Modern and Contemporary

Ann Southam - Soundings for a New Piano - R. Andrew Lee

Ann Southam - Soundings for a New Piano
R. Andrew Lee
Irritable Hedgehog IHM002 www.irritablehedgehog.com

Most people would celebrate a friend’s purchase of a new piano by bringing over a bottle of bubbly. But when Toronto pianist Jane Blackstone bought a grand piano in 1986, composer Ann Southam showed up with a magnificent new work called Soundings for a New Piano, dedicated to Blackstone. On this new release, US pianist R. Andrew Lee gives the work what I believe is its recording premiere.

Southam subtitled the piece “12 meditations on a Twelve Tone Row;” each of its 13 concise movements is like the turning of a musical kaleidoscope that enables the composer to explore a different emotional facet of a 12-interval row. Southam loved this form of musical inquiry, and used it in a number of piano works, culminating in her deeply contemplative Simple Lines of Enquiry (2007). It’s fascinating, in fact, to find several strands of musical DNA from SLoE in Soundings – not just a nearly identical tone row, but also some shared rhythmic and metric features, and a persistent questioning quality in the musical rhetoric.

Lee captures the spirit of curiosity that propels Soundings, and vividly conveys the distinctive, richly nuanced characters found in these 13 compact movements, from the bold insistence of the opening movement through complex tendernesses and passionate outbursts, all of it grounded by a gentle rocking sequence that keeps recurring, at once questioning and comforting.

A welcome addition to the Southam discography, this recording is available as a 23-minute CD or as download from www.irritablehedgehog.com.

Concert Note: Pianist Eve Egoyan launches her latest recording of music by Ann Southam - Returnings – at Glenn Gould Studio on December 2.

Tapestries - Christina Petrowska Quilico; Canadian Ukrainian Opera Chorus; Kitchener Waterloo Symphony Orchestra; Daniel Warren

Tapestries
Christina Petrowska Quilico; Canadian Ukrainian Opera Chorus; Kitchener Waterloo Symphony Orchestra; Daniel Warren
Centrediscs CMCCD-17011 www.musiccentre.ca

Christina Petrowska Quilico’s significant contributions to the recorded contemporary Canadian piano repertoire continue to impress. As David Perlman noted in October’s WholeNote, her 26 CDs to date include many commissions. Both works on this new Centrediscs release were written for her and recorded live.

Canadian composer George Fiala’s three-movement Concerto Cantata for piano and chorus celebrates the 1988 Millennium of Christianity in Ukraine. Not only Quilico’s combination of sensitivity and virtuosity, but also Wolodymyr Kolesnyk’s informed conducting of the Canadian Ukrainian Opera Chorus, convey the work’s nobility of theme. Fiala’s combination of modernism and Ukrainian choral material, along with some incursions of late romantic piano writing, allow for an ample range of expression. I particularly like the high bell-like piano sounds in this work, even more so when actual chimes join in evoking the magnificent bells of Eastern European churches.

Heather Schmidt is a remarkable Canadian composer-pianist who early on established an international profile. Her musical language is somewhere in the same galaxy as that of Corigliano, Schwantner, or Hétu, and her individual voice is still developing. In the Piano Concerto No.2 I find the second movement’s intensity and orchestration particularly powerful. Sense of structure and pacing, idiomatic instrumental writing, and harmonic control are all notable. Making it sound easier than it is, Quilico’s performance in partnership with the fine K-WSO led by Daniel Warren is colouristic and well-paced, justifying indeed the disc’s title, “Tapestries.”

Concert Notes: The Canadian Music Centre (www.musiccentre.ca) hosts the launch of “Tapestries” in a public event on November 2. Christina Petrowska Quilico performs Grieg’s Piano Concerto with the Kindred Spirits Orchestra at the Markham Theatre for the Performing Arts on November 5.

