Tuesday, September 19, 2017
Mikael Ayrapetyan takes the piano chair and acquits himself well on the solo piano works, which consist of "Seven Folk Dances" (1916), "Twelve Children's Pieces Based On Folk-Themes" (1910), Misho-Shoror" (1906), and the World Premier recording of "Seven Songs for Piano" (1911). Vladimir Sergeev joins on violin for the World Premier of "Seven Pieces for Violin and Piano" (1906).
Komitas had humble origins as the son of artisan parents in Turkey, He early on distinguished himself as a singer. In his subsequent tutelage as a seminary student he became familiar with ancient Armenian chant, hymns and folksong heritage. He was ordained as a monk and went on to compose the works that we remember him by. The Ottoman pogram against Armenians so unhinged him that he ended up in a psychiatric hospital where he resided until his death in 1935.
Like Bartok and Khachaturian he envisioned the national folk legacy of his people as a vast repository of cultural value and sought to create pedagogical works for children as well as more complex art music works that deeply reflected on folk elements.
The album at hand gives us a well chosen sample of both kinds of works, the "Twelve Children's Pieces" standing on one end of the spectrum, the "Seven Pieces for Violin and Piano" at the other.
It is a program of great beauty, well played. Anyone who loves Armenian music (perhaps via the music of Hovhaness) will gladly appreciate this one, as well as anyone interested in folk inspired modern classical. It is a real treasure!
Monday, September 18, 2017
Tackling the "Carnaval" and "Fantasia" is something perhaps more of a challenge. So many notable and well-endowed pianists have gone there before. What can be left to say? They could be played still louder, still faster, or still slower, with still more rubato, all that I suppose. What would be the point? Chi-Chen Wu has all the technical endowment one would expect for a successful rendition of these repertoire staples. Yet the emphasis is not on dazzling the hearer with fireworks.
Instead Ms. Wu gives us a very focused vision of Schumann by getting everything exactly right, and doing so in a most musical manner. There is a requisite passion, yes, but it is harnessed to the harmonic-melodic sequence with perhaps a slightly more Apollonian core than has been standard practice. Not that the renditions are cold, far from it. They are poised, balanced, emotive but precise.
I would venture to say that this disk is an example of Schumann's Schumann. It very much zeroes in on the notes themselves, singingly and surgingly, but never as a kind of spectacle.
It is an example of a more classicistic reading of Romantic piano, perhaps. For that is shows us Chi-Chen Wu the powerful yet centered pianist devoting great care to bringing alive the music. Less so the gesture of its realization. It brings us out of Van Cliburnian-Liberace-esque showmanship, brings us closer to the source.
Bravo! Warmly recommended.
Friday, September 15, 2017
Like Ives he composes and at the same time has had a foot in the commercial world, as a Project Manager. He nowadays sings in the new music oriented London Chamber Choir, plays bassoon professionally and is Music Director of the Richmond Concert Society.
His opening "String Quartet No. 1" (2012) was written in memory of his friend Richard Oake, whose love of the string quartet was so pronounced that Raftery decided to plunge into a quartet of his own, even though he previous had avoided it because of those many masterpieces in the idiom and the idea to follow with another work seemed pretentious. Raftery holds his own however, with a highly developed presence, a kind of elegiac revery contrasting with a dramatic dynamic emotive stridency that is very nicely realized by the Heath Quartet.
From there we go on to two works well played by members of the Berkeley Ensemble. "First Companion" (2012) calls for clarinet, bassoon, violin and cello; "Pleasantries" (2011) is for oboe/English horn, clarinet, bass clarinet and bassoon. Both combine seriousness of purpose with a kind of whimsicality, movingly so.
The "'Friedhof ' Quintet" (2011) is perhaps the most stunning and introspective-expressive. For flute, harp, violin, viola and cello, it revels in the possibilities of the instrumentation to haunting results. The Animare Ensemble brings the music to life in glowing ways. The instrumentation and its handling lends itself to a sort of post-impressionist delicacy and fragility that stays in the mind and created a hushed mood of expectation that delivers its profound content with absolute candor.
There is beauty and character to these works. Raftery shows himself as a gifted exponent of high modernist chamber art. I come away from this program impressed and rewarded. Anyone with a liking for the intimacy of the chamber form and the sophistication of the classic modern expansiveness should readily take to this music as I have.
Thursday, September 14, 2017
Five new music composers contribute one composition each. You may or may not know of these craftsperson-artists. It does not matter because each has something to say and brings out the color and dramatic potentialities of the instrumentation.
Each work embodies a literal intent. The respective composer explains what that is in the liners. I paraphrase here. The title piece"Sift" (2014) by Daniel T. Lewis puts in musical terms what remains of a resolve when long subjected to struggle, and the exhaustion and collapse that can follow. Tina Tallon's "Dirty Water" (2014/16) is her tribute to Boston and an allusion to but not quotation from the Standells' old pop-rock hit.
