overtones surface, subtle rythms are created by the very laws of nature at play. Its unpretentious character becomes reinforced by the fact that the piece is naturally beautiful - the movement of pitch changing comes directly from the mathematical relationships created in the overtone series. The piece has a soothing, fragile yet determined quality. Its meditative subtlety speaks to the higher mind of the listener - where less is the quintessential more. Video Sax, by Joseph Celli, establishes a sonic experience likening to a painters canvas. Repeated tones and irregular rhythms simulate the thick layering of strokes in a vibrant Van Gogh. The intensity increases to a carnival-like cacophony - raucous and wild. With a nightmarish edge, the "sound painting" becomes garrish, jungle-like, and chaotic. An arrestingly colorful piece. Digeridoos and Don'ts, by Phil Niblock, is scored for digeridu and tape with digeridus. This lush and soothing work evokes a different time period, a forgotten past containing ancient wisdom. The remaining piece is entitled Four5, by John Cage. With a glass-like fragility, Four5, is simultaneously strong and persistent. It carries an almost other-worldly nature. I highly recommend the CD. The composers each have a unique vantage point, yet are brought together to create a beautiful and well integrated fabric; both deep and provocative. Ulrich Krieger brings us the gift of displaying their works with a consummate instrumental performance. (Wendy Luck)
Violeta Dinescu - Piano Works Violeta may remind one of the calming color or the delicate flower but do not be fooled here, Romanian born, Violeta Dinescu is a compositional powerhouse. Pianist, Werner Barho's acutely and intimately understood playing of Violeta Dinescu's PIANO WORKS is a revealing display of her compositional power. Unfamiliar with her work, until now, I wondered where her work is in the (western) repertoire. Ms. Dinescu employs a multitude of techniques which are intelligently combined. Harmonics and reverberating overtones are constantly heard through the body of the piano. In this respect, the recordings are equally acute and intimate as Mr. Barho's playing for not missing or ignoring those importantly desired effects. Violeta's music comes from the use of mathematical and controlled rational practices, infused with levels of structured improvisation. More so interesting, are the results, beautiful lines and ethereal motivic atmospheres, than the actual "scientific" methods. The systematic structures are often undetected by the ear. The ear is pleasantly fooled by the lyrical achievements and the constant sense of direction, always leading the ear to a satisfying place. Torre Di Si (1994), her latest work on the recording, when compared to Suita (1973) and Con Variazioni (1974), her earliest works, we hear this evolution of deception. The awareness of structure is further diminished in regard to rhythm and meter. Despite the use of improvisation, Violeta applies a parlando rubato borrowed from Romanian folk music and Byzantine chant. This application may create a freedom away from marked tempo but it is precisely notated and controlled. Torre Di Si strongly brought to mind the work of American composer, George Crumb. The end result, aurally, is uncannily similar yet both composers execute differing techniques. The process of composition never ceases to fascinate and Dinescu's Dies Diem Docet (1987) is another accomplished example. The work is a pilgrimage or 'time travel' back to Franz Liszt's "L'Annees de Pelerinages". Dies Diem Docet is cleverly introduced with a performance of Liszt's "Les Jeux d'Eau de Villa d'Este" (only a section), although, the introductory music, foreshadows the idea of structure, inevitably exposing it. The work also contradicts, to a certain degree, the element of rhythmic freedom. These are not criticisms, only observations, for this work employs characteristics found in jazz that are not apparent in the previous works. Dies Diem Docet is a challenging composition. As a non pianist, I dare recommend to anyone interested in contemporary repertoire, to discover Violeta Dinescu's music. It not only challenges one's technical abilities but it, more so, challenges the core of one's musicality. (J. C. Maffia)
FLOTE UND COMPUTER, a CD of works performed by flutist Beate-Gabriela Schmitt, is an unusually interesting compilation of New Music phenomenaš. Most notable are the very innovative and unique array of flutes utilized. Ms. Schmitt performs on the subcontrabass, contrabass, bass, alto, concert flutes, slide flute, a Terzflote in Eb, and flute without a headjoint. The subcontrabass flute is exceedingly rare. The instrument is ever so successfully performed by Ms. Schmitt. The works performed on the CD, as noted in the title, are for flutes and computerized sounds. The first piece "...it wears, sir, as it grows...