Editor's Corner

My first thought when I opened a package from Naxos and found Shostakovich – The Complete String Quartets with Quatuor Danel (Alpha 226) was, here’s something for Terry Robbins’ Strings Attached column. Although I love them dearly, I already have half a dozen sets of the quartets and after all, how many is enough? But then I made the mistake of opening the (Pandora’s) box. So, sorry Terry! I was immediately immersed in the sound world that has captivated me time and again, since my first exposure almost 50 years ago with the Borodin Quartet’s Melodiya-Seraphim vinyl set of the then complete quartets Nos.1 through 13 (now available in a digitally remastered four-CD set from Chandos). I also remember being deeply moved by the Beethoven Quartet rendition of the 13th in a pairing with the late Violin Sonata performed by David Oistrakh and Sviatoslav Richter. That one-movement Adagio quartet, written in 1970, seemed at the time to be the epitome of darkness and quiet despair. As had been the case earlier in the cycle, Shostakovich followed this morose work with the almost playful String Quartet No.14 in F-Sharp Major, Op.142 in 1973. But as we know, especially in his final years, playfulness was at a premium and the final work in the mammoth cycle returns to doom and gloom, if perhaps with quiet resignation. The String Quartet No.15 in E-Flat Major, Op.144 (1974) is in six movements – Elegy, Serenade, Intermezzo, Nocturne, Funeral March and Epilogue – every one of which is adagio in tempo with the single exception of the Funeral March marked adagio molto (very slow). As I mentioned, there is much gentle resolve in this work with only occasional abrasive interjections reminding us that Shostakovich was not entirely willing, in the words of Dylan Thomas, to “go gentle into that good night.”

When I started to write this I did not know what form my words would take. Having spent most of the past month revisiting these great works I have had various responses to this particular set. I initially assumed it was a new recording, but careful examination of the booklet – annoyingly printed in white text on a pale green background – reveals that it was actually recorded from 2001 to 2005 by the Bayerischen Rundfunk, and a search on the internet turned up that it was initially released on the Fuga Libera label a decade ago. Although there are extensive program notes – thankfully printed in legible black text – including an encomium by Frans C. Lemaire and a 16-page essay about the quartets themselves by David Fanning, nowhere in the 50-page bilingual booklet is there a word about the ensemble itself. Fortunately they have a comprehensive and up-to-date website (quatuordanel.eu) from which I was able to glean that one of the two Danel brothers, cellist Guy, and the violist Tony Nys, have since left the quartet. The violinists Marc Danel and Gilles Millet remain and their commitment to Shostakovich is ongoing with live performances of the quartet cycle in Manchester and Lyon in recent months. The group was founded in 1991, is based in Belgium and has a particular interest in modern and contemporary repertoire – Rihm, Lachenmann, Gubaidulina, Dusapin Jörg Widmann and Bruno Mantovani – although their upcoming recording projects focus on Tchaikovsky, Franck and late Beethoven.

Regarding the Shostakovich set itself, I found the performances nuanced, idiomatic and convincing and at about $35 the Alpha reissue is excellent value. I have mixed feelings about the order in which the quartets are presented however. Rather than a chronological presentation, each of the five discs presents three quartets from more or less different periods. I found this most satisfying on the final disc where Quartet No.1 is followed by Quartet No.10 and then the ultimate Quartet No.15, effectively giving an overview of the composer’s oeuvre in 77 minutes. Less effective was the opening disc on which we find Quartets Nos. 2, 7 and 5. Certainly for shorter listening sessions, one disc at a time, this is a well-balanced approach. But for binge listening, as I am prone to, I prefer to experience them in the order they were written. For this sort of total immersion I recommend spending just a few dollars more for the Decca reissue of the 1999 Deutsche Grammophon recording Shostakovich – The String Quartets by the Emerson String Quartet (475 7407).

The next entry doesn’t go back quite as far as my discovery of the string quartets of Dmitri Shostakovich, but I have known multi-instrumentalist, singer/songwriter Ted Parkinson for about 35 years. He is a dear friend, so unlike my usual “professional conflict of interest disclaimer,” I must say outright that this relationship goes much deeper than that. A frequent participant in my backyard and house party jams, Ted always has something to add to the mix, whether it’s his jazz-inspired hollow-body guitar complements to the songs of others or his own quirky compositions which run the gamut from basic blues, to pop rock and alternative ballad stylings. I have known that Ted has been working on his debut solo CD for the past four years and I’ve heard various mixes during that time. I am pleased to say, as are Ted and his long-suffering (no, let’s just say very patient) wife Joan, that the finished product My Neighbourhood (tedparkinson.com) is now available. Like many first releases it is a compendium of many decades of creativity and, not surprisingly, many stylistic variations. Although Ted is adept at guitar, keyboards, reeds and drums, he has enlisted “professional help” for this project. His main collaborator is producer/engineer Fred Smith who suggested supplementary players to fill out the mix. Smith himself adds a couple of instruments dear to my own heart, tenor banjo and mandola.