Groteske - Mark Fewer; Jonathan Swartz; Andrés Díaz; Wendy Chen

Groteske

Mark Fewer; Jonathan Swartz; Andrés Díaz; Wendy Chen

Soundset SR 1033 (www.soundset.com)

Erich von Korngold’s Suite, Op. 23 (1928) is a remarkable though lesser-known work, commissioned by one-armed pianist Paul Wittgenstein and ably performed here by Jonathan Swartz and Mark Fewer, violins, Andrés Díaz, cello, and Wendy Chen, piano. The viola’s absence de-clutters the middle register, letting Korngold’s left-hand piano writing shine. At the Prelude and Fugue’s opening flourish the piano announces its full and equal participation, delivered here with superb virtuosity by Wendy Chen. Violinists Fewer and Swartz capture the disoriented giddiness of the Waltz while cellist Díaz leads similarly into the almost hallucinatory Groteske, which carries us through turbulent mood contrasts. The intense, post-Mahler Lied followed by the ingenious, energetic variations of the Rondo-Finale complete this exciting performance.

In Toronto-based Kieran MacMillan’s Fantasy Variations on a Theme by Charpentier, commissioned by Swartz for the same instruments, fantasy is the key element. The work weaves in and out stylistically from its theme, taken from a Marc-Antoine Charpentier cantata. I enjoyed the atonal flights in the evanescent Variation 3 and Messiaen-like piano flourishes in Variation 6. The tonal variations are evocative too, some tending to magic realism in suggesting glimpses of the past or the beyond. Mixing styles has been accepted since the 1960s when Foss, Rochberg, Colgrass, Kagel and others started quoting, re-working, or re-creating in the styles of earlier composers. And through being tasteful, aptly conceived for the instrumentation, and welcoming to the listener, these fantasy-variations are worth hearing too.

Ned Rorem - Chamber Music with Flute

Ned Rorem - Chamber Music with Flute

Fenwick Smith; David Leisner; Ronald Thomas; Mihae Lee; Ann Hobson Pilot

Naxos 8.559674

Ned Rorem, now in his late eighties was, in his prime, better known for his published diaries than for his music, contributing no doubt to his belief that “society has abandoned its artists in favour of a philistine culture of increasingly embittering ugliness. He feels that his own work is neither recognized nor properly understood.”

Former Boston Symphony Orchestra flutist, Fenwick Smith is joined by pianist Mihae Lee, guitarist David Leisner, harpist Ann Hobson Pilot and cellist Ronald Thomas to play five of Rorem’s compositions. Smith navigates the varied challenges of the music with aplomb: in Queen Mab from the 1977 Romeo and Juliet suite for flute and guitar for instance, he uses dynamics effectively to build excitement, integrates flutter tonguing seamlessly, all the while maintaining great rapport with his collaborator. In …it was the nightingale from the same suite, we hear him as an accomplished virtuoso flutist, but for me the most moving moment in the whole CD was his rendering of Last Prayer from Four Prayers, written a mere five or six years ago, the last track on the disc. The performances can be considered definitive: according to the liner notes “Rorem worked closely with” and was “honoured to be so dazzlingly represented by” the performers on this recording.

Kudos to Naxos for bringing much deserved recognition to Ned Rorem’s work as a composer; I hope it will result in these works appearing more frequently in flute recital programmes everywhere.

Xenakis - Orchestral Works - Orchestre Philharmonique du Luxembourg; Arturo Tamayo

Xenakis - Orchestral Works

Orchestre Philharmonique du Luxembourg; Arturo Tamayo

Timpani 5C1177 (www.timpani-records.com)

Iannis Xenakis (1922-2001) was a Greek composer based in Paris, with a long relationship to Canada: four premieres and many visits going back to the 1960s. For all that, there have been just two orchestral performances in Canada. Luckily, next March Esprit Orchestra will reprise its 2006 performance of Jonchaies (1977), a major work included in this set.

Over the 40-some years of his career, Xenakis wrote 40 orchestral scores, an amazing output considering that he composed 100 or so other works as well. Until recently, few of the orchestral pieces were available on disc. Thankfully, in 2000, conductor Arturo Tamayo and the Orchestre Philharmonique du Luxembourg began recording these works for Timpani Records, a French label. Over the past decade, five discs have been released, now collected in a handy box set. Of the 23 works presented, only a few have been recorded before. The fifth disc includes Achorripsis (1957) for ensemble rather than orchestra. As it is out on disc already, one wonders why it was included. That quibble aside, this is an important collection, very well recorded and performed. Tamayo is a fine, intelligent conductor who performs a great deal of contemporary music all around Europe.