˛(1992/1996), by Andre Werner is evidently a reworking of the same piece for quintet and live electronics. Presently, for subcontrabass flute and live electronics, the piece exudes unusual, velvety, rhythmic pulsations as sampled timbres of the subcontrabass flute mix and interweave. An always interesting effect is created by blowing directly through the headjoint itself. "Penthesilia"(1986), by Sukhi Kang, scored for flute, harmonizer, and reverberation, is a rather theatrical exploration of sound, noise, words, music, electronics, and flute textures. Words of actors rehearsing a play, become an integral part of the "musical language". The "music" seems to go to the depth where words cannot. The piece builds to an edgey, haunting, soft wailing of flute sounds, where a hollow wind whistles through dream-like textures. Horacio Vaggione's "Scir"(1988), is written for contrabass flute and prerecorded computer-generated sonorities. Innovative articulations by Ms. Schmitt grab the listeneršs ear. Slapping of the keys with simultaneous gusts of air("thwamp") superimposed on a fast, clicking, insect-like and everchanging backdrop, evokes visions of other worlds. Sounds begin to reverberate onto themselves, echoing fragments of a strange melody. A metallic surf? Roland Pfrengle's "SOG"(1991-95), is composed for flute, electronic sound modulators and sound generators. How the flutist steps towards or away from the microphone determines many of the computer sounds. The flute repeats phrases while slightly altering them - the melody becomes computerized as it is turned around. A flute duet enters - refreshingly "real", then becomes mockedš by the computer. Moments of a crashing cacophony form a sort of rhythmic expectation, only to last a few seconds - suddenly offset by a straightforward flute entrance. Other prerecorded tape by Roland Pfrengle and Sukhi Kang's "Stone Lion"(1990), music for an experimental film. I highly recommend the CD, as it is a successful exploration into the varied musical textures of computerized sounds as well as breaking old boundaries of the already established flute family. Beate-Gabriela Schmitt expertly handles the repertoire with imagination, ease, and great competence. (Wendy Luck)
Maurizio Barbettišs recording for solo, chamber and interactive viola works provides a refreshing survey of contemporary composers from Italy, Japan, and America. The CD primarily consists of works by Italian composers whose ranks include the prolific film composer Ennio Morricone. His piece, Suono per Dino is quite a stylistic departure from his more well known film music. Morricone makes use of 2 magnetophones and overlaps recordings of the violist with live performance. Initially sparse in texture, the piece gradually builds into a polyphonic climax; controlled, subdued and tasteful. Many of the works require great technical facility both traditional and modern. Barbettišs fluency in the language of extended technique is displayed in works by Robert Platz (Levinšs Solo), Toshio Hosokawa (Sen II), and Franco Donatoni (Ali). In these pieces, the three composers make sure the soloist has a varied and colorful palette to work with. Pizzicato, col legno, sul ponticello harmonics, and aggressive triple stops are woven into intricate patterns, juxtaposed against each other within structural games.The second half of the CD marks a departure from the more experimental nature of the previous 5 pieces. Luca Francesconi piece, Charlie Chan is the first piece with no extended technique. Because of this, the contrast of texture is obvious and itšs tonal nature creates a breathing point wherein one can contemplate the rich, complex soundscapes Barbetti created in the first half of the recording. The lyrical nature of Feldmanšs The Viola in My Life and Scelsišs Manto I compositions are delicately captured in Barbettišs nuanced approach. It is clear he is idiomatically flexible and poetic in his interpretation of these works. Feldmanšs piece is the only one with piano accompaniment, yet the credits in the liner notes give no credit to any such performer. Meditative in nature the, music of The Viola in My Life meanders through a wandering chordal texture that is reinforced with slight whispers of the viola. Barbettišs solo recording is fine display of musicianship and one can only look forward to hear more from this virtuoso of the viola. (Paul Lee).
Maurice Durufle's Requiem and Mass "Cum Jublio"
"Kyrie eleison...", "Gloria in excelsis Deo...", "Angus Dei, qui tollis peccata mundi..." ; These sacred words have been set over and over again by composers of all ages and all styles. Some of the most magical moments in music were created to accompany these powerful words of prayer. When a composer chooses to set the Mass to music, he is recognizing the desire to florish these words of belief with the dramatic element of music. Prayer must be set with tender care, however. Composers must be careful not to sacrifice the melodies and harmonies for the ideas behind the drama. When the words are no longer mundane and when they have once again, touched your heart and echoed in your soul, then the task of setting prayer to music is accomplished with great success. Maurice Durufle's writings and the inspirational voices of the "Chorales de Philippe Callard et Stephane Caillat" and the "Orchestre de l'Association des Concerts Lamoureux" have accomplished such a feat. Durufle, who lived well into the 1980's, was able to create a style of his own while giving traces to the late 19th century, early 20th century style of Faure. In fact, there are recognizable parallels found in Faure's Requiem and Durufle's compositions. Some of the most memorable musical moments occur just within the walls of this CD; from the time the running violins enter with the angelic chorus for the "Introit" until the final familiar melody of Gregorian chant is sung a capella with its new and inventive harmonies. As Randall Thompson achieved such great drama with the words of the Bible, so did Durufle with the words of the Mass. I make this comparison because I have been duelly impressed by the way a sacred text can be transformed into what seems like a new and exciting story by both of