Editor's Corner

EDITOR’S CORNER - May 2011

Musica Intima could well be the title of my column this month as I find myself immersed in new recordings by two duets and a trio. The ChromaDuo is comprised of Canadian guitar virtuosos Tracy Anne Smith and Rob MacDonald. Founded in 2009, the duo is active across the continent and internationally. They specialize in music of the 21st century and have a body of commissioned work, some of which is showcased on their debut recording Hidden Waters where four of six tracks were written especially for them. The disc opens with one of the two exceptions, The Raw and the Cooked by British composer Stephen Goss, a set of miniatures drawing on a number of musical influences from Django Reinhardt to David Byrne to the Mahavishnu Orchestra. While the composer’s program note does not convey any direct link to the book of the same name by anthropologist Claude Lévi-Strauss, it does explain that the influences are in some cases near the surface (the Raw) and in others buried deeply within the texture (the Cooked). Even when the inspiration is as distinctive as Astor Piazzolla the music is not obviously derivative or clichéd, and although many of them originate in popular forms these compositions are firmly rooted in world of art music. The nine selected movements from Goss’ suite are followed by Still the Sea, which Goss composed for ChromaDuo in 2009. This primarily gentle set of pieces pays tribute to the music and on-going influence of the late, great Japanese composer Toru Takemitsu, himself no stranger to writing for the guitar, and Takemitsu’s own self-stated influences Debussy, Nature and Duke Ellington. The music of Goss gives way to two pieces composed for Chroma by American Christopher William Pierce in the form of an Adagio and Fugue, inspired by Bach and Debussy, and Three Pieces for Two Guitars which adds influences of Ligeti to the mix. Here introspective pieces are contrasted with a central Allegro Ritmico which while reminiscent of a gentle spring rain gives way to momentary tempestuous outbursts. The title of the disc in derived from another piece composed for the duo, Niterói, which means “hidden waters” in Tupi, a native language of Brazil, and is the name of the Brazilian city which provided the inspiration. This multi-layered work has dense textures, complex rhythms and employs a number of extended techniques providing the duo with an opportunity to really show their chops. I am very impressed with their consummate ensemble work and the cleanness of their sound – no extraneous finger noise audible here, perhaps in part due to the impeccable recording skills of engineer Norbert Kraft who seems also to be a mentor for the group. If you missed the CD launch at Gallery 345 on April 22 you can find the disc on Tracy Anne Smith’s website: http://tracyannesmith.com/discography.

The next disc is one that I should probably have turned over to Terry Robbins for his “Strings Attached” column, but citing “Editor’s prerogative” I have chosen to keep it for myself. Interwar Duets (Analekta AN 2 9971) features familiar and unfamiliar works for violin and cello performed with aplomb and vigour by Olivier Thouin and Yegor Dyachkov. Most familiar is the Sonata for Violin and Cello completed in 1922 by Maurice Ravel. I remember once, after not hearing this extremely virtuosic work in a decade or so, tuning in to a radio broadcast during the Vif, avec entrain final movement and wondering “Oh that’s so familiar, which quartet is that?” – such is the dexterity required of the two musicians. Thouin, currently associate concertmaster of the Orchestre symphonique de Montréal, and well known soloist Dyachkov take it all in stride. They make it sound easy, even effortless, while capturing all the excitement and nuance of the moment. This consummate musicianship is on show throughout the disc, which includes lesser known but delightful duets by Martinu and Honegger. But the real gem for me is the offering by Erwin Schulhoff, composed in 1925. More and more music of this Nazi-designated “Degenerate” composer is gaining attention in recent years and with each new discovery our awareness of the tragedy of the composer’s death in a concentration camp becomes more acute. Schulhoff’s Duet is in the classical four movement form of the sonata. Framed by dramatic rondos utilizing “modal language pushed to the edge of atonality,” the central movements include Zingaresca - a rollicking Gypsy dance - and a sombre Andantino. Although one might wonder whether the stark combination of violin and cello could sustain the listener’s interest for the duration of the disc, I had no problem with attention deficit during these marvellous performances.

