Modern and Contemporary

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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.

Watch Over Us: Works for solo violin and electronics - Yvonne Lam

Watch Over Us – Works for solo violin and electronics
Yvonne Lam
Blue Griffin BGR647 (bluegriffin.com)

The music on this album plays as if it is written by the cool composers on the block. Add to that a notion of electronic tapes as an equal musical partner and we get an album that is beaming with fresh ideas, concepts and expressions that have an edge of contemporary life.

Missy Mazzoli, Katherine Balch, Nathalie Joachim, Anna Clyne, Eve Beglarian and Kate Moore bring a certain sort of energy and vigour to this album, one that is perhaps best described as creative confluence. These composers do not rely on traditional structure, preferring instead to forge their own, but certainly pay homage to masters of the past in various ways. Violinist Yvonne Lam is a thread that connects them all with the spirit of her performance. Lam is attuned to the intricacies of each compositional language and her interpretations have a mixture of sensibility and boldness that is rare. Above all, she brings forward the sonorousness that envelops and nurtures all the compositions.

From Rest These Hands (Clyne) that is beyond gorgeous in its sonority and melodies to Synaesthesia Suite (Moore), a concerto with a sci-fi edge for violin and synthesized violin, to Watch Over Us (Joachim), a piece that explores physical and symbolic aspects of water, the compositions here are innovative, edgy and immediate.

Yotam Haber – Bloodsnow Talea Ensemble; Taylor Ward; Don-Paul Kahl; American Wild Ensemble

Yotam Haber – Bloodsnow
Talea Ensemble; Taylor Ward; Don-Paul Kahl; American Wild Ensemble
Sideband Records 11 (sidebandrecords.com)

The music of Yotam Haber impresses and shows that he is an innovative composer who seems to inhabit a space where notation meets, then crosses over into, improvisation. The music of Bloodsnow indicates that Haber is not one to shy away from subject matter that can be rather visceral in nature, such as that which is contained in two poems – one by Tahel Frosh, the other by Dorit Weisman. That may be just as well as Haber’s supple philosophical distinction between music and noise enables him to superbly articulate the sentiments and emotions of both poems that he sets to music.

Frosh’s Oh My Bank is a polemical broadside against capitalism and Haber uses instrumentation cleverly to accentuate dramatic tensions: winds against strings with Taylor Ward’s baritone top delivering the broadside. Through it all Haber harvests mint-fresh timbres to convey the sense of the anger of Frosh’s fiery work.

Haber’s music can also be charming in the face of tragedy as is the case with his music for. Weisman’s poem, They Say You Are My Disaster. In describing the character’s descent into the horrors of cancer he uses a wide range of sonorities to create music – both to mirror her stoicism as well as the face of raw tragedy. Bloodsnow – the song – is a modernist masterpiece.

And while the album suggests Haber excels in music of adversity, he also shows that he is a master of songfulness.

Beyond the Wall - AkMi Duo

Beyond the Wall
AkMi Duo
Avie AV2641 (avie-records.com)

Beyond the Wall is exquisitely presented and performed. The CD case has a beautiful orange/pink colour scheme extending to the stylish suits worn by Akvilè Šileikaitè (piano) and Valentine Michaud (saxophone); included is a booklet of extensive liner notes outlining the background of each composition and how it fits into the album›s concept.

Beyond the Wall presents four sonatas: Paul Hindemith, Sonata Op.11 No.4 (1919); Erwin Schulhoff, Hot-Sonate (1930), Edison Denisov, Sonata for Alto Saxophone and Piano (1970) and William Albright, Sonata for Alto Saxophone and Piano (1984). It is both an auditory and intellectual treat to get this mini-history of 20th-century saxophone music that Šileikaitè and Michaud perform sensitively and impassioned.

The liner notes do an excellent job of discussing the tonal and cultural differences amongst these composers and works but ultimately it is the brilliant performances that stand out. I found the Albright work to be a revelation: it contains throughout a gorgeous intertwining of saxophone and piano lines; Michaud’s dramatic mastery of the saxophone, including the altissimo range, is an emotional highlight.

