Volume 26 Issue 6 - March and April 2021
96 recordings (count’em) reviewed in this issue – the most ever – with 25 new titles added to the DISCoveries Online Listening Room (also a new high). And up front: Women From Space deliver a festival by holograph; Morgan Paige Melbourne’s one-take pianism; New Orleans’ Music Box Village as inspiration for musical playground building; the “from limbo to grey zone” inconsistencies of live arts lockdowns; all this and more here and in print commencing March 19 2021.
96 recordings (count’em) reviewed in this issue – the most ever – with 25 new titles added to the DISCoveries Online Listening Room (also a new high). And up front: Women From Space deliver a festival by holograph; Morgan Paige Melbourne’s one-take pianism; New Orleans’ Music Box Village as inspiration for musical playground building; the “from limbo to grey zone” inconsistencies of live arts lockdowns; all this and more here and in print commencing March 19 2021.
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which (the quartet writes) include the influence<br />
of jazz, working from modernism<br />
to post-modernism <strong>and</strong> employing<br />
unique rhythms.<br />
Paul Creston (1906-1985) is well known<br />
to saxophone players for his Sonata for Alto<br />
Saxophone <strong>and</strong> Piano which is a mainstay<br />
of the repertoire. His Suite for Saxophone<br />
Quartet, Op.111 was written towards<br />
the end of his career <strong>and</strong> illustrates his<br />
craftsmanship in the opening fugue, the<br />
rhythmic elements <strong>and</strong> the Pastorale written,<br />
strangely, in 15/12. Michael Torke’s May, J<br />
une <strong>and</strong> July combine to demonstrate the<br />
“rhythmic dynamism” of his writing. May is<br />
sprightly <strong>and</strong> leaping with lush <strong>and</strong><br />
melodic interplay; June is more sombre<br />
<strong>and</strong> July returns to a lighter form. John<br />
Cage’s Four5 is a series of instructions that<br />
can be played by almost any four instruments<br />
<strong>and</strong> includes percussive <strong>and</strong> tonal parts.<br />
The YouTube video the quartet produced<br />
playing this piece is well worth enjoying: it<br />
is the perfect COVID-era work combining<br />
Cage’s structure with the quartet’s own<br />
musical proficiency, isolated performances<br />
<strong>and</strong> sense of humour. American Dream is<br />
rounded out by Marc Mellits’ Tapas <strong>and</strong><br />
Christian Lauba’s Mambo.<br />
The Amstel Quartet plays precisely <strong>and</strong><br />
warmly <strong>and</strong> this collection of American<br />
saxophone quartet music is thoughtfully<br />
assembled.<br />
Ted Parkinson<br />
Personal Demons<br />
Lowell Liebermann<br />
Steinway & Sons STNS 30172<br />
(steinway.com/music-<strong>and</strong>-artists/label)<br />
! Composerpianist<br />
Lowell<br />
Liebermann has just<br />
released a two-disc<br />
testament, expertly<br />
curated <strong>and</strong> impressively<br />
executed. It is<br />
a witness statement<br />
to five decades of<br />
life in music – a glimpse into an artistic practice<br />
that consistently hits its creative stride,<br />
fuelled by flames that still burn bright. The<br />
album has been adroitly produced, edited<br />
<strong>and</strong> mastered by Sergei Kvitko of Blue Griffin<br />
Recordings (featured in the November 2020<br />
issue of The WholeNote.)<br />
Three of Liebermann’s own works are<br />
included in his debut solo recording as a<br />
complement to music by Liszt, Busoni,<br />
Schubert <strong>and</strong> little-known Czech composer,<br />
Miloslav Kabeláč. Each composer has<br />
galvanized – even haunted – Liebermann<br />
throughout his career. Such “demons” are<br />
presumably specters of the inspirational sort<br />
<strong>and</strong> Disc One opens with Liebermann’s most<br />
popular piano work, Gargoyles, Op.28. He<br />
swiftly introduces us to a forthright <strong>and</strong> individual<br />
br<strong>and</strong> of pianism, one with roughcast<br />
textures <strong>and</strong> crystal-clear melodic lines,<br />
obliging our ears toward resonant, robust <strong>and</strong><br />
irresistible soundscapes. We perceive a virtuosic<br />
ab<strong>and</strong>on, underpinned with an urgent,<br />
restless vitality.<br />
Such forthright modes of expression carry<br />
into the next tracks: the Eight Preludes,<br />
Op.30 by Kabeláč. These pieces are especially<br />
significant for Liebermann <strong>and</strong> he<br />
unveils them to us consummately. Finely<br />
etched, bearing echoes of Benjamin Britten,<br />
these evocative miniatures have absorbed<br />
Liebermann for decades <strong>and</strong> are here<br />
bestowed like building blocks: compositional<br />
models at which to marvel. The final work on<br />
Disc One is Liszt’s stalwart Totentanz, S525,<br />
a vivid, dazzling pianistic essay. The music’s<br />
economy of means – characteristic of Liszt’s<br />
best writing – remains of discernable influence<br />
for Liebermann hinting at the American<br />
composer-pianist’s own Lisztian lineage.<br />
