Modern and Contemporary

Christian Thomas – Dragon Pipa Concerto
Liu Fang; FILMharmonique Orchestra; Francis Choinière
GFN Productions (gfnproductions.ca/albums/pipa-concerto)

The pipa, a stringed instrument capable of a unique percussive sound that is beautiful and was previously unknown to me, is a plucked (as opposed to bowed) traditional Chinese instrument perhaps most analogous to that of the European lute. In the skilled hands of Liu Fang, the Chinese-born Montreal resident heard here on Christian Thomas’ Concerto for Pipa and Orchestra “Dragon,” the instrument is given a wide creative berth to be featured in front of a rich orchestral backdrop for impressive results. 

Recorded at Maison Symphonique in Montreal in September of 2024, Thomas’ four-movement concerto is handled with aplomb by Orchestre FILMharmonique under the direction of conductor Francis Choinière. A musical fusion in the truest sense of the word, here blending Eastern and Western musical styles and traditions, Thomas’ concerto musically charts the life cycle of a dragon from babe to matured Dragon Emperor as a celebration of 2024’s designation as Chinese Year of the Dragon. 

The recording, and subsequent live performances, also represents a celebration of the creativity (particularly when it comes to classical music) that is found and supported within Quebec. The project’s two principals, Fang and Thomas, both based out of La belle province, collaborate meaningfully together, demonstrating that creative purpose and artistic excellence can traverse country of origin, background, and cultural context. 

Finally, GFN Productions, the label on which this fine recording has been released is a Quebec-based production and promotion company formed in part by conductor Choinière, proves once again that creative genre-bending projects whose unifier is musical excellence will always find an audience and a home.

Vraiment plus de Snipettes!!!
Martin Tetrault
ambiences magnetiques AM 280 CD (actuellecd.com/en/album/6706-vraiment-plus-de-snipettes)

If ever there was an embodiment of organic music this would be it. Veteran improvisor, skilled turntablist and sound technician Martin Tétrault once again mines his collection of archival works to complete the third in a series beginning with Snippettes, Plus de Snippettes, and now Vraiment Plus de Snippettes!!!

The album is filled with gems and insights, and includes so many profound predictions it seems almost impossible that the source materials are entirely vintage. Tétrault’s immense skill in assembling his past works, mostly from cassette and reel-to-reel archival material, makes the album seem effortless, almost accidental, but that is a large part of his prowess as the truest form of his artistry is being able to make music from nearly anything. So many of the quoted texts seem to be evaluations of our current social and political climate (such as my favourite quote from track 9 “Because people who don’t know what they’re talking about are always against the issue.” And from track 11 “In short, what you are thinking is that, in the current climate, society is losing much more than it is gaining from its ostracism. Absolutely, not recognizing people as they are is always a loss for society.”) The tracks are each phantasmal in their montages of sources yet remain very direct in composition. They are united in brilliant uses of rhythm and texture as well cohesiveness throughout. 

As a whole the album flows as an extremely fun listen, a vintage cocktail of memorabilia (much of the technologies in the collections are no longer in use) but don’t hesitate to reach into the English translations of the French source texts if needed (included on the album’s website) to fully appreciate the dry wit and humour of the selections. In one sense, bring your party hat and enjoy Tétreault’s share of wonder and exploration; in another sense the album is deeply profound.

Listen to 'Vraiment plus de Snipettes!!!' Now in the Listening Room

Alexandre David – Photogrammes
Quatuor Bozzini; Plaisirs du clavecin; Orchestre de l’Agora
Collection Quatuor Bozzini CQB 2434 (collectionqb.bandcamp.com/album/alexandre-david-photogrammes)

What distinguishes the music on this disc – particularly the final work, Photogrammes – is the manner in which music is created by applying dramatically a new, decidedly spectral, musical chromatograph (à la Gérard Grisey) of colours and tone textures. This is evidence of the highly fecund intellect of composer Alexandre David. Lest this idea of “musical chromatography” makes this sound as if the music were expelled from the innards of a machine, it should be made eminently clear that conventional acoustic instruments have been used to make this striking music.  

Spectacularly, David has emerged from the tradition like a man with a resonant hallelujah and a dramatic epiphany. All the conventional tools of music are clearly present here – melody, harmony, rhythm – complete with surprising tempi, startlingly moody accelerando and ritardando, the lot. 

However, what is notable about David’s music is that gone are the melodic, structural and harmonic hooks that have been expressively blunted through overuse. David has tossed all of this dross overboard, rebuilding his music from what might – or mightn’t – be left.

Nanimissuat Île-tonnerre – with text by the Innu poet Natasha Kanapé Fontaine and throat-singing melded into the chorale – is the most riveting moment on the disc. This is not easy music to nail. But Orchestre de l’Agora, with Nicolas Ellis conducting, shepherds these crack musicians through David’s masterly opuses realising his ideas faithfully, without compromising his sound-world.

Listen to 'Alexandre David: Photogrammes' Now in the Listening Room

Almost As Soft As Silence
Christopher Whitley (solo violin, free improvisation)
Independent (christopherwhitley.bandcamp.com/album/almost-as-soft-as-silence)

Is there a perfect composition to showcase one of the finest violins in the world? Violinist Christopher Whitley was inspired to record some free expressions with his 1770 Taft Stradivarius violin (on generous loan at the time from the Canada Council Instrument Bank) for a shorter, 30-minute disc of what could best be described as love poems to the violin. Recorded in one single take, unedited, each miniature composition reflects the relationship between the violinist and his prized loan and the resonance of the St. Stephens church in Belvedere, CA. Whitley, a stunningly versatile performer with everything from classical, new music, improvisation, jazz, folk and rock in his skill set, takes a breather to play freely, thoughtfully, and authentically, allowing the instrument to sparkle unadorned. Whitley chooses to record the miniature compositions in single takes, one leading to the other almost as gestures. The title track almost as soft as silence is a mere sparkle at 15 seconds long, whereas the others such as seven and a5 b5 g5 range between two to four minutes of divine simplicity, allowing the instrument to breathe, and capturing the essence of both artists – the player and the maker. The album recording was videotaped and is available on YouTube, but I found listening was even better on its own.

This album was perfect scoring for the snowstorm raging outside my window; wind sweeping in gestural gusts kept perfect pace with the sonic explorations. Less about technical wizardry and more about a duet between player and instrument, in a sense it felt more like being back at the beginning of the life of the 1700 Stradivarius. Without the clutter of pyrotechnics or dramatic composition, we have an intimate and pure setting to enjoy the offering, like fine morsels of cheese without the bread.