Modern and Contemporary

Chiyoko Szlavnics – Gradients of Detail
Ensemble musikFabrik; Peter Rundel; Dirk Rothbrust; Asasello Quartett
World Edition CD #0022 (world-edition.com)

Armed with great insight and awareness of 20th century classical music history, in her first CD, Gradients of Detail, Berlin-based Toronto composer Chiyoko Szlavnics explores musical ideas that while leaning toward abstraction possess a finely nuanced sensitivity to the nature and reception of sound.

One of her primary memes is the use of “pure,” senza vibrato, sustained tones, and yet there is plenty of motion in the music too. Some tones rise in pitch while others fall in slow glissandi. At other moments they overlap and interfere, creating sonic moiré patterns, or are occasionally interspersed with a timbrally thick staccato, the sonic equivalent of a fuzzy thick point on paper. Szlavnics assays these common raw materials with the three variably scored works performed on this CD.

The musical result is a constantly shifting, subtly beating soundscape reminding me stylistically of various composers: a less bellicose early Penderecki, Xenakis (another composer inspired by the possibility of dialogue between graphic representation and music) and perhaps certain works by Feldman. In particular the influence of James Tenney, Szlavnics’ Toronto composition teacher, appears to hover in the background. It’s revealed in elements of instrumentation (sine-wave generators), tuning (i.e. just intonation), quirky texture (multiple crossing glissandi) and an extreme sensitivity to instrumental tone colour and its structural and even melodic exploitation.

Black graphic lines and moiré patterns dominate Szlavnics’ graphic art, liberally displayed on the CD cover and in the booklet; the symbiosis between her graphic and musical oeuvre is the primary theme explored in the thought-provoking essay “Drawing Music” by Eugen Blume.

I’ve chosen to sketch in the broad outlines of the music on the CD but I wanted in closing to mention the outstanding Szlavnics ensemble piece (a)long lines: we’ll draw our own lines. The haunting work seamlessly dovetails electronically- and acoustically-produced timbres into a sound world that’s all her own, performed with virtuoso precision and emotional warmth by the Cologne-based Ensemble musikFabrik. Listening to the album several times – please turn the volume up to enjoy the full sonic palette – has been an exciting personal journey. Along the way, a delightful surprise: the thrill of discovering a masterful compositional voice.

Through the Looking Glass
Alpha
Dacapo 8.226579

This sonic offering presents several pieces by four of Denmark’s most celebrated living composers, as re-visioned by Alpha, a trio playing recorders, saxophones and percussion. The CD opens in sparkling fashion with two short pieces by Poul Ruders. Alpha’s version of his rhythmically energetic Star Prelude makes clever use of high recorders and pitched percussion, and the fun continues with the same composer’s Love Fugue in which saxophone plays a more central role. Later on in the program, Bolette Roed gives a great rendition of his funky Carnival, originally scored for alto flute. Hans Abrahamsen’s Flowersongs, originally composed for three flutes, gets a broader stroke of colour from Alpha’s musical paintbrush, and Per Nørgård’s Heydey’s Night is sweet and humorous. Saxophonist Peter Navarro-Alonso’s arrangements of Nørgård’s Isternia and Bent Sørensen’s Looking on Darkness provide some welcome contemplative turns to this generally chipper program.

There is much to admire in Alpha’s elegant playing, both as individuals and as an ensemble. With a fairly minimalist slant this program might not be to everyone’s taste, but it proves that things are vibrantly alive and well in contemporary Danish music. Unfortunately though, while the booklet notes describe Alpha in glowing terms, there’s no information whatsoever about the original composers or the pieces reworked here. I didn’t particularly mind googling them, but considering that these composers not only created the original material but also gave their blessing to this project, this omission seems quite regrettable.

It’s been close to 25 years since the founding of the unique Montreal-based label empreintes DIGITALes (empreintesDIGITALes.com) in 1989 by Jean-François Denisand Claude Schryer. Solo-directed since 1991 by Denis, the label has produced 130 discs representing 107 composers and specializes in contemporary electroacoustic music, acousmatic and musique concrète. Although these genres of music are not the common fare for most of the concert events listed by The WholeNote, it is important to realize that the technical innovations and ways of thinking that have been pioneered by the practitioners of this music have had a wide influence on a vast array of musical forms and styles as well as media-based art forms.