these masters of drama. Such a moment occurs in Durufle's Requiem, Op. 9, the "Kyrie", written with a tone of majesty and hope as if mercy is being restored in the midst of the plea. Helene Bouvier's dark and delicate voice beautifully compliments Durufle's tender setting of the "Pie Jesu". Baritone, Roger Soyer, delightfully praises with his rich voice in the "Benedictus". Durufle makes it easy for vocal expressiveness in his writings and the choir diligently follows his cues. The soft strings balanced with the explosive brass and timpani adds to the drama, as well. Such is the case in the "In Paradisum" when the strings paint the perfect picture of paradise and in the "Gloria" with its triumphant beginning. The entire CD reflects such beauty. The fact that Durufle could take this well-known text and transform it into something refreshing and new makes him a magician and a superb composer.(Jessica Webber)
Nature and Spirit - chamber music by Zhou Long CRI CD679 The reunification of Hong Kong and mainland China in the closing years of the 20th century marked certain shifts in the political arena, redefining the dynamics communism and free world trade between China and the rest of the predominantly capitalist superpowers. What would such a momentous occasion be without a celebration of Herculean proportions? Tan Dunšs Symphony 1997 (Heaven Earth Mankind) was commissioned by the Association for Celebration of Reunification of Hong Kong with China. The even took place on July 1 1997 and the accompanying symphony was quite an involved project that required the participation of Yo Yo Ma, the Imperial Bells Ensemble of China, the Hong Kong Philharmonic Orchestra, Yipšs Childrenšs Choir, and Tan Dun himself as conductor. The Symphony is a very a large work divided into 3 sections with 13 sub movements in total. The opening work,, Song of Peace is fitting for any festival with its thundering dance like percussion rhythms, celebratory choral singing, and joyous clamoring bells. The only disorienting element is that the music sounds more like a soundtrack to a Disney cartoon film than the music of a man who wrote music for ceramics, water, paper, and stones. It does have a commercial flare to it. Tan Dun sheds this skin in the second section of the Symphony with the implementation of a more experimental, loosely structured quality. The second section titled Earth (Yi3) is basically a concerto for cello and bianzhong (65 bronze bells) the feature instrument of this recording. These bells were discovered in 1978 during the excavation of the tomb of Marquis Yi of Zeng (Hubei province). Apparently these bells were buried over 2400 years ago and have not been used since. The bells span a 5-octave range, each bell can produce 2 pitches, and they are designed to play a 12-tone chromatic scale. Tan Dun breathes new life into these bells with a creative approach of synthesizing this massive instrument with Yo Yo Mašs cello, and an orchestra definitely worth a listen. If not for the bells, Yo Yošs playing is exuberant and unsurpassed in emotive content, strength and spirit. The work closes with a Lullaby and recapitulation of the prelude, Song of Peace. The work is a major accomplishment in the career of Tan Dun. It is not only a successful commercial venture, but also an interesting study into the fusion of Western and Asian musical idioms. (Paul Lee)
Gunther Schuller: Fantasy-Suite for Guitar 1994
Performed by David Starobin
Gunther Scnulleršs "Fantasy-Suite for Guitar," available on the Bridge Records 1999 release "Music of Gunther Schuller," is a riveting example of 20th Century harmonic language and contemporary gestures for classical guitar. Throughout the four- movement work, Schuller cohesively demonstrates his grasp of the guitar idiom while managing to sound fresh and inventive. The first movement, Sarabande, initially starts with a jolting entrance and then pulls back to allow for a slow and sonorous journey through texture and harmony. Although not exactly at a strict tempo, a sense of forward motion is felt through the contour of the lines and inherent accelerando/decelerando. The second movement, Fantasia Parodistica, gains in intensity through an increase in motion and dynamic range. Schuller has interspersed thick sforzandos with shrinking textures rich in motivic harmony to create an anxious sense of anticipation in the listener. Schuller also adds to his category of idiomatic gestures by notating "bent" notes. This technique, although well seated in the hands of a jazz guitarist and quite common, is refreshing to hear in a "classical" arena. The bent notes add a hauntingly beautiful palette of sounds to the already elaborate technique Schuller has demonstrated. The third movement, Forlana, is modeled after a French dance form. Again, even with frequent fermata, strong rhythmic figuration and triple meter convey the sense of motion and dance. This movement also contains an easily discernible rounded form that adds to the appeal of the traditionally accepted dance form and even dance music in general. The fourth and final movement, Toccata (Allegro vivace), presents an elaborate series of frantic gestures at a quickened tempo. Schuller creates an almost seamless transition from one element to the next until he brings the piece to a resting point by thinning the texture and slowing the tempo. After a short but melodic passage, the dynamic again rises and motion is increased to signify finality. Schuller successfully conveys a sense of closure to the movement and the work in its entirety. " I can state without hesitation that this composition- specifically writing for the guitar- was the most challenging creative effort I have ever faced as a composer- by far." This is a quote from Schuller himself in the liner notes of Bridge Records recording 9093 " Music of Gunther Schuller." Schuller demonstrates, with his Fantasy-Suite for Guitar, an exquisite talent in creating new sound and composition while retaining a vantage point with which a listener can base his experience. Also, credit must be given to David Starobin for his world-class performance and for whom this piece was written. Reviewed by Daniel OšSullivan
