Modern and Contemporary

Folks’ Music - Chamber Choir Ireland; Paul Hillier; Esposito Quartet

Folks’ Music
Chamber Choir Ireland; Paul Hillier; Esposito Quartet
Louth Contemporary Music Society (louthcontemporarymusicsociety.bandcamp.com/album/folks-music)

Founded in 2006, the Louth Contemporary Music Society in Dublin is a visionary Irish presenter of contemporary concert music. It’s latest album, Folks’ Music, bookends British composer Laurence Crane’s String Quartet No. 2 with substantial new choral works by Canadian composers Cassandra Miller and Linda Catlin Smith authoritatively performed by the Chamber Choir of Ireland, conducted by Paul Hillier. Then it offers the same works in a binaural mix.

Crane’s String Quartet, eloquently played by the Esposito Quartet, mostly eschews overt dramatic gesture. Quoting classical-era cadences, he deftly deconstructs them in various ways, not neglecting to add the occasional ironic musical twist.

In her The City, Full of People Miller uses the concluding Latin refrain from Thomas Tallis’ 16th century choral setting of Lamentations (“Jerusalem, Jerusalem, turn to the Lord your God”) as her sole text, illustrating it with dense sonic textures inspired by Tallis’ score. With the choir positioned around the audience in six groups. the voices appear to swirl around the listener.

Smith chose numerous epigrammatic poetic fragments by Emily Dickinson, many scribbled on the backs of envelopes, for her masterful choral work Folio. From Dickinson’s deepest feelings – recorded single-mindedly on paper scraps – Smith constructed a fragmented interior monologue with themes ranging from despair to the peaceful acceptance of the final line, “This has been a beautiful day.”

Underneath the contemporary beauty and compositional complexity of Smith’s choral setting of the text, her music has a forthrightness, order and onward motion. It suits Dickinson’s own complex New England character very well.

Azrieli Music Prizes: New Jewish Music Vol.4 - Sharon Azrieli;Sepideh Raissadat; Naomi Sato; Zhongxi Wu; Orchestre Metropolitain; Nicolas Ellis

Azrieli Music Prizes – New Jewish Music Vol.4
Sharon Azrieli;Sepideh Raissadat; Naomi Sato; Zhongxi Wu; Orchestre Metropolitain; Nicolas Ellis
Analekta AN 2 9264 (outhere-music.com/en/labels/analekta)

Prize-winning compositions by 2022 Azrieli Music Prize laureates are firmly placed within the contemporary classical music realm, yet embrace an array of cultural and musical languages. Compositional excellence and innovation are showcased abundantly here but it is a combination of the abstract and visceral elements coupled with meaningful subjects that makes these pieces stand out.

Shāhīn-nāmeh, the song cycle by Iranian/Canadian composer Iman Habibi, opens the album in a way that is both lyrical and strong, much like its subject. Written for classical Persian soloist and Western orchestra and based on the astonishing poetry of the 14th-century Judeo-Persian poet Shah Shirazi, the composition depicts the tale of Esther and delves on the themes of love, spiritual struggle and devotion. Soloist Sepideh Raissadat’s performance (voice and setar) is enchanting; her voice laments, dances, yearns, commands and pleads, bringing the heart of humanness into focus.

The winner of the Azrieli Prize for Jewish Music, Out of the depths have I cried unto Thee, O Lord by Israeli composer and conductor Aharon Harlap, is dramatic in narrative and grand in execution. This large-scale work for orchestra and soprano uses the settings of five psalms, great musical gestures and dramatic phrasing to underscore trueness, reverence and the intensity of one’s faith. Soprano Sharon Azrieli delivers a powerful performance in collaboration with Orchestre Métropolitain and conductor Nicolas Ellis.

Rita Ueda’s Birds calling… from the Canada in You delivers quite different conceptual and musical language. Here we have a primarily atmospheric and textural piece that incorporates clusters of birdsongs of 450 bird species found in Canada. In this uniquely structured concerto for shō (Naomi Sato), suona/sheng (Zhongxi Wu) and Western orchestra, Ueda utilizes contemporary techniques to create a mesmeric environment, one that is quite distinctive and, at times, surprising.

Lutosławski: Concerto for Orchestra; Partita; Novelette - Christian Tetzlaff; Finnish RSO; Nicholas Collon

Lutosławski – Concerto for Orchestra; Partita; Novelette
Christian Tetzlaff; Finnish RSO; Nicholas Collon
Ondine ODE 1444-2 (chandos.net/products/catalogue/OD%201444)

Witold Lutosławski is a composer we tend to forget about: not a candidate for the desert island, perhaps, but unquestionably a creator of excellent music. This disc presents three of his works for orchestra: the well-known Concerto for Orchestra from 1954 along with the Partita for Violin and Orchestra (1988) with Christian Tetzlaff as soloist, and the rarely heard Novelette completed in 1979.

The playing under Nicholas Collon, the first non-Finn to be named music director of the Finnish Radio Symphony, brims with energy and commitment. The sound quality is outstanding: every section of the orchestra is vividly portrayed and the overall sound is balanced and warm without losing the smallest detail. Lutosławski’s mastery of drama is evident throughout, from the gripping opening of the Concerto to its Hitchcock-like finale and even in the lesser-known works on this disc.

