Bruce Surtees

I’m writing this the day after saying a fond farewell to a beloved colleague in the company of his family and a large cohort of friends from the music community. Bruce Surtees, best known in these pages for his contributions over two decades in the form of his column Old Wine in New Bottles, died peacefully on December 28 surrounded by family at Humber River Hospital after a brief illness. 

Bruce’s legacy began in 1961 when he and his wife Vivienne opened The Book Cellar in the basement of a music store on Yonge Street, a shop that would become a mainstay of Toronto’s literary industry for the next three decades. The store moved several times, eventually to its flagship location (there were several subsidiaries) across from the Four Seasons Hotel in Yorkville. With the bookstore thriving, Bruce branched out to embrace his first love, music, opening The Classical Record Shop, as the first tenant and cornerstone of the tony Hazelton Lanes complex. 

Bruce and I first crossed paths during my tenure at CJRT-FM in the mid-1990s where he was the co-host of Records in Review, first with the station’s music director, conductor Paul Robinson, and later with Toronto Star music critic William Littler. But it was not until I invited him to become part of the review team here that I really got to know Bruce. In July 2001, for the inauguration of the DISCoveries section, he wrote his first review for us under the banner “Worth Repeating: Older Recordings Worthy of Note,” writing about one of his favourite pieces, Schoenberg’s Gurrelieder, in an EMI reissue with the Danish Radio Symphony Orchestra and Chorus conducted by Janos Ferencsik. Some 75 stand-alone reviews followed over the next four years. April 2005 marked the beginning of a new chapter, when his Old Wine column became a monthly feature in the magazine. By the time of his final column in October 2023 Bruce had brought more than a dozen historic performances of Gurrelieder to our attention, along with countless opera sets, symphonic cycles and lieder recitals—nigh on 1,000 reviews, in many cases involving multiple discs. 

I don’t know how he found the time to listen to it all, but listen he did. 

Over the course of the last two decades, Bruce and his family became very special friends to my wife Sharon and me, as they attended chamber recitals by amateur groups I played cello in, under the auspices of University Settlement Music and Arts School, and joined us for musical gatherings in our backyard. One treasured memory is learning Taylor Swift’s Safe and Sound on my guitar in order to accompany Bruce’s granddaughter Alexis, but there are so many memories of Bruce and “his girls” that I will cherish forever. Especially the visits to Baycrest where his caregivers took such good care of Bruce over the past year (thank you Christine and Kristine!) making him comfortable and making us feel welcome. Bruce my friend, we miss you so.

Ives at 151

01b Charles Ives spread2024 marked both the sesquicentennial of the birth of Charles Ives in 1874, and 70 years since his death at the age of 80. I’ve spent the last month immersed in a set that would in happier days have fallen into the purview of Bruce Surtees’ Old Wine in New Bottles – although in this particular case perhaps Old Wine in Old Bottles would be more apt.

01a Charles Ives coverI say that because Charles Ives: The RCA and Columbia Album Anthology – Recordings for the Analog Era 1945-76 (Sony Classical 19658885962 amazon.ca/Charles-Ives-Columbia-Album-Anthology/dp/B0DBP3VXTH) is a 22-CD boxed set that consists of reissues of more than 30 vinyl records packaged in miniature reproductions of the original LP jackets. Although the booklet includes recording details and release dates for all the pieces and has a five-page introductory essay by Kevin Sherwin, the only actual program notes are those printed on those original LP covers which are reduced to a size nearly impossible to read even with a strong magnifying glass. And in cases where a CD contains material from more than one LP, only one cover is included, leaving some works with no notes at all. So, there’s my quibble out of the way right from the start. Other than that, I find it a marvellous collection. It spans three decades of recordings during which time Ives went from being perceived as an esoteric crackpot with his integration of marching band themes, popular tunes and hymns into his erstwhile “classical” compositions, to being a revered visionary, the epitome of the American composer.

I wrote last month about Ives’ Piano Sonata No.2 “Concord, Mass. 1840-1860” and its first champion John Kirkpatrick. Disc One contains Kirkpatrick’s historic 1948 recording of the sonata (made 11 years after he had given its first public performance), along with a brief movement from the first sonata. Disc Two features William Masselos’ 1951 78rpm recording of Piano Sonata No.1 which appeared on LP in 1953 (reissued in 1961). For comparison of the approaches and developments in understanding these extremely complicated works by the two performers over the period of two decades, Disc 8 presents Masselos’ 1967 revisiting of the first sonata and Disc 13 gives Kirkpatrick’s 1968 second recording of the “Concord.” Masselos’ 1951 recording is accompanied by Patricia Travers, and the disc also includes Otto Herz’s 10” recording of the Sonata for Violin and Piano No.2 from the same year. I’ll mention that this is the only one of Ives’ four violin sonatas included in this mostly comprehensive collection (Tone Roads No.1 is also conspicuous by its absence). 

That being said, there is a CD (Disc 16) of chamber music that includes a piano trio, A Set of Three Short Pieces for string quartet, four diverse pieces for piano quintet, his Largo for Violin, Clarinet and Piano, and another largo for violin and piano. The two numbered string quartets appear on Disc 10 performed by the Juilliard Quartet (1967), with the second of the two reappearing on the final collection’s final CD, performed by the Cleveland Quartet (1976), paired with Samuel Barber’s String Quartet in B Minor with its iconic molto adagio second movement. 