Ted, a native of Whitehorse, came to Toronto, and later Hamilton and now Kitchener, via Victoria, B.C. The songs reflect various aspects of his geographic and emotional development. I can only assume that February Spring is a remnant of his days in Victoria. And speaking of his time on the West Coast, while doing some spring cleaning a couple of days ago I unearthed a relic of Ted’s years at the University of Victoria in the form of An exciting, new, four song E.P. by The Tumours released in 1980. This punk-edged, new wave band with heavy-metal lead guitar featured my old buddy on saxophone and backing vocals. After moving to Toronto in the mid-80s Ted was for a while a member of the proto-punk band Violence and the Sacred. Not much of his “angry young man” roots remain in the songs collected on My Neighbourhood, but it was a fun trip down memory lane to listen to the long lost tracks which took me back to my own time at CKLN-FM in its heyday. Highlights of the new album include the title track, My Brother’s a Mormon, Discovery and University Town. You can watch a live performance of this last on Ted’s website.

I mentioned that Ted Parkinson is a frequent flyer at my backyard music parties and last summer he brought a friend, well a Facebook friend anyway. It seems that in the ever-shrinking world of social media Ted came across another Whitehorse native, jazz singer Fawn Fritzen, and when it turned out that she was spending a few months of professional development in Toronto, he decided my backyard would be a good place to meet in person. So on a couple of occasions last season we were graced with her strong, warm voice and our folky ramblings expanded to encompass some jazz standards and torch songs.

I was pleasantly surprised when Fritzen’s CD Pairings (fawnfritzen.com) appeared on my desk a couple of weeks ago. Recorded in Whitehorse and at Toronto’s Canterbury Sound, the disc was produced with her longtime collaborator Daniel Janke. As the title suggests, Pairings is primarily made up of duets and features a number of iconic figures including George Koller, Reg Schwager, David Restivo, Steve Amirault, a trio comprised of Richard Underhill, Kelly Jefferson and Shirantha Beddage, and of course, producer Janke. Fritzen shows herself adept in languages with lyrics in English, German and French and a comfort zone that embraces standards (Gershwin, Caesar and Youmans, Berlin and Porter), bluesy originals, a swinging arrangement of Burton Cummings’ Straighten Out and a growly Please Send Me Someone to Love. This is quite a brave project: accompanied in most instances by only one instrument (double bass, piano, jazz guitar or percussion), and occasionally in sung duet with the accompanists, Fritzen’s voice benefits from this exposure and rises to every occasion.

Concert Note: Fawn Fritzen will launch Pairings with intimate performances in Toronto at Jazz Bistro on May 8, St. Catharines at the Mahtay Café on May 9, Waterloo at the Jazz Room May 10 (where accompanists will include Ted Parkinson) and Ottawa at the Steinway Piano Gallery May 11.

Shameless self-promotion: In one final note I would like to tell you about a performance coming up on Wednesday, June 15. I have often mentioned my administrative association with New Music Concerts and also the music parties in my backyard (and elsewhere). In a surprising act of bravado I will be donning my folky duds to host a fundraiser on behalf of New Music Concerts at “Coffee House 345” (aka Gallery 345 on Sorauren). I will be bringing my eclectic repertoire, 6- and 12-string guitars and a few musical friends along for the ride. Thanks to NMC’s board of directors, there will be complimentary snacks and libations. More details will follow in the June edition of The WholeNote, but for advance reservations you can call 416-961-9594.

We welcome your feedback and invite submissions. CDs and comments should be sent to: DISCoveries, WholeNote Media Inc., The Centre for Social Innovation, 503 – 720 Bathurst St. Toronto ON M5S 2R4. We also encourage you to visit our website 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

As I have had occasion to mention before, my day job is general manager at New Music Concerts, an occupation with brings me into contact with some of the finest musicians and composers from across Canada and around the world. So in the spirit of full disclosure I will say that I have had professional dealings with the artists involved in the project Horațiu Rădulescu – Piano Sonatas and String Quartets. Pianist Stephen Clarke has been a frequent performer on our series over the years and in January we had the great pleasure of presenting JACK Quartet in conjunction with Music Toronto. Rădulescu (1942-2008) was a Romanian composer active in the French school of spectral composition. He wrote six piano sonatas and six string quartets during a career which saw him based in France, Germany and later Switzerland, after leaving his homeland in 1969. Volume One of this series (Mode Records 290), which will ultimately include all of the sonatas and quartets, presents us with three very contrasting works, Piano Sonata No.2 Op.82 (1991), String Quartet No.5 Op.89 (1990-95) and Piano Sonata No.5 Op.106 (2003). As this is my first exposure to Rădulescu’s music it is hard to know whether the difference in approach between the keyboard and string writing has more to do with the nature of the instruments themselves or if it is simply a matter of different concerns in the different works.