I cannot say the same for the final disc Haydn Baryton Divertimenti Volume One (FofM 36-811 www.smithsonian.org) which features five trios for baryton, viola and cello performed by the Smithsonian Institute’s resident Esterházy Machine (Kenneth Slowik, Steven Dann and Myron Lutzke). This is not to say that I did not find the music and performances of interest, simply that taken as a whole I found the 66 minute experience a bit “much of a muchness.” I think I would likely feel the same if offered a steady diet of Haydn piano trios or string quartets however, so that being said I find this recording has a lot to offer if taken in moderation. The baryton, a favourite instrument of Haydn’s Esterházy patron Prince Nicholas the Magnificent, is an unusual instrument, kind of a hybrid viol and lute, which is pretty much extinct today. The instrument played here by Kenneth Slowik, presumably from the Smithsonian Collection, was built in 1986 by George Cassis of Baltimore, Maryland after 18th century Viennese models. With six (or seven) gut strings and a fretted neck, the baryton resembles a viol da gamba and is similarly held between the knees and played with a bow. The difference is a rank of brass and steel strings which run under and through the hollow fingerboard in such a way that they can vibrate sympathetically or be plucked individually by the thumb of the left hand through the open back of the neck to create counterpoint with the melody strings. The effect is more subtle than a written description may suggest. There is nothing resembling the resonance of the sympathetic strings of the sitar here for instance, but rather a delicate extension to the overall ambience of the melodic playing and added colour from the plucked steel strings producing a harp-like texture. The range of the baryton overlaps with the viola and cello so that there is a lush blending of the instruments and we are not always sure from which the melody is originating, which can make for some intriguing listening. We are often amazed at Haydn’s prolific output – 68 string quartets, 104 symphonies – but these numbers pale in comparison to the more than 170 works which incorporate the baryton, including 123 trios for the forces here. Taken two or three at a time they make for pleasant, entertaining listening, but I must confess I hope that “Volume One” does not imply that we can look forward to another 23 volumes to complete the set!

We welcome your feedback and invite submissions. CDs and comments should be sent to: The WholeNote, 503 – 720 Bathurst St. Toronto ON M5S 2R4.

David Olds

DISCoveries Editor

discoveries@thewholenote.com

EDITOR’S CORNER - April 2011

When I heard there was a new addition to the “Window on Somers” series I was hoping it was the soon to be released DVD of Louis Riel out to coincide with WholeNote’s opera issue. My expectations were dashed when I found the new release to be a CD of orchestral music, but that is not to say that I was disappointed. Any addition to the Harry Somers catalogue is most welcome and Live from Toronto (Centrediscs CMCCD 15911) features previously unavailable recordings by the Toronto Symphony and Esprit Orchestra. The disc opens with a 1997 recording of Stereophony, a work performed to great effect in the Barbara Frum Atrium of the CBC Broadcast Centre by the TSO under the direction of Jukka-Pekka Saraste. The liner notes tell us this unique spatial composition was commissioned by the TSO in 1963 and that the composer specified “a careful arrangement of the orchestra on the stage and […] at various positions around the auditorium” which at that time was Massey Hall. It would have been interesting to know how this was translated to the very different architecture of the CBC Atrium. We next hear the TSO under the direction of Victor Feldbrill in a 1978 performance of the Piano Concerto No. 2 featuring Robert Silverman. This wonderfully dramatic extended work – 45 minutes and four movements despite what the liner notes say – dates from 1956 and shows 31 year old Somers in mature voice with fully developed command of both keyboard and orchestra. The final track is a majestic work dating from 1978. Those Silent, Awe Filled Spaces was inspired by an entry from Emily Carr’s journal. The 2004 performance by Esprit brings life to the angular writing, especially the juxtaposition of brass fanfares and strident strings, which gradually gives way to an unearthly calm. All in all this is an important document which would provide a lucid introduction to the orchestral works of one of Canada’s most important creators were it not for the lack of biographical information; a major disservice and an oversight unusual for the Centrediscs label.

A favourite over the past month, She Comes to Shore is a concerto for improvised piano and orchestra by Toronto’s Lee Pui Ming performed with the Bay-Atlantic Symphony under the direction of Jed Gaylin (Innova 796). This busy yet meditative 2009 work is in three movements. In the first lush string textures are overlaid with a complex filigree of tintinnabulation from the piano. The second movement is much more dramatic with roiling and pounding from both the piano and the full orchestral forces. This gives way seamlessly to a gentle and extended cadenza in which the piano is eventually joined by a soaring Hollywood-like orchestral melody, primarily in the strings. This piece has been something of a guilty pleasure to the modernist in me, but it is so gorgeous that I have found myself indulging time and again. The concerto is complemented by series of solo piano improvisations, each exploring different worlds from exuberant free-form jazz to quiet contemplation.