Ives’ vocal music is amply represented with a CD of songs (Disc 17) sung by soprano Evelyn Lear and baritone Thomas Stewart, and Disc 7 features choral works performed by the Gregg Smith Singers and the Columbia Chamber Orchestra, among others; a highlight of the disc for me is General William Booth Enters into Heaven featuring the gorgeous bass voice of Archie Drake. There is also a disc (18) of “Old Songs Deranged” which comprises familiar tunes refashioned for theatre orchestra with Ives’ usual cryptic wit. There are four recordings of Variations on “America” (same tune as God Save the King), one in the organ version with E. Power Biggs, and William Schuman’s arrangement for orchestra conducted by Morton Gould (1966), Eugene Ormandy (1969) and André Kostelanetz (1976). 

The bulk of the set, though, is devoted to Ives’ original music for orchestra. Ives wrote four numbered symphonies and another entitled A Symphony: New England Holidays. He also wrote three orchestral “sets” (the first of which is subtitled Three Places in New England), the surprisingly boisterous Robert Browning Overture, the mostly subdued and at times ghostly Central Park in the Dark, and The Unanswered Question, as well as a number of smaller works. Some of these orchestral works also include choral movements (Symphony No.4, Orchestral Set No.2, A Symphony: New England Holidays) and most of the pieces appear in multiple performances. Most notable among these are the Symphony No.4 in a 1968 performance under the baton of Leopold Stokowski with assistants José Serebrier and David Katz (because Stokowski felt it too difficult for one conductor to realize) and one from 1974 with Serebrier alone at the podium. Also notable: Symphony No.2 conducted by Leonard Bernstein in 1960 and Eugene Ormandy in 1974. The Bernstein recording is supplemented with a lecture by the maestro extolling the virtues (and difficulties) of Ives’ music.

I must say that listening to 25 hours of the quirky music of Ives is daunting and not for the faint of heart. To paraphrase the sometimes-cantankerous composer you need to be able to “stand up and take your dissonance like a man.” An invaluable tool I found for approaching the task is a book that was published in 2021, Listening to Charles Ives: Variations on his America by past president of the Charles Ives Society J. Peter Burkholder (Amadeus Press charlesives.org/listening-charles-ives-variations-his-america). It’s a marvellous resource, especially when read in conjunction with the listening tools on the Charles Ives Society website (charlesives.org). My only frustration came when I could find neither Piano Sonata No.1 nor Symphony No.4 in the detailed discussion of Ives’ works.

02 Donald Berman IvesThe same year that Burkholder published his book, the current president of the Ives Society Donald Berman published Charles E. Ives: Piano Studies - Shorter Works for Piano, Volume 2 - Ives Society Critical Edition (Peermusic Classical), and in 2024 Berman released what may be, thus far, the definitive recording of the “Concord” Sonata, Charles Ives - Sonata No.2; The St. Gaudens (Avie Records AV2678 avie-records.com/releases/ives-piano-sonata-no-2-concord-mass-1940-1860-•-the-st-gaudens-black-march).

I say”thus far” because it is likely there will never be such a thing as definitive where Concord is concerned. As I said in last month’s column, Ives continued to revise the work until 1947 when he published a supposedly definitive second edition after a decade of collaboration with John Kirkpatrick who had given the first public performance of the complete sonata in 1937 and would go on to record it in 1948. But the evolution of the sonata did not stop there, with scholars like Kirkpatrick and later Jay Gottlieb continuing to make “improvements” based on Ives’ innumerable sketches and notebooks. With the resources of the Charles Ives Society at his disposal, Berman has been able to draw on most of a century’s scholarship to foster his understanding of the iconic work and the result is stunning. He has chosen to pair the sonata with The St. Gaudens which is subtitled “Black March.” The music depicts marching soldiers of the Massachusetts 54th, one of the first Union armies of African Americans during the Civil War and one that suffered heavy casualties. In an annotation to the score Ives pays tribute to the regiment and says “Your country was made from you – images of a divine law carved in the shadow of a saddened heart.” Berman offers it as a prelude to the Concord, and it is an effective set-up for an outstanding disc. 

And these just in

In September 2007 I reviewed composer/pianist Frank Horvat’s first CD and said his “compositions are diverse enough that it’s hard to describe exactly what the disc is about. Sometimes bordering on the improvisations of Keith Jarrett (but without the audible humming), at moments reminiscent of boogie-woogie, at others dark ballad-like musings and occasional fugal passages, this is truly an eclectic mix.” Over almost two decades since then, with 22 releases in his discography (16 of which have been reviewed in DISCoveries), Horvat has persisted in his eclecticism and is still hard to pin down.

03 Frank Horvat More RiversHis latest release, More Rivers (navonarecords.com/catalog/nv6689), explores yet another side of his creativity in a tribute to Ann Southam inspired by her ebullient and rollicking series Rivers. Southam’s frequent collaborator Christina Petrowska Quilico is the pianist here, as she was so often for Southam’s pieces. Her discography, which numbers more than six dozen releases, includes Southam’s Rivers, Pond Life, Glass Houses, Glass Houses Revisited and Soundspinning, a collection of early works including my introduction to Southam’s music, Three in Blue, which was included in the Royal Conservatory of Music syllabus when I was studying piano more than half a century ago.