Each of the pieces has a subtitle taken from the Tao te Ching of the sixth-century BC Chinese philosopher Lao Tzu. The Second Piano Sonata “being and non-being create each other” is in three movements: Immanence, Byzantine Bells and Joy, in decreasing durations of Fibonacci proportions (we are told in the excellent notes by Bob Gilmore). The overall feel of the piece is contemplative, with even the “Joy” of the third movement seeming contained rather than exuberant. We are even treated to echoes of Beethoven’s “fate-knocking” theme from the Fifth Symphony in the closing moments of the sonata. While in his earlier years Rădulescu had treated the piano in a number of unconventional ways – turning it on its side and bowing the strings with rosined cords; retuning the piano spectrally to free the natural harmonics hampered by tempered tuning – with the Second Sonata he seems to have reconciled his language to the use of a conventional concert instrument.

This is not the case with the Fifth String Quartet “before the universe was born,” which uses a number of extended techniques to expand the palette of the strings in some unimaginable ways, which is to say that there are some sounds produced that I can’t begin to understand the origins of. The 29-minute work is in 29 brief sections, each with a quote from Lao Tzu beginning with “The unnamable is eternally real (darkness, the gateway to all understanding)” and ending “The world is sacred (it can’t be improved).” Again contemplation is the mood of the piece, with clouds of quiet sounds, but just past the halfway point things get more aggressive and there is an extended section of quite abrasive sound. Although there are moments of respite along the way, the work ends with insect-like buzzing and gnashing.

The Fifth Sonata “settle your dust, this is the primal identity” returns to modal melodic material. It is based on Romanian folk music and its drone- and bell-like passages are a genuine relief after the dark journey of the Fifth Quartet. Perhaps the subtitle of the third movement tells it all: “Use your own light /and return to the source of light. This is called practicing eternity.”

Stephen Clarke, who we know is comfortable in many modern idioms from the gentle, sparse music of Linda Catlin Smith to the aggressive complexity of Pierre Boulez, seems well at home in this largely unknown repertoire. And with their extensive work with Helmut Lachenmann I can’t think of another group better suited to the extended demands of Rădulescu’s string writing than JACK.

In keeping with the full disclosure of my opening paragraph, it was New Music Concerts who first brought Steve Reich to Toronto back in 1976 and was responsible for my initial exposure to his music. In recent years it has been our colleagues at Soundstreams who have been Reich’s premier sponsors in the city and this month they will pay tribute to “Steve Reich at 80” with a performance of, in my opinion, the jewel in the crown of his oeuvre, Music for 18 Musicians.

In October 2014 the Ballet de l’Opéra national de Paris presented choreographer Anne Teresa de Keersmaeker’s Rain (BelAir Classics BAC126), a setting of Music for 18 Musicians as performed by Ensemble Ictus and Synergy Vocals under Georges-Elie Octors’ direction. I admit to being out of my zone of comfort here, not being well versed, or even particularly interested, in modern dance. But the ten athletic dancers running gazelle-like (or is it Giselle-like?) around the stage in patterns reminiscent of a Samuel Beckett play on speed proved to be almost as hypnotic as the music. The focus of the film is understandably on the dancers, with only occasional tantalizing glimpses of the musicians, but the 5.1 Dolby digital sound is immaculate and the performance is compelling.

Concert Note: On April 14, Soundstreams presents a very ambitious program at Massey Hall, including Reich’s iconic Clapping Music, the large choral work Tehillim and Music for 18 Musicians.

Steve Reich provides the bridge to the next disc, Density, featuring flutist Claire Chase (clairechase.net) which has been waiting patiently on my desk for the past year. It opens with Reich’s Vermont Counterpoint for 11 flutes (piccolos, flutes and alto flutes), conceived as a work for flute “choir” or to be overdubbed by one player (as first performed and recorded by Ransom Wilson). As with all the works on this disc, Chase plays all of the parts in studio recordings in which the layers blend seamlessly. All are by living composers with the exception of the title piece Density 21.5 which Edgard Varèse (1883-1965) composed for a solo platinum flute in 1936 (21.5 grams being the approximate density of a cubic centimeter of platinum). The other works all involve multiple flutes and/or electronics.

Of particular note for its rich sonorities is Marcos Balter’s Pessoa for six bass flutes. Alvin Lucier’s Almost New York for piccolo, flute, alto, bass and contrabass flutes, and pure wave oscillators, takes some getting used to. The pure electronic sounds are quite harsh in comparison with the warmth of the natural flutes, but eventually our ears adjust and the contrast is quite effective. That being said, Philip Glass’ homage to Erik Satie, Piece in the Shape of a Square for two flutes, comes as breath of fresh air after 25 minutes of the sterile sounds produced by Lucier’s oscillators.