There has been a wealth of new releases from ATMA lately and one that caught my fancy is Migrations (ACD2 2625) featuring works by Montreal composer Serge Arcuri. The disc begins with Les Furieuses enluminures (The Fierce Illuminations) in an eerie fanfare reminiscent of Claude Vivier’s Balinese-inspired music in its texture and choice of melodic material. The piece takes its inspiration from the tradition of the miniaturists who decorated medieval manuscripts. Although the instrumentation is not unusual – flute, clarinet, piano and string quartet – I find some of the timbres Arcuri draws from the ensemble quite fresh and unexpected. A celebrated composer of both instrumental and electroacoustic music, Arcuri is particularly noted for his “mixed” works combining both. In Migrations commissioner Robert Cram’s flute is effectively juxtaposed with the processed sound of Snow Geese in their annual migration through Cap Tourmente north of Quebec City. Les Voix des Hautes-Gorges layers the sound of 9 clarinets played by Simon Aldrich and treatments inspired by the phenomena of sounds echoing off rock faces at Haute-Gorges Park in the Charlevoix region. Louise Bessette is showcased in the sometimes virtuosic, sometimes contemplative Fragments for solo piano and partners with Jonathan Crow in Des Torrents d’étoiles (Torrents of Stars) for piano and violin. Crow is featured in Soliloque I & II and joined by Mark Fewer, Douglas McNabney and Yegor Dyachkov in Arcuri’s string quartet Rémanences. Presenting works published between 1991 and 2007 this disc provides a welcome portrait of a composer in the prime of his career.

Renaissance man Kevin Fox is at it again. The singing cellist has taken time out of his busy schedule penning arrangements for Justin Bieber and touring with the likes of Chantal Kreviazuk, Tom Cochrane, Steven Page and Olivia Newton-John to co-write an album’s worth new songs with lyricist Tammy Fox. Set Right (KF003 www.kevinfox.ca) is more of a straight ahead pop offering than the previous solo effort “Songs for Cello and Voice” but has an intriguing edge. Cello is still a major component and the purity of the signature solo voice is front and centre, but Fox also plays guitar this time round and drums, bass and piano are added to the mix. There are two cover tunes, Joni Mitchell’s River which opens effectively with looped sounds reminiscent of a didgeridoo and cello pizzicato over which the haunting vocal soars and a lilting rendition of Paul Simon’s Diamonds on the Soles of Her Shoes with the cello sounding more like a fiddle. The originals are thoughtful, poetic and at times playful with some nice turns of phrase, interesting syntactical decisions and catchy melodies.

We welcome your feedback and invite submissions. CDs and comments should be sent to: The WholeNote, 503 – 720 Bathurst St. Toronto ON M5S 2R4. We also encourage you to visit our website, www.thewholenote.com, where you can find added features including direct links to performers, composers and record labels, “buy buttons” for on-line shopping and additional, expanded and archival reviews.

David Olds
DISCoveries Editor
discoveries@thewholenote.com

EDITOR’S CORNER - March 2011

The latest release from cellist Matt Haimovitz whose Matteo (Oxingale OX2018) celebrates 300 years of Italian cello, his own cello that is, a Matteo Goffriller built in 1710. I have often realized that there is more of a common sensibility between so called early music and contemporary music than with the stylistic periods which fell between the two. Haimovitz seems to share this opinion. The disc intersperses some of the earliest pieces written for solo cello - six of the seven Ricercare composed by Domenico Gabrielli in 1689 – with works firmly rooted in the music of our time. I was quite surprised when the first track, Gabrielli’s Ricercare 7, began and what I heard was the opening phrase of Bach’s Solo Cello Suite No. 2. It turns out that the first three bars of the Gabrielli, whole notes D, A and F, may, according to the liner notes, be heard as accompaniment to “an imagined melody” and in this case Haimovitz imagined the opening of Bach’s suite and subsequently improvised on that before joining Gabrielli in the fourth bar. Luciano Berio’s Sequenza XIV (2002) takes pride of place as the first contemporary work on the disc. Dedicated to Rohan de Saram, it draws extensively on the Kandyan drumming tradition of the dedicatee’s Sri Lankan heritage. The most recent work is a 2010 contribution from Haimovitz’s McGill colleague Brian Cherney whose Capriccio references many great solo cello works in a true celebration of the instrument with signature nods (in nomenclature) to Bach, Haimovitz and Goffriller along the way. Works by Luigi Dallapiccola, Salvatore Sciarrino and Claudio Ambrosini complete the disc. The playing is heartfelt and convincing, with glorious sound throughout.