Horvat says that although “Southam’s work in the area of minimalist composition has been a big influence on my life […] More Rivers is not intended to be a sequel or continuation of Rivers, but my hope is that my own unique musical minimalist voice will be a tribute to this body of work that has impacted me so profoundly.” The set comprises seven pieces constructed with overlapping looping textures evoking water; murmuring, babbling, racing or gently flowing. A number of the movements are calm and meditative, reflecting in the composer’s words “a spiritual sentiment,” but there are also dynamic and forceful moments reminding us of the power of water. Petrowska Quilico rises to all the challenges, making even the most intricate passages sound effortless and natural.

In his programme note Horvat implores us to remember “Water is intrinsic to life. As living beings on this planet, it is one of our most important resources that requires our full respect and protection.” Amen to that.

04 Dan LippelElsewhere in these pages you will find reviews of guitar-centric discs featuring “classical” composers Graham Flett and Tim Brady, and jazz guitarists Jocelyn Gould and the late Emily Remler. Each of those discs showcases, primarily, one style of music, albeit there is quite a range in each of the presentations. The next disc also focuses on guitar, but in this case it appears in many forms and contexts. ADJACENCE – new chamber works for guitar (new focus recordings FCR 423 danlippelguitar.bandcamp.com/album/adjacence) features the talents of Dan Lippel on traditional and microtonal classical guitars, electric guitar and electric bass in a variety of ensembles and settings.

The 2CD set features the work of a dozen living composers and includes pieces by the late Mario Davidovsky (Cantione Sine Textu for wordless soprano, clarinet/bass clarinet, flutes, guitar and bass) and Charles Wuorinen (Electric Quartet performed by Bodies Electric in which Lippel is joined by electric guitarists Oren Fader, John Chang and William Anderson). There are works for solo guitar, multi-tracked guitars, an unusual string trio comprised of guitar, viola and hammer dulcimer, a variety of duets such as piccolo and guitar and percussion and guitar, and a number of quartets of varied instrumentation.

One of my favourites is Tyshawn Sorey's homage to a Seattle-based pianist/composer. Titled Ode to Gust Burns it is an extended work scored for bassoon, guitar, piano and percussion, with the bassoon adding a particularly expressive note to the tribute. Another is Lippel’s own Utopian Prelude that opens the set, on which he plays both electric guitar and a micro-tonally tuned acoustic instrument. Ken Ueno’s Ghost Flowers is another extended work, composed for the unusual trio mentioned above. It begins with eerie string rubbing sounds from the guitar before droning viola and percussive dulcimer join the mix. The next ten minutes get busier and busier with overlapping textures and rhythms before subsiding gradually into gentle harmonics.

Peter Adriaansz’s Serenades II to IV (No.23) for electric guitar and electric bass ends the first disc, with Lippel playing both parts. Sidney Marquez Boquiren’s Five Prayers of Hope is performed by counter)induction, a quartet consisting of violin, viola, guitar and piano. The haunting opening prayer Beacon is juxtaposed with a variety of moods in the subsequent Bridges, Silence Breakers, Sanctuary and Home. The second disc ends with Dystopian Reprise which Lippel describes as “a fusion-inspired improvisation using the final minutes of Adriaansz’s Serenade IV as a canvas.”  Throughout the more than two hours of Adjacence Lippel and his colleagues kept me enthralled with the breadth and range of an instrument it is all too easy to take for granted.

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05 Messiaen Turangalila Andris NelsonsIn closing I will mention one guilty pleasure of the past month. Although I certainly didn’t need another recording of Olivier Messiaen’s mammoth symphonic work, as it is one of favourites I was pleased to add Messiaen – Turangalîla Symphony (Deutsche Grammophon deutschegrammophon.com/en/catalogue/products/messiaen-turangalla-nelsons-13655) to my collection. Featuring Yuja Wang, Cécile Lartigau and the Boston Symphony Orchestra under the direction of Andris Nelsons, the recording offers all the excitement, scintillating effects and dynamic range that this exhilarating work requires. Another one for the ages! 

We invite submissions. CDs and DVDs should be sent to: DISCoveries, The WholeNote c/o Music Alive, The Centre for Social Innovation, 720 Bathurst St. Toronto ON M5S 2R4. Comments and digital releases are welcome at discoveries@thewholenote.com. 

01 Bessette IvesI recently received Louise Bessette’s latest, Port of Call: New England with music by Charles Ives and Edward MacDowell (ATMA ACD2 2902 atmaclassique.com/en/product/port-of-call-new-england). The Ives is the extraordinary Piano Sonata No.2 “Concord, Mass 1840-1860” which he worked on for most of the first half of the 20th century, and the MacDowell is New England Idyls Op.62, a set of ten vignettes composed in 1902. I first heard the celebrated Montreal pianist in the early 1990s at George Weston Recital Hall at what is now the Meridian Centre for the Arts where she performed Olivier Messiaen’s stunning Vingt Regards sur l’enfant Jésus from memory. I was enthralled. At the concert, I picked up her CBC Musica Viva recording of selections from the Vingt Regards and to my delight it also included Ives’ Concord Sonata. That was recorded live in concert back in 1987 and now, some 37 years later she has produced a studio recording of the Ives, “one of her all-time favourite works.” It’s one of mine too.

