Femenine, a Lost Julius Eastman Recording, a Major Treasure


This is an epic minimalist masterpiece that has the same sort of almost full orchestral impact that one hears in works like Reich’s ‘Music for 18 Musicians’, Riley’s ‘InC’, and perhaps Glass’ ‘Music with Changing Parts’ or ‘Music in 12 Parts’.  The point is that it is entrancing and engaging music that deserves to be heard.

Julius Eastman (1940-1990) was an American singer, performer and composer whose work was little known until after his untimely death.  It was the efforts of composer Mary Jane Leach who performed a labor of love essentially saving Eastman’s work from obscurity when she called upon her fellow musicians and artists to help her gather all the extant recordings and scores many of which were lost after Eastman was evicted from his apartment not long before he died.  Her Julius Eastman page is a valuable reference and her work has inspired further research and performances of Eastman’s music.

Leach’s substantive initial efforts resulted in the release of the 3 CD set, Unjust Malaise which made available all of the then known serviceable recordings of this composer’s music.  Since then this recording became available and it may be the finest that Eastman did.

This is a live recording of a performance from 1974 which is quite lucid and listenable.  It starts slowly but quickly finds its rhythm and pace and provides an uninterrupted 70 minutes of consonant, even romantic sounds.  It’s relation to femininity or any gender issues is not clear, perhaps not even the point.  This piece also seems to have had a companion (called masculine) which is sadly now lost.

Anyone interested and entertained by the minimalist works already cited will find this work very inviting.  Hopefully the release of this recording will encourage a revival of this work and it will be performed again soon.  We as consumers are blessed to have this major work by this major composer available for listening and study.  Eastman deserves recognition as a composer and this disc certainly is a strong support for that.

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Nadudim: Ethnic Memories from the Fifth House Ensemble


This is a really pretty album.  It is apparently one of the passions of Cedille to release folk musics from middle eastern and Mediterranean sources.  What distinguishes this release is its thoughtful, tasteful arrangements.  This writer is tempted to compare it to Berio’s Folksongs or Copland’s Old American Songs to capture the ideas behind the creative arrangements done by the four composers involved.  I don’t think this is quite the same undertaking as those works but this album is a serious musical effort by some marvelously talented musicians and is recorded with the lucidity one comes to expect from this unique Chicago based label.

Nedudim is the Hebrew word for wanderings and this is a great title for this album which takes the listener on a journey through the middle east and its musical riches. This is the second album that the Fifth House Ensemble, here joined by Baladino, has released on Cedille and it will leave the listener wanting more.

Various traditional instruments are mixed with classical instruments and gorgeous vocals in this song cycle.  It is a journey which reveals the diverse energies to be found in these local song traditions.  They are entertaining and even infectious in their joy.

 

 

 

Recurrence: New Icelandic Orchestral Music


“Well I’ve never been to Iceland, but I really like the music.”  Please excuse the Hoyt Axton paraphrase but this music brings joy to this listener’s heart.

Wow!  Even as a writer with an avowed fondness for music from the Nordic regions I am pleased to say that I am just stunned at this recording.  This is all new music written in the last few years by Icelandic composers and performed by the Iceland Symphony which seems well prepared to handle these large works.

These seven tracks document five works by living composers and, I dare say, rising stars in the classical orchestral realm as well.  Only one of these composers is likely to ring a bell in all but a few listeners and that is Anna Thorvaldsdottir, probably the best known musician from Iceland since Björk.  And it is worth noting that three of the five works are by female composers.

There is a consistency in the large orchestral sounds from these composers that provide a unity for the listener and a challenge for the recording engineers.  In fact this is ideal to show off the sonic facility of the Sono Luminus label and the skills of producer Dan Merceruio and recording engineer Daniel Shores.  This is the sort of album that stereo salons use to show off the range of their amps and speakers.  It is indeed thrilling to hear and the better your sound system, the more exciting this will be.  Those blessed with Blue Ray Audio capability will doubtless get the best sound of all.  Both standard CD and Blue Ray Audio discs are included in this package.

