Modern and Contemporary

George Rochberg – Complete Flute Music 1 - Christina Jennings; Lura Johnson; June Han

George Rochberg – Complete Flute Music 1
Christina Jennings; Lura Johnson;
June Han
Naxos 8.559776

The WholeNote’s 20th season has brought symmetry: in the September issue I reviewed Marina Piccinini’s marvellous CD of Paganini’s 24 Caprices; in this last issue the recording of George Rochberg’s flute music includes 20 of his 51 Caprice Variations (on Paganini’s Caprice No. 24 in A Minor), a significant addition not only to the already long list of compositions based on this work but also to the flute repertoire.

Like the original Caprices, Rochberg’s variations were written for the violin. Jennings has adapted “…those best suited to the flute while representing the enormous stylistic range of [the] whole set.” It is to her credit both that the Caprice Variations sounds as if it was written for the flute and that her formidable technique is up to its prodigious technical demands.

The common thread binding the other two compositions, Between Two Worlds and The Fires of Autumn, could be considered to be the obsession of 20th-century composers with finding a new musical language. I can hear the composer’s voice in the atonal language of the first and the adopted Japanese idiom of the other if I consider them explorations, part of this search; but, Rochberg’s language and his voice seem most convincingly related in the Caprice Variations, which are so deeply rooted in the western musical tradition. Perhaps T.S. Eliot was right: “…the end of all our exploring will be to arrive where we started and know the place for the first time.”

Morton Feldman: Two Pianos and other pieces 1953-1969 - John Tilbury; Philip Thomas

Morton Feldman: Two Pianos and other pieces 1953-1969
John Tilbury; Philip Thomas
Another Timbre at81x2
(anothertimbre.com)

Along with John Cage and Christian Wolff, Morton Feldman was a key figure in the mid-century development of indeterminacy as a component in composition, creating works that emerge anew in each performance. This 2CD set focuses on a crucial period in his development and includes pieces for two pianos as well as pieces for three and four pianos and piano in various small ensembles. While the earliest, Intermission 6 (1953), presents the performers with various bits of notation and the direction to play in any order, the other pieces employ sequential notation that plays with time, whether using notes without rhythmic values or instructing musicians to sound a note when the decay of the previous one has begun.

In his extensive notes (available through anothertimbre.com), Philip Thomas emphasizes Feldman’s preoccupations with sound and time: they’re key to the way this special world ultimately involves us. While these works are designed to develop great structural complexity, the focus on sounds and their incremental evolution draws us ever further into the instant of the work’s coming into being, its evolving architecture stretching to erase its own boundaries. These works lead directly to Feldman’s later massive essays in time without being overshadowed by them.

Here John Tilbury and Philip Thomas bracket their program with two performances of Two Pianos (1957), each subtly distinct from the other. The complexity expands on the later Two Pieces for Three Pianos (1966) and the ensemble piece, False Relationships and the Extended Ending (1968). Tilbury may be Feldman’s most incisive interpreter (he first performed one of his works in 1960); his collaborators here share his attention to sonic nuance.

Prokofiev; Shostakovich – Cello Concertos

Prokofiev; Shostakovich – Cello Concertos
Steven Isserlis; Frankfurt Radio Symphny Orchestra; Paavo Järvi
Hyperion CDA68037

Prokofiev began this concerto in Paris in 1934, where he was urged by fellow émigré Gregor Piatigorsky to write such a work. Piatigorsky was enthusiastic over the first movement and the opening of the second but at that point Prokofiev returned to Russia. The work waited until 1938 to be completed in Moscow where it debuted to resounding indifference. The cellist had played it, against the composer’s wishes, as a sentimental piece and the conductor had no opinion. In 1940 its debut in the United States by Koussevitzky and Piatigorsky in Boston was hardly a triumph.

The 1956 recording of the concerto by János Starker and the Philharmonia under Walter Susskind is a polite affair and while beautifully played the overall mood misses the pungency that Prokofiev must have intended. The 1972 performance by Christine Walevska conducted by Eliahu Inbal is a far cry from the Starker, animated and alert and well recorded by Philips.

Recorded in concert in 2013, Steven Isserlis and Paavo Järvi together have set the record straight with new eyes on the score, delivering a fresh, vital interpretation. The first pages of the first movement announce that this is to be a compelling performance. The third movement, a set of theme and variations, is totally engaging, more rhythmic and interesting than previously revealed.

Their Shostakovich, too, is outstanding. One would believe that in his several recordings Rostropovich, the dedicatee, had the field covered. Easygoing tempo and high-spirited playing provide a most attractive alternative, especially with the tidy yet dynamic orchestral collaboration. The sound and wide range of the recording are state of the art. The Prokofiev solo March, arranged by Piatigorsky, is a jaunty little encore.

Aaron Jay Kernis – Three Flavors; Two Movements; Superstar Etude No.3

Aaron Jay Kernis – Three Flavors; Two Movements; Superstar Etude No.3
Andrew Russo; James Ehnes; Albany Symphony Orchestra; David Alan Miller
Naxos 8.559711

Aaron Jay Kernis was all of 23 back in the early 1980s when he first attracted attention with the premiere of his composition Dream of the Morning Sky by the New York Philharmonic. Since then, the Pennsylvania-born composer has earned a reputation as one of the most distinguished of his generation – a winner of not only a Pulitzer Prize, but also the Prix de Rome and the Grawemeyer Award. His large output is characterized by an affable and eclectic style, clearly evident on this Naxos recording which features three of his compositions performed by the Albany Symphony, conducted by David Alan Miller with Andrew Russo, piano, and James Ehnes, violin.