Schoenberg on the Beach - Jeff Lederer with Mary LaRose / Balls of Simplicity: Jeff Lederer Notated Works 1979-2021 - Morningside Tone Collective

Schoenberg on the Beach
Jeff Lederer with Mary LaRose
Little i Music LIM CD 111 (littleimusic.com)

Balls of Simplicity – Jeff Lederer Notated Works 1979-2021
Morningside Tone Collective
Little i Music LIM CD 112 (littleimusic.com)

In 1909 the intrepid Arnold Schoenberg brought the hammer down on the Wagnerian concept of tonality, in favour of musical expression that abandoned tonal centres, key signatures and traditional application of harmony. He did so through a system in which all the notes of the chromatic scale were assigned equal importance. The result was music that sounded so radical to the ear that one critic went as far as describing the sound of Schoenberg’s music as if “someone had smeared the score of Tristan whilst the ink was still wet”.

In his closest approximation (in deferential homage really) of what might be Schoenbergian music – or rather how the composer might have responded to the more salubrious climate of his music today – Jeff Lederer gives us – what else? – Schoenberg on the Beach. Joined by his wife, the fearless, boundary-blurring vocalist Mary LaRose, Lederer combines the burnished sound of his clarinet and high-wire act on the flute, with LaRose’s often-dissonant vocal glissandi. Together Lederer and LaRose, and other instrumentalists, have deeply interiorized these works and offer wonderfully idiomatic performances, bringing to life Lieder by Schoenberg, Webern and others. With lyrics from Goethe, Rilke, Nietzsche, et al, highlighting the musically radical Second Viennese School, all of which feed Lederer’s and LaRose’s equally radical artistry. While Lederer’s arrangements and LaRose’s interpretations respectively, are likely to have as many naysayers and refusniks as Schoenberg’s Three Pieces for Piano Op. 11 had in its day, songs such as Blummengruss and Summer Evening do thrill.

Moreover, this repertoire is redolent with outstanding performances by vibraphonist Patricia Brennan, cellist Hank Roberts, bassist Michael Formanek, drummer Matt Wilsson and the redoubtable Marty Erlich on The Pale Flowers of Moonlight. All of this makes this disc unmissable.

Lederer has not been well represented – or so it may seem – solely for his compositions. Balls of Simplicity – Jeff Lederer Notated Works (1979-2021) will certainly remedy that lapse. These five (extended) works for reeds, winds, strings and piano clearly trace the dominant pattern of Lederer’s career, from chromatic Romanticism through atonality to serialism. Persistence of Memory (2015) and the seductive Piano Piece (1979) lay the groundwork for Bodies of Water for flute, cello and piano (2020). The darkest work, Song for the Kallyuga for piano, clarinet, violin and cello (1984) which marks the chemical disaster at the Union Carbide plant in Bhopal, India, killing almost 4,000 and maiming half a million others, is quite the artistic apogee of this album.

John Robertson: Portraits - Bratislava Symphony Orchestra; Anthony Armore

John Robertson – Portraits
Bratislava Symphony Orchestra; Anthony Armore
Centrediscs CMCCD32623 (cmccanada.org/product-category/recordings/centrediscs)

Kingston-based John Robertson (b.1943) creates colourfully scored, neo-Romantic music that succeeds in sounding freshly minted, avoiding Hollywood clichés or borrowings from other composers. This CD presents six pieces, all but one under 12 minutes long.

Overture for a Musical Comedy, Op.15 evokes, for me, the song-and-dance of a 1930s cabaret. Salome Dances, Op.32 is more subtly suggestive of that legendary unveiling than Richard Strauss’ frenetic version. Cyrano, Op.53 affectionately depicts scenes of love and strife from Edmond Rostand’s classic play.

The Death of Crowe, Op.30 describes an episode in Timothy Findlay’s novel Not Wanted on the Voyage in which Mrs. Noah laments the death of her blind cat’s dear friend. The music is fanciful and poignantly lyrical, featuring an extended clarinet solo wandering over repeated descending strings. The melancholy, perturbed Overture to Robertson’s ballet Lady Jane – A Fable, Op.66 includes, writes Robertson, “various themes that will be heard later in the work.”

The 31-minute, six-movement Suite from Robertson’s opera Orpheus – A Masque, Op.64 suggests that his take on the familiar myth is closer in spirit to that of the irreverent Offenbach than to Monteverdi or Gluck, its insouciant lack of gravitas offsetting the tender beauty of Orpheus’ and Euridice’s love music. (The rocking, bittersweet waltz tune of Dancing in the Elysian Fields has become, for me, a recurrent, invigorating earworm!)

Anthony Armoré, conductor of four CDs of Robertson’s compositions on the Navona label, continues to champion Robertson’s music with enthusiasm, entirely merited.