The Partita was written first for violin and piano in 1984 and works very well for orchestra, giving Tetzlaff ample opportunity for virtuosity with many colourful moments for the orchestra. The Novelette is a fascinating series of miniature, highly dramatic episodes placed between brutalist bookends.

Throughout, Lutosławski shows his gift for inventive combinations and surprising turns of phrase, portrayed in complex language without ever crossing into the incomprehensible. This is dark and serious music, beautifully performed.

Olli Mustonen – Symphonies 2 & 3 - Ian Bostridge; Turku Philharmonic; Olli Mustonen

Olli Mustonen – Symphonies 2 & 3
Ian Bostridge; Turku Philharmonic; Olli Mustonen
Ondine ODE 1422-2 (ondine.net)

As a pianist, Olli Mustonen performed several times with the Toronto Symphony under Jukka-Pekka Saraste, always bringing a fresh and creative approach (I remember a particularly bracing version of Beethoven’s Emperor Concerto). On this disc, he displays his impressive abilities as a composer and conductor. After beginning his composition studies with Einojuhani Rautavaara at the age of eight, he has developed a style that is eclectic but quite conventional and expressive: think of a blend, perhaps, of Jean Sibelius and Benjamin Britten. It’s the sort of music that performers can really sink their teeth into and when his works are championed by the likes of Steven Isserlis and Ian Bostridge, one can rest assured that he knows what he is doing.

The disc opens with Symphony No.3, written in 2020 featuring the lustrous and sensitive voice of Bostridge. It portrays a legend, Taivaanvalot (“Heavenly Lights”) from the epic Finnish folk tale Kalevala and is sung in English except for a brief passage in the last movement. Symphony No.2, written in 2013, is subtitled “Johannes Angelos” and is based on the 1952 novel of that name by Mika Waltari which depicts the fall of Constantinople. Both works are compact in length (about 30 minutes) and both are full of picturesque and expressive music. Orchestrations are expert, the recording quality is superb and the players of the Turku Philharmonic are clearly enjoying themselves.

Violeta Dinescu: Solo Violin Works - Irina Muresanu

Violeta Dinescu – Solo Violin Works
Irina Muresanu
Metier mex 77106 (divineartrecords.com)

Romanian composer Violeta Dinescu’s works for solo violin are one of the biggest discoveries for me in terms of contemporary repertoire for this instrument. Her music is deeply meaningful and closely connected to literary works and philosophical concepts. It is precisely how Dinescu experiences, translates and depicts the inner musings that makes her music so captivating. The performer is seen as a storyteller and directs the flow of the pieces much like a storyteller would do – by making choices that enhance a particular phrase, action or emotion.

Violinist Irina Muresanu shares a special rapport with Dinescu’s music, one that is perhaps based on the fact that they share a Romanian heritage and understand the musical language that is strongly tied to their homeland. Dinescu’s music, influenced by folkloric melodies, particularly the melos of traditional Gypsy music, also includes contemporary violin techniques and an array of unorthodox sounds. The space between the notes is of particular importance to both composer and performer.

Muresanu seduces, mesmerizes and probes with her violin. Her deep, sonorous sound never lets the intensity lessen and never gives way to the technical challenges. That is particularly obvious in the opening piece Aretusa. In this composition, Arethusa, a nymph from Greek mythology (as described in Ovid’s Metamorphosis) is chased by the river God Alpheus. There is an ethereal beauty to this piece, the transcendent emerging amidst the passion, which becomes a signature mark of Muresanu’s performance on this album.

Chris Fisher-Lochhead: Wake Up the Dead - JACK Quartet; Quince Ensemble; Ben Roidl-Ward

Chris Fisher-Lochhead – Wake Up the Dead
JACK Quartet; Quince Ensemble; Ben Roidl-Ward
New Focus Recordings FRC 385 (newfocusrecordings.com)

Vermont-based composer/performer Chris Fisher-Lochhead’s album Wake Up the Dead assembles six pieces of wide variety and instrumentation, including two works each for string quartet and female vocal quartet, one for mixed instrumental ensemble, and one extended work for solo bassoon.

The album opens with stutter-step the concept, a commission by the Ensemble Dal Niente in 2016. This is a meaty introduction to Lochhead’s style of composition, and the ensemble interprets the score with commanding familiarity. An overall multi-phonic richness leaves space for irregular string solos, false harmonics and rich lower string resonances that are distributed evenly throughout the instrumentation giving a cohesiveness that sets up the rest of the album. The track Precarity Songs is a gorgeous piece for four high vocals performed by the Quince Ensemble, who also return on track five with Four Until L8, a more humourous piece with text. Track three, titled Funktionslust is performed by the JACK Quartet, and is a tightly wound collection of long tones, pizzicatos and expressive outbursts often layered simultaneously and at times stretched apart and then reduced again. The quartet takes the work in stride and makes the difficult score sound easy.

The fourth track in the collection, Grandfather, a work for solo bassoon written for contemporary specialist Ben Roidl-Ward, is a commanding piece of extended technique bringing up the phrase New Complexity. It was illuminating to find the score online; it helped to appreciate the writing, the incredible execution of the overtones, key clicks, and vocal outburst as well as the creative and detailed notation. The final track After Bessie Smith returns with the JACK Quartet, to close the collection with an extension of Fisher-Lochhead’s signature stretching and reducing of thematic material. A very interesting album for new music and deep dissonance lovers.