In order of appearance the composers are: Thurídur Jónsdóttir (1967- ), Hlynur Vilmarsson, María Huld Markan Sigfúsdóttir (1980- ), Daniel Bjarnason (1979- ), and Anna Thorvaldsdottir (1977- ).  Bjarnason is also the very capable conductor of the Iceland Symphony in this recording.

The music, Flow and Fusion, bd, Aequora, Emergence (three movements), and Dreaming are not given composition dates but are presumably recent compositions by these young artists.  There are liner notes which are useful to the listener but the main point here seems to be the glorious sound.  One hears influence and/or homage to some of the great sonic experimenters of the late 1950s and 60s like Penderecki, Xenakis, Lutoslawski and probably some Icelandic composers whose works have yet to be heard outside of Iceland.

The album has the notation below the title of “ISO Project 1” so here’s hoping that there will be at least a second volume and that we be given the opportunity to hear more from the rich musical landscape of Iceland.  Bravo!  Brava!  Keep it coming.

 

Oceanus Procellarum: Gareth Davis and Elliot Sharp


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I recall excitedly taking a class in college in the late 70s which dealt with post 1950 composition.  The professor emphasized that the reigning characteristic of this music is “pluralism”, that is to say that anything goes and one gets less useful information from labels like, “classical”, “baroque”, “romantic”, “post-romantic”, “post-modern”, etc.  There is no question that this maxim remains very true and we now are seeing composers well-versed in virtually every technique known to the world of composition.

This album is a fine example of such pluralism.  Seeing names such as Elliott Sharp and Gareth Davis one might expect something of the “free jazz” genre and that would not necessarily be an inaccurate description.  But it would fail to capture the wonderful writing for Ensemble Resonanz by the eclectic (yes, pluralistic too) Elliott Sharp.  As a composer Sharp draws on late twentieth century modern/post-modern compositional techniques along with a fair amount of his own creative innovations gleaned from his own experimentation and, no doubt, from his exposure to the wildly creative milieu of the Downtown New York scene of the 80s and 90s.

The result is like listening to shades of Penderecki and Xenakis as they wrote in the late 1950s though the 70s.  This is far more homage than derivation however and the achievement here is how well the soloists on guitar and bass clarinet fit into the work as a whole.  They fit remarkably well.

This could easily be called “Symphony for Ensemble with Obligatto Guitar and Bass Clarinet” or even Concerto if you like.  The point is that Sharp is an engaging composer whose works are very substantial.  From his beginnings on the New York Downtown scene with its mix of jazz, experimental and classical he has continued to explore and grow as a composer and that is what ultimately makes this release so compelling.

The musicianship here from Ensemble Resonanz, Sharp and Davis is of the first order and there is a certain sense of a tight fit such that, whatever may be improvised here sounds as though it were carefully written into this large orchestral fabric.  This is a powerful piece of music and repeated listenings will doubtless reveal more and more depth.  This is a very engaging piece.

Sharp is clearly evolving and growing as a composer and still hasn’t lost his marvelous collaborative and improvisatorial abilities.  This is a major work and a lovely recording.

 

 

 

Nordic Affect: Raindamage, Wonderful Music from Iceland


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Definitely an unusual beginning to this sonorous album of chamber music from the happy, creative place called Iceland.  Some of these tracks are electroacoustic combining some sort of electronic sound producing and/or manipulating components along with the live musical performance.

Nothing familiar here but a lot worth listening to.  This is a collection of recent chamber music from what is apparently some of the finest composers working in Iceland today. And as a Sono Luminus product it is a sound object of the highest order.  It is a beautifully recorded set of pieces that goes a long way to demonstrate the high quality and creativity of both the compositional and performance to be found in this distant corner of the world.

There are six works represented here.  Three are exclusively electronic, one for acoustic instruments with electronics and two are for acoustic instruments alone.  All seem to share the eclecticism of modern composers and, to this writer’s ear, a rather distinct style which seems to come out of the Nordic regions these days.

Iceland has a long and proud musical history and has amassed a large creative classical repertoire in (at least) the 20th and 21st centuries.  Perhaps one can hear the “sounds of the north” in these works or perhaps that is simply the analogous associations of this listener’s mind but there does seem to be some affinity between the lovely cover photograph of melting ice and some of the sounds herein.