The Concord Sonata is a work that was very special to me in my formative years. I have spoken before in these pages about how my discovery of the Bartók string quartet cycle provided one of my earliest entries into the world of “contemporary” music, a kind of epiphany for me. Another revelatory experience was a lecture/demonstration at the U of T Faculty of Music in November 1974 by German pianist Peter Roggenkamp, whose examination and elucidation of the complex and freewheeling score of the Concord Sonata was another ear-opener. I was already enamoured of John Kirkpatrick’s 1968 Columbia recording of the work, but having it dissected under Roggenkamp’s microscope really brought home the intricacies and idiosyncrasies of Ives’ writing and left a lasting impression. 

In the first 20 seconds of the sonata, we hear Beethoven’s “fate” theme, the first four notes of the Fifth Symphony, which will reappear in myriad forms and guises throughout the four movements. As was his wont, Ives also incorporates/interpolates dozens of hymn tunes, marches, popular songs, fiddle tunes and his own brand of ragtime melodies into the classical piano sonata form. It is at times an extremely wild ride, but this is juxtaposed with gentle, almost transcendental sections. And transcendental is a key word here because Ives conceived the sonata as a depiction of figures of 19th-century American Transcendentalism, designating the movements Emerson, Hawthorne, The Alcotts and Thoreau

To paraphrase the late Robert Fulford, publishing is a “necessary evil” that sadly stops the editing process. This was not the case for Ives, who worked on this sonata for 45 years beginning around the time of the First World War. After a decade of tinkering, he self-published a first edition in 1920 and sent out several hundred copies to performers, libraries, critics and anyone he could think of who might be interested. Few were, and he continued to revise Concord until 1947 when he published a supposedly definitive second edition after a decade of collaboration with Kirkpatrick who had given the first public performance of the complete sonata in 1937 and would go on to record it in 1948. 

But the evolution of the sonata did not stop there, with scholars like Kirkpatrick and later Jay Gottlieb, with whom Bessette worked, continuing to make “improvements” based on Ives’ innumerable sketches and notebooks. Most contemporary performances use the 1947 edition, but Kirkpatrick’s own second recording (1968) has craggier moments including, notably, Ives’ dissonant treatment of Hail Columbia, Gem of the Ocean in the latter portion of the piece. We can assume that through Gottlieb, Bessette also had access to Ives’ unpublished manuscripts. It’s a very special performance, muscular when Ives demands it – and demand it he does! – and calm, in fact tender as a breeze over Walden Pond, in the final moments. In that last movement we briefly hear the return of what Ives referred to as the “human-faith-melody” motif, this time played on the flute (Jeffrey Stonehouse). The brief addition of the flute is marked optional in the score, as is a quiet passage on the viola (Isaac Chalk) in the opening movement. Of the ten or so recordings I have in my collection, this is just the second to include these instruments, adding another element to the pleasure I found here.

After the raucous boisterousness of much of the Ives, it’s as if MacDowell’s New England is on another astral plane, although the quietude of Thoreau does lead nicely into the Idyls. With titles such as An Old Garden, In Deep Woods, Indian Idyl and From a Log Cabin, the brief pastoral portraits harken back to a gentler time, in contrast to Ives’ forward-looking approach. It is a bit funny though to hear a quiet echo of the Beethoven “fate” theme appear in the movement called Mid-winter, and the set ends on a lively note with The Joy of Autumn. Bessette is captivating throughout. 

I have also had several epiphanies when it comes to choral music, the first being an Angel LP recording of Carl Orff’s Carmina Burana under Rafael Frühbeck de Burgos when I was still in high school. Some years later, as an amateur cellist on my first trip to CAMMAC’s Lake MacDonald summer program, I was sitting in the orchestra playing the pedal note and facing the conductor, when suddenly the choir at the back of the room burst into the glorious “Herr, unser Herrscher” opening phrase of Bach’s St. John Passion. I was gobsmacked! Several years later at the Elora Festival presentation of Carl Theodor Dreyer’s silent film The Passion of Joan of Arc accompanied by a live performance of Richard Einhorn’s Voices of Light, again my soul soared at the beauty of a choral creation. 

02 Dompierre RequiemThere are moments in François Dompierre’s Requiem that take me back to the feeling of elation and exhilaration I experienced during those formative years. The performance features Montreal’s Orchestre FILMhamonique, Ensemble ArtChoral, soloists Myriam Leblanc, Andrew Haji and Geoffroy Salvas under the direction of Francis Choinière (LABE Records LABECD-24007 francoisdompierre.com/discographie). Dedicated to the memory of Dompierre’s mother Yolande and father Frédéric, the Latin texts of the gorgeous near hour-long work are taken from traditional liturgical verses: Introit-Kyrie; Dies Irae; Tuba Mirum; Lacrimosa; Hostias; Recordare; Sanctus; Benedictus; Agnus Dei; Lux Aeterna; Libera; In Paradisum. The varied movements range from dramatic and dynamic with full chorus and orchestra, to contemplative, even haunting, moments where the soloists are featured with sparse accompaniment. The musical language is mostly tonal and accessible, but there is enough range and contrast to satisfy even my somewhat jaded palette. The performance is nuanced and well balanced from the quietest moments to the occasional bombastic outbursts. The recording, made at la Maison symphonique de Montréal in January 2024, is outstanding. My one quibble is that the booklet, including Dompierre’s introduction and the translations of the Latin texts, is entirely in French. Fortunately, you can hear the composer talking about his Requiem with English subtitles here: youtube.com/watch?v=gFLPvPLux3E. 