Disc Two’s Four Apparitions, Op.17 are<br />
followed by the extemporaneously tender<br />
Variations on a Theme of Hüttenbrenner,<br />
D576 by Franz Schubert. This unfamiliar set<br />
proves an ideal platform for Liebermann’s<br />
lyrical abilities at the keyboard. Next is<br />
Busoni’s Fantasia Contrappuntistica,<br />
BV256. Likening it to a “Mount Everest<br />
that he wanted to climb – a challenge in a<br />
way,” Liebermann’s affinity for Busoni is<br />
striking, with an audible reverence for the<br />
Italian master’s intellect <strong>and</strong> formalism on<br />
full display.<br />
Finally, the intimately benevolent Nocturne<br />
No.10, Op.99 ushers in a denouement. Highly<br />
personal for Liebermann, this music hums<br />
<strong>and</strong> swells, waxing poetic like a lucid conversation<br />
between lovers, revealing truths of<br />
a lifetime. Shades of Samuel Barber <strong>and</strong><br />
Carl Vine drift in a dusky, sonic bloom as<br />
Liebermann’s piano now quietly sings this<br />
album to a whispered, nocturnal close.<br />
And so, what might the morrow bring,<br />
we wonder?<br />
Adam Sherkin<br />
True Stories & Rational Numbers<br />
Chris P. Thompson<br />
Independent (chrispthompson.com)<br />
! New York-based<br />
percussionist Chris<br />
P. Thompson is a<br />
longtime member of<br />
Alarm Will Sound,<br />
the American<br />
Contemporary<br />
Music Ensemble<br />
<strong>and</strong> other groups.<br />
His album True Stories & Rational Numbers,<br />
a nine-movement 43-minute work, however<br />
showcases him as composer <strong>and</strong> pianist.<br />
True Stories & Rational Numbers reflects<br />
Thompson’s large-scale exploration of piano<br />
music in just intonation, the tuning system<br />
based on tuning notes to simple mathematical<br />
ratios of the natural harmonic series.<br />
He also employs whole-number rhythmic<br />
<strong>and</strong> harmonic relationships in his score.<br />
Taken together, he likens listening to this<br />
music to having his “eyes re-opened to music<br />
<strong>and</strong> seeing it in colour for the first time.”<br />
In addition, the music was composed <strong>and</strong><br />
programmed in modern piano roll notation,<br />
an extension of how 20th-century commercial<br />
piano rolls were made. Thompson’s main<br />
inspiration here was American composer<br />
Conlon Nancarrow’s boundary-pushing<br />
experimental player-piano compositions.<br />
Other influences were German scientist<br />
<strong>and</strong> philosopher Hermann von Helmholtz,<br />
the author of the l<strong>and</strong>mark book, On the<br />
Sensations of Tone, <strong>and</strong> the music of Aphex<br />
Twin <strong>and</strong> modern drumline. The chamber<br />
music of Ben Johnston, which liberally<br />
employs unorthodox tunings, is cited as<br />
another important influence, as is Johnston’s<br />
elegant notations of just intonation.<br />
Thompson states his goal in True Stories…<br />
was “to marry the machine with the warmth<br />
of human emotion…” Listening to it not only<br />
gradually reveals an unorthodox musical<br />
mind, but also invites us to contemplate what<br />
“in tune” in music is.<br />
Andrew Timar<br />
Firefly Songs<br />
Melia Watras<br />
Planet M Records (meliawatras.com)<br />
! While we<br />
continue to endure<br />
the extended<br />
shutdowns <strong>and</strong><br />
performance<br />
cancellations, there<br />
was a particular joy<br />
in discovering Melia<br />
Watras’ Firefly<br />
Songs. Listening to what feels like a personal<br />
diary of her inner thoughts, one could almost<br />
call this an album of accompanied poetry,<br />
yet it is so much more. At times deceivingly<br />
simple, more often there are complex musical<br />
pairings to thoughts, poems, literary references,<br />
inspirations <strong>and</strong> memories. American<br />
violist <strong>and</strong> composer Watras wrote these 13<br />
individual pieces between 2015 <strong>and</strong> 2018 for<br />
combinations of violin, viola, cello <strong>and</strong> voices,<br />
<strong>and</strong> the flow of the album is both unique <strong>and</strong><br />
comforting.<br />
Full of surprises, from the charming Mozart<br />
Doesn’t Live in Seattle to the trancelike tones<br />
<strong>and</strong> rhythms of overlapping voices in Seeing<br />
Cypresses with Catherine C, this is an album<br />
of singular gems as well as a complete collection.<br />
A work belying its complexity, Firefly<br />
Songs also st<strong>and</strong>s strongly, piece by piece<br />
as beautifully expressed miniatures, each<br />
feeling free <strong>and</strong> spontaneous. Watras’ solo<br />
viola work, Lament, written for the passing<br />
of her father, expresses a delicate nuance<br />
of emotion delivered with depth <strong>and</strong> presence.<br />
In William Wilson, the complexities<br />
hidden between the lines of Edgar Allan Poe<br />
are beautifully unveiled both with voice <strong>and</strong><br />
on the violin by Michael Jinsoo Lim. Lim also<br />
st<strong>and</strong>s out in the operatic (one). It would be<br />
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