At any rate this is fascinating music beautifully performed by Nordic Affect, a more or less fixed ensemble of violin, viola, cello, and harpsichord with occasional electronic supplementation.  Performers include Halla Steinun Stefásdóttir, Violin; Guòrún Hrund Haróardóttir, Viola; Hanna Loftsdóttir, Cello; Guòrún Óskarsdóttir, Harpsichord with Nava Dunkelman on drum in the last track.

The composers Úlfur Hansson, Valgeir Sigurðsson, and Hlynur Aðils Vilmarsson are completely unknown to this writer though it is noted that Hansson studied at Mills College in California, itself quite a hotbed of new music innovation.  No matter, though, these are some amazing composers doing cutting edge work and deserve your attention.

All in all this is one fine disc of chamber music.

 

 

 

A Brassy 75th Birthday Celebration for John Corigliano


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John Corigliano (1938- ) is one of America’s finest composers.  He is to classical music in New York what Woody Allen is to the movies.  Corigliano is musical royalty.  His father was concertmaster under Leonard Bernstein among others (in fact he apparently worked as assistant to the producer on several of the Young Peoples’ Concerts).  His own accomplishments musically are many including a the very first Grawemeyer Award for his first symphony and a Pulitzer Prize for his second.  One could hardly find another musician as deserving of being honored.

From the very New Yorker style cover art this album affirms this composer’s iconic status.  But the artists here are good Chicago Brass players.  As a native born Chicagoan I have become accustomed to assuming that one can find some of the world’s finest brass players there and this album lays testament to that.  Gaudete Brass is an ensemble that definitely deserves your attention.

This is a fine tribute album featuring mostly world premieres but also some nice transcriptions.  This is effective though not overwhelmingly modern music for brass.  It is intended as and functions very well as entertainment and, from the sound of it, is also fun to play.

The original works are welcome as are the transcriptions of Corigliano’s Gazebo Dances. by the long time Chicago musician/conductor Cliff Colnot.  (One transcription is by the composer).  There are a total of three Corigliano pieces here and 13 by others.  One can only imagine the joy the composer will feel on hearing these tributes and the joy that any number of brass players will experience hearing this fine album.  As usual the Cedille recording is lucid giving a clear sound image of some truly fine musicianship.

The pieces here are good middle of the road compositions which pose challenges on the players but manage to be entertaining and nothing here sounds like an academic exercise.  Rather this disc is about celebration exactly as it purports.  Very enjoyable disc.

Dane Rousay’s Blip


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Dane Rousay is a San Antonio based percussionist and this is the first of several planned releases.  This is a solo effort largely with drum kit and perhaps a couple of enhancements or additional percussive hardware.  There are 8 rather brief tracks on this album, all of an experimental nature and all very well recorded.

One small disclaimer:  I generally don’t review download only releases but Mr. Rousay was persistent and kind in his requests for a review.  Another aspect is that there appears to be an increase in this purely digital release format and to ignore that in favor of a demand for a physical product would likely be missing an opportunity to hear some good work.

Despite the brevity there is much for the ear.  The percussion seems to be closely miked and that is apparently the point here.  Each track is like a mini-etude or experiment which will presumably be used as material for other work.  Whether this is jazz, free jazz, new music, classical, etc. is actually beside the point.  The point appears to be the sound itself.

There are no liner notes and little in the way of explanation to be found even on the composer’s web site.  (That’s not necessarily a negative thing either.)  It is not clear if this music is improvised or composed or if there is any predetermined structure and there appears to be no intended connection between each of the tracks.  Most of the work is mallets or sticks of some sort hitting the targeted percussive surface though he does make use of extended techniques such as rubbing the mallets across the surface creating rich harmonics in the manner of the spectralists.

After multiple listens this reviewer is left with the impression of having visited the artist’s studio for a rather personal tour of some of his working ideas.  If you are a percussionist or a fan of percussion music this album will doubtless interest you.  It is not easy listening but it does appear to be a very personal exploration of this artist’s techniques and ideas.

I am looking forward to more from this interesting and seemingly uncompromising artist.