I like it when my reading and my music making overlap. While working at CJRT-FM I read Vikram Seth’s An Equal Music and was intrigued by the narrator’s quest to find Beethoven’s String Quintet in C Minor Op.104, the composer’s rearrangement of an early piano trio. I set out on my own search for the music, fortunately not as onerous as the one described in the novel, and one of the highlights of my “career” as an amateur cellist was spending an afternoon with a quartet of friends under the tutelage of violinist extraordinaire Mark Fewer reading through the fabled work. That was a thrill only exceeded by the time I got to play Mozart flute quartets with Robert Aitken! (But enough about me, for now…).

03 AlikenessSpeaking of Mark Fewer, Alikeness features the Newfoundland Symphony Orchestra Sinfonia under Fewer’s direction (Leaf Music LM 296 leaf-music.ca/music/lm296). Soprano Deantha Edmunds, a singer-songwriter who has the distinction of being the first Inuk professional classical singer, is active in the fields of opera, throat singing and drum dancing. The CD opens with Edmunds’ performance of her Angmalukisaa (“round” in Inuktut), four songs about personal connections arranged for the orchestra by Bill Brennan, Andrew Downing, Jeff Johnston and Robert Carli. This is followed by a “concerto grosso” with Fewer as violin soloist, Episodes by Serge Arcuri, written in 1998 for the Montreal Baroque Orchestra. While referencing the baroque origins of the form, Arcuri’s three movement work incorporates a romantic sensibility and some modern turns of phrase. Matt Brubeck’s solo work The Simple Life appears next in a lush arrangement by Downing for violin and strings, followed by the third movement of Carli’s “C” from his suite B-A-C-H, another contemplative work featuring Fewer’s violin. The title work, composed in 2015 by Jarosław Kapuściński, associate professor of composition at Stanford University, for the St. Lawrence String Quartet (ensemble in residence at Stanford) and percussionist Aiyun Huang. The mostly quiet work, a bit surprising for a percussion “concerto,” is heard here in an arrangement for Huang and string orchestra by Yoshiaki Onishi. The various percussive instruments are effectively juxtaposed with pizzicato accompaniment at times, and at others with lyrical lines or catch-me-if-you-can chase scenes with the strings. This very effective piece, lasting almost 25 minutes, completes a satisfying disc of unusual repertoire for chamber orchestra.

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04 1Q84(And here I am again…) Back in my days as a music programmer at CJRT, a favourite selection was Claude Bolling’s wonderful “chamber jazz” creation Suite for Flute and Jazz Piano Trio as recorded by Bolling with Jean-Pierre Rampal. Somehow it escaped my notice that he had also written a Suite for Cello and Jazz Piano Trio composed and recorded in 1984, with Yo-Yo Ma as soloist. The Suite recently came to my attention on 1Q84, a new recording by Montreal cellist Sahara von Hattenberger (Odd Sound ODS-36 saharathecellist.com) who performs with pianist Joanne Kang, bassist Adrian Vedady and drummer Jim Doxas. Whereas in the original recording the rhythm section was confined to pretty much just that, in this new rendition the piano, bass and drums are given improvisatory sections in each of the six movements. While we expect it from jazz journeymen Vedady and Doxas, classical pianist Kang also shows herself right at home in “uncharted” waters and the end result is exhilarating.  

Regarding the unusual name of the album, although the booklet notes don’t go into it, the press release explains the significance of the title, borrowed from the well-known fantasy novel by Haruki Murakami set in 1984. The protagonist in the novel refers to the parallel universe in which she finds herself as 1Q84 (Q is pronounced the same as the number nine in Japanese). Van Hattenberger notes that 1984 was also the year Bolling completed his cello suite. 

The “parallel universe” in this case is the second CD of the set, where van Hattenberger performs new works for the same ensemble from composers Remy Le Boeuf, Malcolm Sailor and Jeffrey Fong. Le Boeuf has also contributed a quartet arrangement of Kate Bush’s Running Up That Hill (a particularly fond earworm for me). The press release also states that Bolling’s famous crossover suite “acted as an antidote to the angst of the era. Massive inflation, the AIDS epidemic, financial unrest and overwhelming fear of and obsession with technology…” and goes on to suggest that “Van Hattenberger’s re-imagining […] maintains the same sense of joy and wit as the original […] This album is a welcome respite from the pressing darkness we often find ourselves in today.” I must say I have to agree as I write this in the days following the U.S. election. 

One caution: It seems there was a mix-up in the pressing of the second CD. It was intended to be heard in the order printed on the packaging (Sailor, Le Boeuf, Bush, Fong), but the actual order on the physical disc is Le Boeuf, Bush, Sailor, Fong, easy enough to re-program on a CD player. For digital purchase, the order of the tracks is correct. 

