Modern and Contemporary

Maya Beiser x Philip Glass
Maya Beiser
Islandia Music Records (islandiamusic.com)

Talking Heads front person David Bryne, in his 1999 essay “I Hate World Music” that predates his excellent book, How Music Works, describes so-called “world music” as “a name for a bin in the record store signifying stuff that doesn’t belong anywhere else in the store.” In 2021, as bins, record stores and, to a lesser extent, musical genres and meaningless categorizations in terms of the way that sound is captured and assembled (and marketed) fades into the rear view, there remain vestiges of (to artificially demarcate things historically) the pre-streaming playlist-driven genre tribalism of the “Before Times.” 

I say all of this to push back on the characterization that I have read of Maya Beiser – the exceptionally talented American cellist who has released an evocative and wonderful retrospective of Philip Glass’ music on her own Islandia Music Records label – as “avant-garde.” This recent recording offers, simply put, beautiful music (it’s Glass after all!), played exceptionally well by an expressive and emotive artist who has much that is new and insightful to say on these largely familiar Glass pieces.  

Captured in beautiful fidelity at the Hudson Opera House and, through the studio wizardry of multi-tracking, looping cello parts and the creation of what she calls a “sonic cello kaleidoscope,” Beiser puts forth meaningful arrangements on this fine recording that defy every categorization other than good! It is little wonder why Beiser has such insight into Glass’ music: she was the cellist chosen (by Glass) to be part of the Philip Glass Ensemble on the worldwide tour of his Qatsi trilogy in 2005 and she brings this familiarity, creativity and attention to detail to the fore on Maya Beiser x Philip Glass.

Amends
Matt Magerkurth
People Places Records PPR 023 (peopleplacesrecords.bandcamp.com)

Amends, the debut album of pieces for solo cello from American cellist and composer Matt Magerkurth, presents as a contemplation of isolation and experimentation. Recorded in Bixby, Oklahoma’s Closet Studios, the album is composed of pieces in skeletal form to be played semi-improvisatorially. The seven pieces are introspective self-examinations and seem to highlight the loneliness experienced by so many artists during the current pandemic. 

Met with the occasional accompaniment of layered effects and occasional oceanic basslines by producer Scott Bell, Magerkurth traverses the cello in arpeggiated gestures, making use of the overtones by playing with a light bow technique, often to beautiful effect, expressive and colourful. The overall experience is one of longing and reflection.

Van Stiefel – Spirits
Van Stiefel
Panoramic Recordings PAN21 (newfocusrecordings.com)

Renowned contemporary guitarist and composer Van Stiefel set out on a mission to thoroughly compose, perform and record his own album from top to bottom; his latest release is the worthy result of that endeavour. Taking inspiration from favourites of his such as Les Paul, Chet Atkins and Glen Campbell, Stiefel puts his own twist on the concept of the studio-instrumental album by expertly using a recording and editing technique called “layered guitar.” The record is a journey through moments, thoughts and experiences in the guitarist’s life through a fascinating and immersive soundscape of sonorous snippets. 

Stiefel describes the pieces as being almost like “journal entries that hint at secrets, idiosyncrasies, and personal rituals.” Each tune is completely different from the last, calling forth a mood or image into the listener’s mind. King of Cups begins the album with a slightly country-flavoured piece over which a haunting processed melody is overlayed. Memory Jug is a unique and explorative piece with its striking dissonance and computer-generated sounds in the background creating a futuristic and robotic tune. Acquiescence – as well as a few other pieces – captivate due to the technique of “cutting and pasting” fragments of melody to create a new whole. This is an album that would be a great fit for anyone looking to expand their auditory palette.

Listen to 'Spirits' Now in the Listening Room

With Malice Toward None
Apollo Chamber Players
Azica ACD-71340 (apollochamberplayers.org/media)

The Apollo Chamber Players have embraced a mission toward the championing of globally inspired programming and commissioning. The new works on their latest release, With Malice Toward None, are part of a larger commissioning project titled 20x2020 – an effort to support the creation of 20 new works from multicultural composers by the end of 2020. 

The ensemble’s passion for new music and impressive virtuosity is on full display on this new disc as the listener is treated to an inspired assemblage of repertoire. The title track (referencing a phrase uttered by Abraham Lincoln) – for electric violin and string quartet – composed by J. Kimo Williams features Tracy Silverman on electric violin. This work speaks to certain contemporary socio-political issues and the electric violin soaring over the string quartet creates a dramatic and compelling atmosphere. Some clever Hendrix quotes emerge as an unexpected contrast. 

Pamela Z’s The Unraveling is a brilliant reworking of American folk songs from the 1960s and 70s. This work, in four movements, shows Pamela Z’s unparalleled talent to create highly original sound worlds using sampling, looping and fragmentation of the familiar. Themes of Armenian Folksongs, originally composed by the Armenian composer known as Komitas and later arranged by members of Apollo and the Komitas Quartet, originates from ten Armenian folk songs that were collected by Komitas. This bright and eupeptic music reveals the world-class musicianship of the quartet players. Lastly, Eve Beglarian’s We Will Sing One Song is a wonderfully ethereal and expressive work that paints at once a disturbing and welcoming landscape with the duduk instrument providing a subdued allure – the perfect bookend to this superbly recorded release.

Listen to 'With Malice Toward None' Now in the Listening Room