Luciform for flute and electronics by Mario Diaz de León presents a very different electronic soundscape: synthetic layerings and contrapuntal accompaniments to the rich sounds of the flute in its lower register. Again, to my ears, the purely acoustic sounds produced by the platinum flute in Varèse’s Density 21.5 are more interesting by far. Nevertheless, Chase is to be congratulated not only for her dexterity throughout the full range of flute family but also for her diverse choice of repertoire, producing a 75-minute homophonic program that holds our interest from start to finish.

Concert Note: To hear all the members of the conventional flute family (contrabass to piccolo) combined in a live flute orchestra I recommend (conflict of interest duly noted) “Flutes Galore,” a concert of contemporary music for 24 flutes presented by New Music Concerts on April 24 at Saint Luke’s United Church.

If Claire Chase has shown mastery in combining all the members of one instrumental family through “the magic of the studio,” what is to be said of Mike Herriott? On Isn’t Life Grand (mikeherriott.com) this consummate musician is responsible for not only the entire horn section (piccolo trumpet, trumpets, flugelhorns, French horns and trombones), but also basses and piano. He is joined by frequent collaborator Richard Moore on drums and percussion throughout, with a (very) few other guests on several tracks. The overall sound is rich and warm and takes me back to the great horn arrangements I heard in my formative years from the likes of Chicago, Lighthouse and Blood, Sweat and Tears. Herriott penned all the tunes and, with the exception of the extended Free at Last arranged by the late, great Canadian flugelhorn icon, Kenny Wheeler, did all the arranging too. Fittingly, Herriott provides a lush flugelhorn solo on Free at Last and is joined by Dave Reid for a bass trombone solo. The style is quite mainstream, and I am left thinking that with some lyrics and a singer like David Clayton Thomas this music could have been top of the charts back in the day. I mean that in the nicest possible way though and am in awe of this one-man big band that is Mike Herriott.

Another disc that spans mainstream jazz and pop sensibilities is Taylor Cook’s The Cook Book (taylorcook.com). In this instance though, the composer/leader has some fine Toronto players contributing to his ensemble. This is not to say that Cook is a one-trick pony by any means. The basic tracks see him on alto sax, flute and clarinet, with bandmates Jack Bodkin, keyboards, Brandon Wall, guitar, Justin Gray, acoustic and electric bass, and Robin Claxton, drums. This is complemented by a host of horns and woodwinds on such tracks as the rollicking Biker’s Dozen and the sultry Lilia which also includes string quartet. Another track where the ranks swell is Cook’s effective arrangement of On the Sunny Side of the Street which features a horn sextet. All of the other tracks are composed and arranged by Cook, including Splainin’ with lyrics by Neil Surkan and plaintive vocals by Alex Samaras, with the exception of the closing, soulful Testifyin’ by Fender Rhodes-playing Bodkin. In all, The Cook Book provides some tasty recipes, prepared to perfection.

As noted with modern dance above, I confess to being somewhat out of my comfort zone in the world of serious modern jazz. In my formative years however, I did spend quite a bit of time combing the shelves of John Norris’ Jazz and Blues Centre down on King St. West and building a collection of the standards of the time: Monk, Coltrane, Hawkins, Rollins, Davis, Parker, Coleman, MJQ, Brubeck and, as mentioned in last month’s column, even the Quintet of the Hot Club of France. Montreal bassist Alain Bédard and his acoustic Auguste Quartet take me back to those exciting years of discovery. Circum Continuum (Effendi Records FND 144) features Félix Stussi on piano, Samuel Blais on saxophones, Bédard on contrabass and Michel Lambert on drums. The music is old fashioned in the sense that is reminiscent of the music I was listening to in the 70s and 80s from the pioneers of post-bop jazz: uncompromising yet cohesive, melodic without being tuneful. Often busy in its undercurrents, but overlaid with long lines, and with nothing extraneous – all four members of the machine integral to the process. Bédard composed nine of the 13 tracks with the other members each contributing one of their own. The only “outside job” is Oelo by Gilles Bernard, inspired by Sonny Rollins’ Oleo. Lambert’s Blue Mitch begins with an enervated extended drum and saxophone duet, eventually tamed by the bass and piano before reestablishing their dominance in a harmolodic-style ending. Blais’ Noirceur Passagère features a haunting saxophone melody that gives way to a pizzicato bass solo that segues into Stussi’s Garissa evoking a Night in Tunisia sensibility. Bédard’s Le Gras Mollet with its block chord melody in the sax, piano and bass over a walking drum and cymbal line brings this excellent disc to a very satisfying conclusion.

David Olds, DISCoveries Editor
discoveries@thewholenote.com