Jeremy Gill: Before the Wresting Tides


BMOP 1055

In this writer’s mind there are two types of releases on the BMOP label. Discs with music or at least composers that have some familiarity to these ears and discs of unfamiliar composers.  This disc fits into the latter category.  Jeremy Gill is a new name to these ears but he is hardly new on the scene with at least 3 or 4 CDs already out devoted mostly to his chamber music.

This disc then will give the listener an idea of how well Gil Rose and his Boston Modern Orchestra Project choose and subsequently perform less familiar new music.  There is a lot of music out there and it takes a special ear to choose wisely such that one can expect a given release to keep its place among the other well chosen music that makes up the BMOP label’s catalog.  It would appear that this was and will remain a wise choice.  Three works are presented in chronological order of their composition.

The first is the title work, Before the Wresting Tides (2012), a choral fantasy setting a poem by American poet Hart Crane (1899-1932).  This was written specifically to function as a companion piece for Beethoven’s rarely performed Choral Fantasy Op. 80 (ca. 1808).  This work shares a similar orchestration and formal plan.  There is an obligatto piano solo written for Gill’s friend and colleague Ching-Yun Hu, a large orchestra, chorus, and vocal solos.  All of this fits into a compact 16 minutes or so.  It is decidedly more modern in orchestration and harmony than Beethoven’s work but it shares a virtuosic piano part, lyrical melodies, and marvelously efficient setting of the text handled beautifully by the Marsh Chapel Choir under Scott Allen Jarrett.  There is a lot going on here but I can’t imagine an audience being anything but entertained by this rather bombastic companion which one hopes will continue to be performed alongside the Beethoven model bringing both works to modern ears.

The second work is titled Serenada Concertante (2013) for oboe and orchestra.  It is sort of an enlarged oboe concerto.  The soloist, Erin Hannigan demonstrates the virtuosic and lyric skills that seem to be endemic to this entire orchestra.  Gill’s writing makes large romantic gestures with plenty of painfully virtuosic opportunities (handled beautifully) for the soloist and the various soli and duettini which occur in the course of this full blown concerto.  The composer’s ability to utilize such a large orchestra yet still produce lucid textures is a mark of genius and, no doubt, one of the reasons that Gill’s music was chosen for this series of recordings.

Our finale is another concerto of sorts, the Notturno Concertante (2014) for clarinet and orchestra.  Again we hear an amazing soloist, Chris Grymes, on clarinet.  Again we hear amazing virtuosity and lyricism played against a large and lucid orchestral fabric.  Very satisfying music for both audience and orchestra.  It is clearly a workout for orchestra, soloist, and conductor but the energies expended produce a very satisfying result.

Whether or not Jeremy Gill winds up being a household name, one of the brightest lights of the 21st century remains to be seen but this is an auspicious release.  This largely romantic sounding composer also seems to have a curiously “American” sound which harkens to the likes of William Schuman, David Diamond, and, well choose your own favorite mid-twentieth century American master after you hear this.  Well done.


Notes From the Underground, A major new recording of Anthony Davis’ orchestral music

Album cover

Album cover

In March, 2014 the Boston Modern Orchestra Project released Notes From the Underground, a major retrospective recording of the composer’s work for large ensembles.  The recording includes Notes from the Underground (1988) a two movement work for orchestra, You Have the Right to Remain Silent (2007) a concerto for clarinet and contra-alto clarinet and Kurzweil processor and a new recording of the piano concerto Wayang No. 5 (1984) with the composer as soloist.  The Boston Modern Orchestra Project is conducted by Gil Rose.

There are liner notes by the composer and also by the great musician/composer/historian George Lewis (and a frequent musical collaborator with Davis).  The notes are relatively brief but contain a wealth of information and provide useful insights into both the musical processes and the sociopolitical forces that drive Davis’ music.  Davis describes his compositional processes and Lewis, a frequent musical collaborator,  places the music in historic and sociopolitical contexts.

Only the Wayang No. 5 has had a previous recording.  It was one of the two works included on the Gramavision release which included the equally engaging Violin Concerto “Maps” (1988) written for and performed by violinist Shem Guibbory.  The concerto reflects Davis’ interest in jazz as well as his study of gamelan music from whence comes the title “Wayang”. Davis has written a series of compositions for various combinations of instruments titled sequentially Wayang No. 1, No. 2, etc.  The term refers to the shadow puppet theater of  Bali which are accompanied by a gamelan orchestra, an ensemble largely of tuned gongs and other percussion instruments.  Davis studied gamelan music and wrote six compositions (so far) titled Wayang of which the fifth is the piano concerto on this recording.