05 Brandon SeabrookI don’t know where to start with this next one. Brandon Seabrook’s Object of Unknown Function (Pyroclastic Records PR 37 brandonseabrook.bandcamp.com/album/object-of-unknown-function) is unlike anything I’ve heard before (a few familiar sound fragments notwithstanding). The album is meant to convey the extreme physicality of Seabrook’s solo performances. It is a mixture of single instrumental lines supplemented by layers of similar or disparate instruments, juxtaposed with four-track cassette recordings from a variety of sources. The mix of instruments is somewhat unusual: an early 20th century six-string banjo, a tenor banjo played with a bow, an electric 12-string guitar and a classic Fender Telecaster. Six-string banjos are variously known as banjitars, guitjos and ganjos, Seabrook simply refers to his 1920 William O. Schmick instrument as a guitar banjo and it is tuned like a guitar. 

Tenor banjos, popular in the early 20th century in traditional jazz ensembles such as Dixieland bands, have four strings tuned in fifths like the viola and cello, or alternately in Chicago tuning, pitched like the four higher strings of a guitar. They are most often strummed rhythmically rather than plucked like their five-string counterparts, but Seabrook treats his differently, playing with a bow resulting in a sound similar to a Chinese erhu, or picking individual notes to create complex melodies. His Neptune 12-string electric guitar, built by Nashville luthier Jerry Jones in 1998, is naturally lush but Seabrook takes this to the nth degree when he layers four tracks of it along with seven bowed and two pluck tenor banjos in Melodic Incidents for an Irrational World producing a virtual wall of sound. 

Although there are moments of respite, such as the track Some Recanted Evening (one 12-string electric guitar) or the closer The Snow Falling, Falling (four bowed and one plucked tenor banjo), I must emphasize that this is not easy listening and at times borders on painful with its abrasive, ruthless energy and dissonant textures. That being said, I find myself drawn to it repeatedly, especially the above mentioned Irrational World  (which puts me in mind of the complex layers of acoustic instruments in the music of Paul Dolden), and in Unbalanced Love Portfolio, a contemplative solo for one guitar banjo. Not for the faint of heart, but a rousing ride for the more adventurous listener.  

06 Sandy BellI will close with a shout-out to an old friend, Sandy Bell, who was my counterpart as manager of Arraymusic for most of the 20 years I spent in the same capacity at New Music Concerts. Sandy has now retired from the heady world of arts administration to live the good life in rural Nova Scotia and concentrate on the things that matter. She has always been a singer, trained in choirs in her youth, but found her personal voice in the world of country music. While in Toronto she co-founded a band called The Wanted which played in such hallowed halls as the Gladstone Hotel and Cameron House. It seems her life’s dream was to produce a solo album and now she has done it. Break of Day – Songs for Colin (sandybellcreative.com/music) is a beautiful collection of original songs commemorating the life of her son who died tragically at the age of 20. There are some laments, including a chilling rendition of I’m So Lonesome I Could Cry, the only cover version on the album, but the overall feeling is of hope and celebration. Sandy’s soprano voice with its country twang is complemented by a backing band of traditional fiddle, pedal and lap steel, acoustic and electric guitar, banjo, bass and drums, with harmony vocals by Kristin Cavoukian, Max Heineman and Sofia Harwell, all produced by Andrew Collins who also contributes mandocello lines. Although this may not be the album Bell began dreaming of before the death of Colin, it’s nevertheless a lovely fulfillment of that dream.

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We invite submissions. CDs and DVDs should be sent to: DISCoveries, The WholeNote c/o Music Alive, The Centre for Social Innovation, 720 Bathurst St. Toronto ON M5S 2R4. Comments and digital releases are welcome at discoveries@thewholenote.com

Homage to Janos – When respected Toronto architect Janos Gardonyi retired from his professional activities he began a new creative life delving deeply into digital photography, expanding and exploring a life-long love of classical music and sharing his thoughts and personal reminiscences with the WholeNote community. In October 2004 we published his first review, a CD of piano works by Leoš Janáček performed by Hakon Austbo. Two decades and 285 reviews later, we published his final words last month, an encomium to the late Lars Vogt and his recording of Mozart’s Piano Concertos Nos.9 & 24 with L’Orchestre de chambre de Paris. Janos died peacefully on September 8 at the age of 87. I will miss his memories and anecdotes, but I have a wealth of written words, and a remarkable surrealistically coloured arboreal photograph on my kitchen wall, to remember him by. Janos, you will be missed. 

