Areon Flutes: Thriiive


areon

Innova 955

 

Multiple similars seems to be a meme in contemporary music.  The notion of using an ensemble of the same or similar instruments is most frequently encountered in teaching situations where music departments have enough students to form trombone ensembles, cello ensembles, etc.  But such combinations had been far less common in the concert hall until fairly recently.

Henry Brant was certainly an outlier when he wrote his Concerto for Flute and Flute Orchestra (1931) but the notion of a large ensemble of similar instruments developed further in the 20th century.  Brazilian composer Heitor Villa-Lobos in his Bachianas Brasilieras Nos. 1 (1930) and 5 (1938) used a cello octet.

It wasn’t until much later in the 20th century that one would encounter Steve Reich’s Counterpoint works beginning with Vermont Counterpoint (1982) for flute solo and multi-tracked flutes, New York Counterpoint (1985) for solo clarinet and multi-tracked clarinets, Electric Counterpoint (1987) for guitar and multi-tracked guitars, and Cello Counterpoint (2003).

Mary Jane Leach, an American composer based in New York also writes for multiples in such works as 4BC (1984) for 4 bass clarinets, Tricky Pan (1999) for solo countertenor and 8 countertenors on tape, Bach’s Set (2007) for solo cello and 8 celli on tape, and Dowland’s Tears (2011) for 10 flutes.

The present disc is another incarnation of the ensemble of similars which is as different in sound as each of the above described sets of music for similar instruments.  Here we have an ensemble of flutes with music written by Elainie Lillios, Cornelius Boots, and Mike Sempert.

Areon Flutes consists of Jill Heinke Moen, Kassey Plaha, and Sasha Launer.  This performing, teaching, commissioning ensemble has been in existence since 2004 and is based in the San Francisco Bay Area.  According to their website: Since 2004, Areon Flutes’ mission has been to make flute chamber music an equal voice in the chamber music world.

This is their third album and their first for Innova Records.  This is a 2016 release so I must acknowledge a bit of a delay in getting this review out but I blame the beauty and complexity of both their mission and the works here represented for a part of that delay.

There are three compositions: Elainie Lillios’ two movement Summer Sketches, Cornelius Boots’ three movement Cthonic Suite, and Mike Sempert’s Uncanny Valley.

This is a stunning disc which redefines the ensemble of similars and helps to carve out a lasting place for the flute ensemble in the classical world.  But even terms like “classical world” might be limiting as a way to describe this album.  It is innovative but not really experimental.  It is beautiful without being simple and it is virtuosic without being pure and empty showmanship.  This is a substantial set of challenging works played with virtuosity and interpretive skill that will leave the listener stunned and unable to write a review (oops, sorry about the excuses again).

But seriously this is entertaining and substantial music making by a wonderful ensemble that serious listeners will want to keep on their radar.

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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!