Wayang No. V is the earliest composition on the disc and consists of four movements.  Opening-Dance begins with an improvisatory section with the pianist playing over unresolved harmonies in the orchestra which then leads to the main section of the movement which is characterized by ostinati in the orchestra as well as on the piano.  There is a seamless transition to the second movement Undine, a slow movement with an impressionistic feel.  March also begins without pause from the previous movement.  It is a scherzo like piece where the polyrhythmic structures are quite clear.   The finale, Keçak, a reference to the monkey chant in the ritual enactment of a scene from the Ramayana where the monkey-like Vanara help Prince Rama fight the evil King Ravana.  It begins with a long solo piano introduction followed  by a sort of dialog between the piano and several percussion instruments.  Davis demonstrates his virtuosity here in writing that is indebted as much to gamelan as it is to jazz and modernism from Schoenberg to Bartok, Stravinsky, Hans Werner Henze and Thelonius Monk.

This is a concerto that is more concerned more with expression than empty virtuosity though the piano part could hardly be called easy.  I am amazed that there have been no pianists who have added this wonderful piece to their repertory.  It is a very entertaining piece of music making.

The title track is the orchestral composition, Notes from the Underground (1988).  It is a two movement work dedicated to the writer Ralph Ellison (1914-1994), best known for his National Book Award winning novel The Invisible Man (1952).   The title evokes Dostoevsky’s existential 1864 novel as well as Ellison’s collection of essays, Shadow and Act (1964). The composer describes it as a “riff” on Duke Ellington’s Diminuendo and Crescendo in Blue (1937).  It is, to this listener, a grand set of orchestral variations.

Ralph Ellison

Ralph Ellison (Photo credit: Wikipedia)

The first movement, Shadow, is described by the composer as one that introduces fragments which will be heard in the second movement.  It features a prominent solo for the percussionist.  The second movement, Act is the longer of the two and is described as being written in ten steps with an elaborate polyrhythmic structures described in more detail in the accompanying notes. The writing here probably comes as close to minimalist or process music as anything the composer has done.  It is not minimalism per se  but it is perhaps proto-minimalist techniques whose roots are at least partly in jazz as musicologist Robert Fink suggests.   It produces a ritualistic and meditative feel to this richly orchestrated, reverent and mysterious sounding piece.   It is a fitting tribute to a great American man of letters as well as to the great composer Duke Ellington.

The concerto, You Have the Right to Remain Silent (2007) is the most recent as well as the most overtly political piece on the album and it is a gem.  It is written for clarinet doubling alto clarinet and a Kurzweil synthesizer/sampler and orchestra.  Longtime collaborator, the wonderful J. D. Parran  plays the clarinets winding his way through a balanced hybrid of styles including bebop, modern classical and free jazz styles comprising rhythmic complexity and multiphonics.  One could hardly imagine a soloist better suited for this music.  Earl Howard plays the Kurzweil which intones sampled speech of words from the Miranda Rights which are supposed to be presented at the time of an arrest.  Here they are presented strategically in poetic dialogue with the music controlled by the keyboard player.

Here again the individual movements have their own titles poetically referencing the issues which the composer attempts to invoke in this piece. He says in his notes, “I tried to approach ‘silence’ as, rather than John Cage’s apolitical world of ‘white privilege’, a much more dangerous place.”  The first, Interrogation, is intended to evoke the clarinet as being interrogated by the orchestra.  The second, Loss  features an improvised duet between the Kurzweil and the clarinet.  It ends with an homage to Charles Mingus, a major influence on Davis.  The third, Incarceration includes more text from the Miranda and the Kurzweil processes both the words and the clarinet solo.   And finally, Dance of the Other, intending to evoke the fantasy and the feeling of otherness and presumably alienation.

It is a concerto in the classical sense of a dialogue between soloist and orchestra and it seamlessly blends various classical and jazz harmonies and techniques which challenge the expertise of the soloist.  All the while it clearly presents a political context which meditates on the inhumanities and inequalities inherent in our “correctional” system and in our society as a whole.  As political music it lies within a grand tradition taking a place beside earlier masterpieces of that genre like Henze’s Essay on Pigs (1968) and Rzewski’s Coming Together (1971).  And as a concerto it is a challenge to the soloist and a delight to the listener.

This is a wonderful disc, well recorded and performed.  It presents some amazing and substantial music by one of the living treasures of American composers.  Anthony Davis has had a long and influential presence on the American music scene in his jazz performances as well as his chamber and orchestral music.  His operas like X: The Life and Times of Malcolm X (1986), Amistad(1997 ) and the more recent Wakonda’s Dream (2007) have been performed to critical acclaim. Hopefully this recording will introduce people to this composer’s works and remind those already familiar with the power and depth of Davis’ music.  Bravo to the Boston Modern Orchestra Project for bringing this music to the listening public.  I hope the major orchestras and theaters and recording companies are paying attention so we can hear more from this still too little known composer.

Enhanced by Zemanta