Nature and Spirit - chamber music by Zhou Long CRI CD679 The music on this disc has one thing in common -- they are all full of energy and dramatic elements. When I listen to these chamber music, it reminds me a lot about those Chinese martial arts movies or drama set in ancient China, which are so popular during the 70s and 80s in Asia. I especially like Wuji for piano, zheng and percussion. The use of the percussion (gong, mallets and bell-tree especially) instruments as an "extension" of the piano was very effective in producing several interesting tone color and articulation that. Also, Zhou Long is especially good in creating several different moods at the same time. For example, a cautious rhythmic pattern on the temple blocks, a Chinese melody on zheng and several arpeggios motives on the piano all adds up to a vivid picture of different activities and thoughts. The performers are all excellent musicians, able to convey the composeršs idea effectively and engage the listeners into an interesting world of Chinese-Western music. (Kimseng Sim)Works for Viola and Orchestra by Giya Kancheli and Giya Kancheli
Kim Kashkashian, viola
Dennis Russell Davies, conductor
Orchester der Beethovenhalle Bonn
Rundfunk-Sinfonieorchester Saarbrucken
ECM 78118-21471-2
The biggest similarity of the viola music in this disc and the chamber music of Zhou Long is that they are both very dramatic in nature. However, the writing on these two viola works is generally very heavily handled and melancholic in nature. In Vom Winde beweint, Kancheli created a very long and quiet passage for the viola to introduce the melancholic nature of the movement. There is some interesting use of harpsichord throughout the slow sections of the concerto, which was effectively in illustrating the stillness of the particular moments. In the viola concerto by Alfred Schnittke, there are many moments, which sound very similar to the symphonies of Shostakovich. The orchestration that Schrittke uses had me though for a while that this might be a music written by Shostakovich instead. Kim Kashkashianšs introspective look into the slow movement of the concerto by Schnittke took the audience to a different plane. Her musicality and musicianship was demonstrated by her understanding of the score, augmented by her incredible palette of tone colors as well as technical skills.(Kimseng Sim)
MEIN HEIM EIN STEIN (Violeta Dinescu): If you are looking for a great CD, Mein Heim ein Stein is the whole package. Great music performed by great musicians. The Trio Contraste catches the true essence of Violet Dinescu's music with not only their technical abilities over the instruments, but with their incredible understanding of different textures in the chamber sound and texture. Dinescu's music explores lots of space, hollowness, and sonority, in which explosions of color constantly take place with small and sudden gestural movements. The sudden gestures or motives that pop out onto the walls of sound that are already there, whether mysterious or calm, bloom like a flower and close up as soon as it recognizes its presense among everything else surrounding it. The whole CD feels so natural that it lets you explore a life of a breath- the preparation, the exhalation, and the inhalation- like that of a flower's life. Fascinating and beautiful, Violeta Dinescu's Mein Heim ein Stein is a real treat for its relaxing but intense contents that makes you encounter your own breaths. (dawn kim)
Shabah: Ethno-Jazz In "ShabahÕs: Ethno-Jazz", seven gorgeous compositions extraordinarily blend different musical styles and traditions, mostly jazz and ethnic, revealing great taste, superb musicality, clarity and remarkable inspiration. Shabah is comprised of a very talented and highly skilled team of musicians, featuring Dumitru Belinschi, the composer and keyboard player, Marius Gagiu, the exceptional flutist, Igor Varicas, the bass and guitar player, and Mario Florenscu, the miraculous percussionist, who manages to effortlessly guide the performance throughout the amazing ethnic rhythmical pandemonium. WhatÕs most interesting about several pieces in this album, like "Joc pe cinci", "Short Prinis", "Ivanco", "Tri- logos" & "Shabah" is that their performance retains the excitement and the high energy of a live session, even though their improvisational sections should be shorter. Morever, "Nico" is a pleasant musical surprise creating a new age ambiance that beautifully contrasts the fast and jazzy texture of the rest of the album. Although fast and jazzy, "El-Paso" is the piece that you simply will not get out of your mind and ultimately from your CD player. All in all, this highly imaginative work of the Shabah deserves "two thumbs up." We just await their new album, hoping that they will continue to expand their taste and enrich this amazing musical genre. (Dimitri Issaris)
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