01 Symphonie GaspesienneIn February of this year I wrote briefly about an ATMA digital-only release of Symphonie Gaspésienne by Claude Champagne (1891-1965) featuring L’Orchestre symphonique de Laval under Alain Trudel. At that time I said “Although not much attention was given to him in English Canada, where his contemporaries included Healy Willan and Sir Ernest MacMillan, Champagne was an important figure in the annals of classical music in Quebec, where his students included Violet Archer, Roger Matton, Pierre Mercure, Serge Garant and Gilles Tremblay among other notables. I was very pleased to see a new recording of Champagne’s brilliant tone poem, composed in 1944. Starting eerily in near silence, Trudel leads his orchestra through the gradually building portrait of the fabled Gaspé peninsula with dramatic turns and climaxes along the 20-minute journey.” This recording has now been supplemented with works by Hungarians born a decade before Champagne, Béla Bartók’s Dance Suite Sz.77 (1923) and Zoltan Kodály’s Dances of Galánta (1933). The Bartók is not a suite of dances as we have come to expect from the baroque model; it draws on Hungarian, Romanian and Arabic rhythms and modes to create an “imagined folklore,” often dark and dramatic. In some ways it foreshadows his late works Music for Strings, Percussion and Celesta and the Concerto for Orchestra. In contrast, Kodály’s one-movement work is much more tonal and based on actual tunes he heard performed by Roma bands while growing up in Galánta. The disc (ATMA ACD2 2867 atmaclassique.com/en/product/symphonie-gaspesienne-champagne-bartok-kodaly-prevost) concludes with Célébration (1966), a rousing and somewhat more abrasive work by modernist Quebec composer André Prevost (1934-2001), whose teachers included Jean Papineau-Couture, Clermont Pépin and Olivier Messiaen. As in the Champagne recording, the Laval orchestra rises to all the various challenges of these varied works and Trudel draws out resplendent performances from this fine 53-piece ensemble. 

Listen to 'Symphonie Gaspésienne' Now in the Listening Room

02 Schoenberg JuilliardArnold Schoenberg (1874-1951) was one of the most influential composers of the first half of the 20th century, and this year we celebrate the sesquicentennial of his birth. Juilliard String Quartet Plays Arnold Schoenberg (SONY Classical 19658827202) spans fifty years of his chamber output from the early String Quartet in D Major of 1897, thought lost until after his death, and the string sextet Verklärte Nacht (1899), through the four numbered string quartets (1904-05; 1907-08; 1927; 1936), to the Ode to Napoleon Bonaparte on a text by Lord Byron (1942) and the Trio Op.45 for violin, viola and cello (1945). The recordings themselves span four decades, from the Juilliard’s first cycle issued in 1953 to the 1993 release of Verklärte Nacht and the String Trio. During these 40 years the quartet went through a number of personnel changes, the one constant being founding first violinist Robert Mann who remained at the helm for nearly half a century from the quartet’s inception in 1949 until 1997. (The quartet remains active today, with the current “old hand” being Ronald Copes who was enlisted as second violin in 1997 when Joel Smirnoff moved from second to first chair upon the departure of Mann.) The seven-CD box set includes two recordings of the string quartets, the first as mentioned from 1953 and the second from 1977. This latter also includes the D major quartet which remained unpublished until 1966 and was unavailable at the time of the first recording. I appreciate its inclusion here as Schoenberg’s first major work (25 minutes in this performance). Although one can hear hints of things to come in it, each time I hear the final movement I do a double take thinking that some mistake has been made and a bagatelle of Dvořák has been erroneously inserted. 

In between these two quartet cycles is a 1967 album that was issued as the seventh volume of The Music of Arnold Schoenberg series which includes the Ode to Napoleon, for which the quartet is joined by pianist Glenn Gould and narrator John Horton, and the Trio Op.45 performed by Mann, violist Raphael Hillyer and cellist Claus Adam. The final disc includes Verklärte Nacht in which the quartet is joined by violist Walter Trampler and cellist Yo-Yo Ma and another performance of the trio, this time with Mann, Samuel Rhodes and Joel Krosnick. 

This important collection gives us a wealth of understanding about how Schoenberg’s writing developed from his earliest output to one of his last compositions, about how the Juilliard’s approach to his music changed over the decades and about how recording technology advanced over the same period. The booklet, which contains full recording and release information, includes a very personal essay by Schoenberg, How One Becomes Lonely, in which he discusses how he felt about the often tempestuous and derisory reactions to his music among critics and the public. It also includes an interview with the 1977 members of the Juilliard, Mann, second violinist Earl Carlyss, Rhodes and Krosnick in which they point out that although the membership had almost completely changed in the 24 years since the first recording the group had continued to perform the quartets throughout that time so there was an organic development over the years. It’s interesting to be able to compare the “youthful” and somewhat aggressive approach in the early recordings to the more mature, but still energetic performances later. 

Notwithstanding my appreciation of the booklet itself, I have a few complaints about the packaging. Within the box, each of the CDs is encased in a miniature cardboard replica of the original LP release. This is fine for the front cover art, but unfortunately the reduction results in the original program notes on the back covers being too small to read comfortably, even with a magnifying glass. It is also unfortunate that these are the only program notes provided for the individual pieces and that the Verklärte Nacht/Trio and Ode to Napoleon/Trio covers have no liner notes whatsoever, presumably because the original releases had substantial booklets not included here. Although declaimed articulately by Horton, inclusion of Byron’s text for Ode to Napoleon Bonaparte would have been an important addition, as would some discussion of the trio to give it context, especially since two different performances are presented. That being said, this is a marvelous set and I’m glad to have it. 