The latest release from contemporary trio Toca Loca – Gregory Oh (Toronto) and Simon Docking (Halifax), pianos; Aiyun Huang (Montreal), percussion – entitled Shed (www.henceforthrecords.com) includes works from Canada, Japan, Switzerland and the USA all composed since 2002. Dai Fujikura’s Half-Remembered City for piano four-hands was written for a husband and wife piano duo and conceived as a depiction of intimacy in the way that the pianists have to manoeuvre and intertwine at the keyboard to realize the score, sometimes caressing adjoining notes and at others seemingly locked in territorial combat. At times comic in live performance, I am pleased to report that this disc proves you don’t have to see it played to be enthralled. All the works are strong and individual. Heinz Holliger’s Ma’Mounia for percussion solo and quintet of flute, clarinet, horn, cello and piano is kind of a signature tune for Huang who won the Geneva International Music Competition in 2002 where it was the required work. Frederic Rzewski’s Bring Them Home continues that composer’s political engagement in a set of variations on a 17^th century Irish anti-war song Siuil A Run “that speaks of the past but turns our eyes to the present.” The highlight for me is Andrew Staniland’s Adventuremusic: Love Her Madly for two prepared pianos, five pieces of wood, five temple bowls and tape. It opens with driving rhythms somewhat reminiscent of Rzewski’s classic Winnsboro Cotton Mill Blues but over 15 minutes develops into a disturbing portrait of climate change as we hear the sounds of processed voice and temple bowls juxtaposed with disintegrating polar ice sheets. “Shed” will be launched with a performance at the Open Ears Festival in Kitchener-Waterloo on April 30.

On March 17 at Glenn Gould Studio Christina Petrowska Quilico releases Music of Ann Southam - Glass Houses Revisited (Centrediscs CMCCD 16511), a re-working of the “fiendishly difficult etudes” the pianist was working on with the composer at the time of her death last November. (You can read Christina’s tribute to Ann elsewhere in these pages.) Originally composed in 1981, the title Glass Houses refers to minimalist composer Philip Glass, the best known proponent of this style at the time, and to choreographer Christopher House with whom Southam worked extensively. The mostly ebullient, busily joyful pieces were revised in 2009 for Petrowska Quilico and further edited by her with the composer’s permission for this recording in 2010. The disc features nine “favourite” selections from the set of 15, arranged with four lively pieces on either side of the solitary “broody and moody” track, Glass Houses No.13. Overall they are a weaving and embroidering of various melodic motifs that, in Southam’s words “reflect the nature of traditional women’s work – repetitive, life-sustaining, requiring time and patience.” One can only imagine the patience and diligence required of Petrowska Quilico to master these complex and exhilarating gems, and master them she has, as you can hear for yourself on March 17. There is a public memorial celebration of the life and music of Ann Southam being planned for April 21.

Celebrated Vancouver pianist Jane Coop will make a rare Toronto appearance at Mooredale Concerts on March 20 performing works by Beethoven and Scriabin. We somehow overlooked her most recent CD - A Century of Piano Classics (www.skylark-music.com) - when it was released in 2009 so I’m pleased to have this opportunity to bring it to your attention. The disc includes an early Beethoven sonata from 1797, Chopin’s Ballade No.4 (1842) and four late works by Brahms from 1893. The century in question was an important one in the history of the piano, seeing it expand from a five octave instrument to its current 88 keys thanks in great part to the vision and virtuosic demands of the composers mentioned above and others such as Schumann and Liszt. Coop excels at this repertoire as this welcome disc attests. Recorded at the Chan Centre for the Performing Arts at UBC, the sound is clear and resonant.