One of the most distinguishing features of electroacoustic music in general is that it is composed primarily within a studio environment and is designed to be listened to through loud speakers. And although the ingredients of melody, rhythm and harmony can be an aspect of electroacoustic music, its primary focus is on the sound itself, which can originate from recordings made in a particular acoustic environment, or generated and processed through purely electronic or digital technologies. Sometimes the original sound source is recognizable – such as recordings of ocean waves or the inside of a piano, and in other situations, the sounds have been studio processed beyond recognition of their original context.

Back in 1990, empreintesDIGITALes offered its own vision of the wide array of possibilities within the electroacoustic genre. It published the groundbreaking Électro Clips CD which featured three-minute miniatures by 25 different composers, each one representing a unique approach to working in a studio environment.

More recently, the label has released four new albums by four unique composers: Martin Bédard (Montreal), Pierre Alexandre Tremblay (Montreal/UK), Andrew Lewis (UK) and David Berezan (Calgary/UK). Although the pieces are of longer duration than the three-minute clips, each disc presents four unique approaches and aesthetic visions.

Each of Bédard’s five acousmatic compositions on his Topographies CD (empreintesDIGITALes IMED 13121) creates a sonic picture of specific acoustic environments, ranging from recordings made in restored jail cells to the soundworld of trains. He also weaves in tributes to what he calls “phonoculture” – lyrics from a Rush song or the audio heritage of a specific community. He is captivated by specific behaviours, whether those be of a night watchman or of metal under stress, and his compositions are expressions of his curiosity.

The five compositions on Tremblay’s 2-disc set entitled La Marée (IMED 13123/124) are excellent examples of the interaction between live performers and a form of live processing of the solo instrumentalist. I found his piece La tombeau des fondeurs particularly engaging with its rhythmic and timbral pulsations that create a seductive sonorous quality suggestive of the casting of a metal or bronze bell or gong. All his pieces are meditations on life, a balancing of contradictions.

The music of Lewis on his CD Au-delà (IMED 13125) is a great example of pure acousmatic music in which the original sound sources are heavily processed and the original context is predominantly unrecognizable. However, Lewis’ skill at weaving sounds together creates strong impressionistic and imaginary soundscapes. His track Cân, the Welsh word for song, takes the Welsh musical heritage beyond the traditional sounds of harps and male choirs. Short interjections of these traditional sounds are juxtaposed with more abstract sonic textures.

And finally, the music on Berezan’s Allusions Sonores (IMED 13122) offers the listener a window into the places he has visited. Seeing himself as a composer who collects and “uncovers” sounds as part of his creative process, each of the five pieces reflects places he has personally visited or interacted with. Ranging from the sounds of a Balinese thumb piano to recordings made in Alberta’s badlands to the chirping sounds of temple and palace floors in Japan, listening to Berezan’s music is similar to listening to the ocean. Each piece has a very distinctive wave-like motion with the constant ebb and flow of the sound textures rising up and then falling away.

These four discs are a testament to the ongoing commitment this independent label has for a very unique and distinct genre of music. It is known and respected internationally and considered the go-to place for the keen listener and connoisseur of electroacoustic music in all its varied forms. 

Resolve – Hindemith masterworks for clarinet
Richard Stoltzman; Various artists
Navona Records NV5934

One has to thank Richard Stoltzman, dean of the clarinet in North America, for this latest addition to a long list of recordings, in this instance a celebration of Paul Hindemith’s clarinet music. Missing only the Quartet (1938), this disc features the Concerto (1947), the Sonata (1939) and the Quintet with strings (1923, revised in 1954). The last is the most curious of the lot, at times starkly modern and strange, reflecting the composer’s early experiments with form and tonality, at others oddly restrained. No clue if this is on account of the later revisions. Recorded two and a half decades ago, it’s certainly fun to hear a younger Richard Stoltzman strut about with the E-flat (piccolo) instrument in the middle movement.

It can be lonely work sticking up for Hindemith among colleagues who champion the work of more adventurous composers. I love his music, its assured quality, its exploration of the instruments’ possibilities, and okay yes, his adherence to a form of TONALITY! His writing for strings in the quintet is masterful, recalling somewhat the character of his ballet: The Four Temperaments. Tashi, the chamber group co-founded by Stoltzman and Peter Serkin, plays with mad commitment. This is the earliest recording of the set, dating from 1988. He recorded the Concerto with the Slovak Radio Orchestra in 2003.

Now in his early 70s, Mr. Stoltzman seems not ready to pack up his horn. The sonata was recorded just last year, with Yehudi Wyner on piano. If Stoltzman has lost some of his beautiful tonal focus over time, his ability to form la phrase juste has not diminished.

This disc bears a dedication to the late great Keith Wilson, his (and my) one-time professor at Yale. It’s a fitting tribute to both men.