03 Euclid QuartetLast month I opined “it’s not possible to have too many recordings of Ravel’s string quartet…” and I would say the same is true for that other stand-alone French classic, Claude Debussy’s String Quartet in G Minor, Op.10. The two are most often paired together on recordings and last month’s release of the Ravel by Toronto’s Venuti Quartet was a rare exception to the rule. I recently found another when the Euclid Quartet, faculty quartet-in-residence at Indiana University South Bend, released Grieg | Debussy (Afinat Records AR2402 afinat.com). The excellent program notes acknowledge the unusual inclusion of Grieg’s String Quartet in G Minor, Op.27, completed in 1878 at the age of 35, but make a strong case for doing so. Debussy wrote his G minor work in 1893 at the age of 31 and was evidently influenced by Grieg’s quartet. They share a number of characteristics, including a motif that falls from the octave to the seventh and then the fifth, a favourite of Grieg’s, and particularly the eventual triumphant transition from G minor to G major at the conclusion of both works. I am less familiar with the Grieg, as I daresay most audiences are, although the Euclid claim it as one of their “greatest hits.” I was reminded of the incidental music to Ibsen’s Peer Gynt which Grieg composed two years earlier, and was struck by the fact that the final cadence of each movement seemed so final, as if the work were over, that I was almost surprised at the onset of each subsequent movement. Influences aside, the Debussy of only 15 years later appears to be from a different world. Grieg’s Norwegian nationalism and romantic gestures are replaced by the soft, vibrant pastels of French impressionism. The Euclid Quartet seems comfortably at home in the bombast of the former and delicacy of the latter. Another welcome addition to my collection. 

04 August LightQuite a different kind of string quartet came to my attention this month, in the form of a set of collective improvisations by Richard Carr, Caleb Burhans, Clarice Jensen and Carr’s son Ben a.k.a. Carrtoons. August Light (neuma records 208 richardcarrviolinist.bandcamp.com/album/august-light) features a dozen tracks that range in style from ambient to abrasive. Carr is primarily a violinist, but is also heard on piano and, in one instance, electric guitar. Burhans is a violist and Jensen a cellist with Carrtoons adding electric bass on some of the material. The overall mood is contemplative, but as mentioned there are occasional moments of aggression. Play with Fire, with its choppy cello line and raspy upper strings seemed familiar to me, but not in a derivative way. Eventually I figured out that it was reminiscent of the Kronos Quartet version of Purple Haze or perhaps Matt Haimovitz’s cello ensemble playing Kashmir. But as I say, most of the disc is a lot more mellow than that. A favourite is the haunting Vik, bringing to mind the quiet majesty of the black volcanic sand beaches near the fishing village of that name on the south shore of Iceland that I had the pleasure of visiting with my wife a dozen years ago. This is followed by At the Crossroads, another ethereal piece with Carr on piano and the strings gently enhanced with electronics. The disc opens with Standing Stone, featuring plucked strings and overlaid long notes, and seemingly ends in a similar fashion with Standing Stone Reprise almost an hour later. After more than a minute of silence however the actual final track, Desolation is a Railway Station, begins with Carrtoons’ quiet walking bass line, the “heartbeat in this nocturnal jazz noir journey.” Very effective.

Listen to 'August Light' Now in the Listening Room

05 Ryan Truesdell SynthesisUpdate: In June I wrote about Russell Truesdell Presents SYNTHESIS – The String Quartet Sessions (SynthesisSQS.com), a mammoth project for which Truesdell invited 15 large ensemble jazz composers to write for the iconic classical string formation. At the time, as is often the case, I was working from digital audio files in advance of the official release. Since then I have received the full-release LP-size package containing three CDs and an old-school, full size program booklet. My initial reaction before opening the package was “how annoying, this won’t fit on my CD shelf” but, especially considering my concerns about the Juilliard Schoenberg set as noted above, I quickly realized that this was something special. What a joy to hold the booklet and be able to read the print without eye strain. Although I still get annoyed at odd-sized releases, this one has the standard dimensions of a vinyl record and will be easy to store with the LPs which still have a prominent place in my collection. So, thank you to publicist Ann Braithwaite for sending this along!

Listen to 'SYNTHESIS' Now in the Listening Room

06 Fretless GlasswingAnd this just in: Just as I thought I was finished for this edition I received Glasswing, the latest from Canadian string band The Fretless (thefretless.com). Like their previous four albums, Glasswing features original compositions by the members of the band, both individually and collectively, which explore their own unique take on the traditional folk string ensemble. Added to the mix are the warm vocals of Madeleine Roger on three tracks which she co-wrote with the band. The Fretless comprise the traditional formation of a string quartet, two fiddles, viola and cello, but one thing that makes them unique is that all three fiddlers – Karrnnel Sawitsky, Trent Freeman and Ben Plotnick – each take turns in the viola chair. Eric Wright is the cellist, providing a solid bass backing to the lilting higher strings. Highlights for me include the opening quasi molto perpetuo Lost Lake by Freeman, the gentle On the Hook by Plotnick and Sawitsky, Wright’s Tree Finder with its doppler-like opening and the closer, Icarus, with Roger’s poignant vocals re-telling the story of the boy who flew too close to the sun. 

Concert note: The Fretless launch Glasswing in a cross-country tour this month. In collaboration with set designer Gillian Gallow, lighting designer Emerson Kafarowski and sound technician Karen Gwillim, the tour promises to be an immersive, multi-sensory concert experience. It kicks off in B.C. on October 3 and culminates at Toronto’s Great Hall on October 20

We invite submissions. CDs, DVDs and comments should be sent to: DISCoveries, The WholeNote c/o Music Alive, The Centre for Social Innovation, 720 Bathurst St. Toronto ON M5S 2R4 or to discoveries@thewholenote.com

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