Three Flavors initially began as a concerto for toy piano, but it was later adapted for a modern instrument. To say the least, the piece is a study in contrasts. The first movement abounds in driving repetitive motives and modal harmonies – do I hear a hint of Stravinsky and a nod to Indonesian gamelan? In total contrast, the second movement, Lullaby-Barcarolle, is all gentleness, containing a lyricism not dissimilar to that found in works by Samuel Barber. Blue Whirl, the third movement finale, is clearly influenced by jazz rhythms and blues that Andrew Russo performs with great bravado, while the Albany Symphony provides a solid foundation.

It was in homage to his late father that Kernis composed Two Movements (with Bells) in 2007, a BBC Proms commission for James Ehnes. Scored for violin, piano and orchestra, the two movements each begin wistfully, but the mood soon becomes more flamboyant. Together, Ehnes and Russo engage in an animated and lively discourse, adroitly handling the energetic angular lines. Russo returns for a solo in Ballad(e) out of the Blue(s) – Superstar Etude No.3. Although the piece was inspired by Gershwin, there are also echoes of Oscar Peterson, Art Tatum and Errol Garner through its jazz harmonies and improvisational quality.

Kudos to all the artists on this CD for showcasing music by one of America’s most eclectic contemporary composers.

Missy Mazzoli – Vespers for a New Dark Age

Missy Mazzoli – Vespers for a New Dark Age
Victoire; Glenn Kotche; Lorna Dune
New Amsterdam Records NWAM062

Missy Mazzoli is a young American composer based in New York who continues to receive critical acclaim for her concert works. This release contains a new piece, Vespers for a New Dark Age, for female voices and instrumental ensemble that was commissioned by Carnegie Hall for the 2014 Ecstatic Music Festival. The music is set to fragments of text by poet Matthew Zapruder replacing the sacred vesper text. It is interesting to note that in traditional Catholic liturgy, the Vespers are to be sung as evening prayer at sunset. Further, Mazzoli describes the piece as, “…distorted, wild, blasphemous...” However, despite brief moments in the text that only occasionally reveal mildly blasphemous suggestions, the music, on the contrary, is full of light and optimism, a mood that remains relatively unvaried throughout the piece. While the work is divided into nine movements, the listener is treated to a continuous unfolding of broad and lyrical vocal weavings floating above punchy percussion rhythms and edgy folk-like violin gestures. At times, we hear passages containing obvious reminiscences of 1970s progressive rock akin to bands like Yes or Genesis. Any abrasiveness in the music is quickly balanced with soaring vocal washes that shimmer and infuse the music with a crystalline sheen. Perhaps the strongest section of the piece occurs in the seventh movement, providing the listener with a striking contrast to the rest of the piece stylistically. In this movement, the dramatic harmonies in the vocal part seem to occupy a different sonic environment than previously heard. This piece is a strong statement from a composer who is comfortable writing to the strengths of the performers she is working with. This music is perfect for those seeking a moment of respite and release within a contemplative and reflective listening experience.

Nordic Concertos - Martin Fröst; Various Orchestras

Nordic Concertos
Martin Fröst; Various Orchestras
Bis BIS-2123 CD

This disc is a repackaging of previous recordings, made between 1996 and 2003. The four performances feature four different orchestras and conductors. Three of the works are from modern or contemporary Nordic composers, the last from the early Romantic. They all demonstrate Fröst’s mastery of the clarinet.

Fröst plays his strongest card at the outset. Peacock Tales by Anders Hillborg is an exciting work tailored to Fröst’s outrageous abilities (which include dance). After an unaccompanied prologue the orchestra enters to provide the frame and backdrop for the peacock’s haunted cries. A Turkish March, Big Band Battle and Gallop Macabre follow in harrowing sequence. A return to the opening material is accompanied this time by Copland-sweetened harmonies, and after some super-fast pointillist boogie-woogie, the piano and clarinet join in a last melancholic duet.

Concerto No.3, Op.21 by neo-classicist Vagn Holmboe opens with a fanfare followed by a mournful solo (must be a Nordic thing). The exceedingly prolific Holmboe produced over 400 works, including 13 symphonies and 21 string quartets along with more than a dozen concertos for varying instrumental combinations. Op.21 is listenable and satisfying, a clean spare aesthetic. It’s suit and tie music, comfortable and finely cut.

Karin Rehnqvist’s tone poem On A Distant Shore is the dourest of them all. Its five sections are The Dark (another brooding soliloquy!); The Light (blinding rather than illuminating); The Wild (ferocious, carnivorous music); The Singing (more pavane than song); and The Call (a call for…to…of… siren or seagull?). Understated and masterful writing.

Barging in on the solemn proceedings, like a jolly elder relative drunk at a funeral, Bernard Henrik Crusell’s Introduction, Theme and Variations on a Swedish Air qualifies on account of its Nordic provenance. Why not include Nielsen’s wonderful concerto instead? Perhaps it would have been one too many melancholic flights through madness.