Xenakis’s seminal scores, Metastaseis (1954) and Pithoprakta (1956), have long been available on disc through reissues of early recordings. This new one is a revelation, not only for the pristine quality but for the assurance of the string players, who now very well know how to perform the glissandi, steely non-vibrato, and other extended techniques that earlier musicians struggled with. Hiketides (1964) is a little-known orchestral suite derived from incidental music for the Aeschylus tragedy The Suppliants, and is a fascinating mixture of textural music and archaic-sounding modal passages.

The majority of the works recorded for this set date from the 1980s and 1990s. Most are scored for full orchestra, although Syrmos (1959) and Shaar (1983) are for strings alone, and Akrata (1965) is for winds. Two are concertante works for piano, dazzlingly performed by the young Japanese pianist Hiroaki Ooï: Synaphaï (1969), where the piano part is infamously written on 10 staves, and Erikhthon (1974). The other work in this set featuring soloists is Aïs (1980), written for the extraordinary voice of Spyros Sakkas, jumping between baritone and falsetto. He is heard along with a solo percussion part ably performed by Béatrice Daudin. This work opens the set, and is truly evocative and emotionally gripping. The latest pieces included in the set date from 1991: Roaï, Kyania and Krinoïdi. An extraordinary year! Even more amazing is the variety of character and material between these works. While Xenakis was at that time already suffering from ill health, it certainly does not show in these forceful, sophisticated, beautiful works.

In listening through all this music, various strands of the composer’s thought and expression surface; some — like the glissando textures, the layered polyrhythms, or the modal melodies harmonized in blocks — reappear. Others appear then submerge, giving rise to new ideas. The evolution from one orchestral score to the next is quite organic, and the visceral intensity of the music remains constant. Try listening chronologically as well as following the order presented on the discs.

What is most apparent, in the end, is that all his life Xenakis drew extraordinary inspiration from the symphony orchestra. The important contribution he made to the genre can start to be understood and appreciated with this fine box set.

S. C. Eckhardt-Gramatté - The Six Piano Sonatas - Marc-André Hamelin

S. C. Eckhardt-Gramatté - The Six Piano Sonatas

Marc-André Hamelin

Centrediscs CMCCD 16611

Outside Canadian music circles where her legacy lives on in a prestigious music competition, the colourful name of Sophie-Carmen Eckhardt-Gramatté (1899-1974) might not be particularly well known. But rest assured, this woman led an equally colourful life as performer, composer and pedagogue. Born in Moscow, she entered the Paris Conservatory at age eight, studying piano and violin, and went on to a successful concert career on both instruments. Later, two marriages brought her to Barcelona, Berlin, Vienna, and finally to Winnipeg where she settled in 1953 when her second husband Ferdinand Eckhardt became the director of the Winnipeg Art Gallery. There she broke new ground as a teacher and composer, her contemporary style very much steeped in the romantic tradition. Among her compositions are six piano sonatas, written between 1923 and 1952 – and who better to perform this technically challenging music than piano titan Marc-André Hamelin? This two CD Centrediscs set is a re-issue of an Altarus recording from 1991.

These sonatas, covering a thirty year period, display a wealth of contrasting styles. The first, written in 1923, pays homage to the Baroque period – think 1920s neo-classicism. Conceived as a two-part invention, the mood is buoyantly optimistic, and Hamelin easily meets the technical demands required to bring it off convincingly. Considerably more subjective is the second sonata, completed only a year later. In four movements, the piece aptly describes Eckhardt-Gramatté’s emotional state over a two year period, from the dark days in Berlin during the Great War to the more cheerful time when she and her first husband, artist Walter Gramatté settled in Spain.

The mercurial nature of these sonatas, with their ever-changing moods presents no challenge to Hamelin. The vivacious finale from the fifth sonata is handled as deftly as the languorous Nocturne of the Sonata No.4.

Eckhardt-Gramatté’s music might not be to everyone’s taste. Some might find it too strident, while others, too deeply-rooted in late romanticism. Nevertheless, she occupies a unique place in 20th century music, and this set is a fine tribute to a composer who undoubtedly deserves wider recognition.