Chris Hughes and his "Vestibule III" (2013) comes to grips with an ever shifting transition between contrasting stylistic worlds, something all who follow new music modernism in its current incarnation can sense as part of where we are now.
John Murphree's "Purge" (2013) creates in analogic musical terms a casting out of what once was or even still is important.
The longest and perhaps most ambitious of the works concludes the program, namely Adam Roberts' "Nostalgic Variations" (2015). It contains within the main theme and its variants a middle path between "saccharine expression" and on the opposite pole "irony and rejection of emotion."
The experience of the music itself understandably transcends or deepens the impact of any given composer's intent. This is contemporary music that neither rejects a modernist stance nor does it replace it with something wholly other. It is a series of cogent and fascinating vehicles that allow the duo and their very singular instrumentation to flourish and establish an immediate present-day identity. It is in the process a very absorbing and even exhilarating program all new music adepts will gravitate towards appreciatively, I would think.
Wednesday, September 13, 2017
The Boyd is classical guitarist Rupert Boyd. The "Girl" is cellist Laura Metcalf. Both have a beautiful sound and the technique to match. And the blend of the two makes for a special confluence.
It is the brightly variegated repertoire that helps make the program especially pleasurable. We have more or less lesser-known contemporary works in Jaime Zenamon's "Reflexoes No. 6," Ross Edwards' "Arafura Arioso," Radames Gnattali's "Allegretto Comodo." Then there are the more familiar Astor Piazzolla "Cafe 1930: and Arvo Part's "Spiegel im Spiegel."
And then for the more venerable classic side we have four of Bach's "Two-Part Inventions," Faure's "Pavanne, Op. 50," de Falla's "Siete Canciones Populares Espanolas." And to cap it all off there is an arrangement of Michael Jackson's song "Human Nature."
It is the artistry of the two that ultimately makes this program stand out, that and the Boyd-Metcalfe arrangements for guitar and cello (as applicable) and the open-ended adventure of the program itself.
If you have expectations about the wonderful sound of cello and classical guitar together, they are met with absolute style and grace in the twin sonarities of Boyd and Metcalfe. More than met, really. Boyd Meets Girl is one of those fortunate intersection where we hear bells as much as they do.
A program that will appeal to a wide swath of listeners. It will do so with artistry at the highest levels.
Monday, September 11, 2017
These are alternately highly demanding, then highly lyrical rhapsodic works, owing as much or more to the tradition of a Paganini as to a Bach. They are in all 24 keys, Nazrin Rashidova tackles them with heroic passion and exactitude, with a beautiful tone and satisfying idiomatic flare.
The Etudes-Caprices were published in 1902 They were dedicated to Sauret's violin student Marjorie Hayward, who had studied with him since she was 12 years old and was only 17 at the time of its publication. The pieces show no doubt his appreciation of her potential through the care that is put into each exercise.
Needless to say these are much more than mere pedagogic vehicles. There is a complexity and expressive beauty to these Etudes that make them excellent listening some 115 years later.
Ms. Rashidova brings us a ravishing interpretation for a most enjoyable program. Recommended.
Friday, September 8, 2017
If my listening mind recalls the organic unity of some of Iannis Xenakis' electroacoustic environments of earlier days, perhaps it is no fluke. After all, Bielmeier studied composition with Robert Carl, himself a student of Xenakis. What may have been influential in Bielmeier's approach is so thoroughly internalized that what we appreciate in Betty feels wholly original.
At times one hears affective harmonic melodic sequences that might have come from the mind of late Mahler, had he been alive today and a practitioner of the electronic arts. But at the same time and at all times there is such a rich unfolding of ambient sound panoramas, each cluster of timbres evolving and encompassing the listener with an orchestral depth and nearly unspeakable beauty. In that way we experience timbral development as much or more than melodic-harmonic development. A sensual attention to timbre as an unfolding, secret inner world Indian music masters have long practiced. . . sound as richly representative of deity. Bielmeier does that in his own way.
It is a music that gets an initial impetus from sustained, altered resonances, an unparalleled sonic design that is then subjected to development and permutation. Each movement grows within itself so that the development is never into a completely "other" soundscape, is not variational in any post-Darmstadtian way, but rather hypnotically static yet ever moving within itself. There is no feeling of a minimalism per se so much as an organicity of internal presence that rivets the listener through a natural world kind of difference and sameness in dialectic balance.
I come away from this CD knowing that Betty and the Sensory World is one of the more profound electroacoustic works I have heard in a long time. Anyone who reads this will I believe be very moved by an immersion in its enchanted world. If you can dream lovely dreams, you can enter this music in the same spirit.