Ravi Shankar: Symphony.
Anoushka Shankar, sitar; London Philharmonic Orchestra conducted by David
Murphy. LPO. $12.99.
Tony Banks: Six Pieces for
Orchestra—Siren; Still Waters; Blade; Wild Pilgrimage; The Oracle; City of
Gold. Charlie Siem, violin; Martin Robertson, alto saxophone; City of
Prague Philharmonic Orchestra conducted by Paul Englishby. Naxos. $9.99.
Alejandro Rutty: A Future of
Tango—Concerto for Saxophone Quartet and Orchestra; The Conscious Sleepwalker
Loops, for orchestra; Hyperlinks, from Tango Loops 2, for saxophone quartet;
Hyperlinks, from Tango Loops 1, for saxophone quartet; Tango Loops 2C, for 18
players; Tango Loops 1, for 14 instruments and tango quartet. Navona.
$16.99.
McCormick Percussion Group:
Concerti for Strings with Percussion Orchestra. Ravello. $12.99.
String Fever: It Don’t Mean a
Thing. String Fever conducted by Marin Alsop. Naxos. $9.99.
Paul Lansky: Shapeshifters; With
the Grain; Imaginary Islands. Alabama Symphony Orchestra conducted by
Justin Brown. Bridge. $15.99.
Gerhard Frommel: Piano Sonatas
Nos. 1-3. Tatjana Blome, piano. Grand Piano. $16.99.
Contemporary composers
are constantly searching for new forms of musical expression, and many
conductors and other performers have joined them in the quest. Ravi Shankar (born 1920), world-famous for
his highly virtuosic performances of Indian music on sitar, tried his hand at a
large-scale Western-style work with his ambitious Symphony, whose première
performance in 2010 has now been released on the London Philharmonic
Orchestra’s own label. The symphony is straightforwardly
structured – its four movements are Allegro,
Lento, Scherzo and Finale, about
as traditional an arrangement as possible – but it is untraditional in content:
each movement represents a different element of Indian music. The opening movement, for example, is called Kafi Zila, and uses that particular raga
(a note pattern whose characteristic intervals, rhythms and
embellishments are used as the basis for improvisation) as its defining feature
and structural underpinning. Shankar’s
overall idea is to use Western forms and a Western symphony orchestra to bring
the sound world of India’s music to a concert-hall audience. The live recording by the London Philharmonic
under David Murphy, featuring Shankar’s daughter Anoushka on sitar, sounds very
good, although the CD is certainly an acquired taste: the melding of Indian and
Western sounds and structural elements is as valid as any other approach to
symphonic creation, but it sounds neither-here-nor-there much of the time, less
a blend than a somewhat uneasy oil-and-water mixture.
Tony Banks (born 1950)
also seeks something new in orchestral guise.
He is a founding member of the rock band Genesis, attempting through his
orchestral pieces – which are basically songs without words – to communicate
rock-music-style emotions in a concert-hall environment. Blade
includes extensive use of solo violin and Siren
calls for a solo alto saxophone, and Charlie Siem and Martin Robertson,
respectively, bring skill and sensitivity to their performances. The music itself, though, is rather
superficial. Intended as lyrical and
expressive, evoking goals and journeys, heroism and quests, it is
well-structured and has elements of effective if not highly original tone-painting. But it never seems to delve very deeply into
the human spirit, or to call on listeners to do more than be swept into its
sound world for a few minutes and then depart after a moderately pleasant but
not particularly memorable experience.
These pieces seem more like rewritten rock music than like a genuine
venture by Banks into new expressive territory.
The music of Alejandro
Rutty (born 1967) is intended to take tango to new levels, even beyond those of
Rutty’s famous Argentinian countryman, Astor Piazzolla. Piazzolla’s rethinking of the tango, and its
reshaping into often-elaborate symphonic guise, paralleled the expansion of the
waltz beyond its dance origins by Johann Strauss Jr. and Josef Strauss. Rutty’s works on a new Navona CD take tango
to a different harmonic and expressive level.
Although Rutty himself is a pianist, he clearly has considerable
affection for the saxophone, not only as a solo instrument but also in various
combinations; and he writes for the saxophone and companion instruments
stylishly, with often-interesting textures – notably in Tango Loops 2C, which features Rutty himself conducting the Mayan
City Sinfonietta. Some of Rutty’s works
try a little too hard to be up-to-date and even provocative: A Future of Tango, another piece that
Rutty himself conducts with the same orchestra (plus a saxophone quartet), has
three movements dated 2045, 2098 and 2145, but no real sense of the extremely
forward-looking (imagine, in retrospect, how unlikely it would have been for a
composer in 1912 to predicts the places where music would go by 1998!). In Rutty’s music, the tango as dance seems
further and further in the past, but its future development never appears quite
clear; nevertheless, what is clear is
that this dance form, having entered a transformational phase thanks to
Piazzolla, will continue to evolve, and Rutty himself is part of that
evolution.
Percussion use is
evolving, too, as the varied works performed by the McCormick Percussion Group
make clear. The ensemble’s new CD for
Ravello includes music by composers who are scarcely household names: Baljinder
Sekhon, Stuart Saunders Smith, David Liptak, Michael Sidney Timpson and Daniel
Adams. But this is not a CD that anyone
is likely to buy for the specific works, even though one of them (Liptak’s Concerto for Viola and Percussion)
offers an especially interesting blend of sonorities, while another (Timpson’s DongXiDongXi, Concerto for Zheng and
Percussion Orchestra) combines Chinese and Western instruments
intriguingly, and in a very different way from that used for disparate sounds by
Shankar in his Symphony. The primary interest here lies in hearing
very adept percussionists performing works in which their instruments are front-and-center
instead of being comparatively small parts of a larger whole. Every piece contrasts percussion of some type
with a different solo instrument: Sekhon uses cello in Lou, Smith employs violin in Nightshade,
and Adams’ Camouflage for Contrabass and
Percussion Trio is especially interesting for its mixture of the ungainly
melodic instrument with a small percussive complement. There are rather a lot of percussion sounds
here, actually – listeners may do better to hear the pieces individually rather
than listening to the CD from start to finish – but those interested in the new
directions in which composers are taking these instruments will find the CD
thoroughly involving.
The instruments are
much more straightforward in a new CD by the String Fever group, founded by
conductor Marin Alsop in 1981. Here the
seeking of new directions belongs mainly to the conductor: the CD blends pop
music, jazz and sort-of-classical works into a mélange that Alsop fans may want
to own but that is not inherently distinguished from the many other crossover
discs now being widely released. The
selections, recorded in 1983 and 1997, are all quite well played, but the music
is scarcely unknown or unheard, ranging from “Mood Indigo” and “It Don’t Mean a
Thing (If It Ain’t Got That Swing)” to a “Manhattan Medley” predictably
consisting of “Manhattan,” “Lullaby of Broadway” and “42nd
Street.” String Fever’s handling of Dave
Brubeck’s “Blue Rondo à la
Turk” is a highlight and quite enjoyable.
As a whole, though, while an undoubtedly pleasant diversion for Alsop,
this CD – a short one, lasting just 50 minutes – features considerable
virtuosity lavished on music that is not always worthy of the bursts of
display.
The form of display in
a new recording of Paul Lansky’s music involves full orchestra – plus soloists
in two of the three works. Lansky has
long worked in electronic music, but shows here that he can certainly handle
traditional instruments as well. Thanks
to excellent conducting by Music Director Justin Brown, who is also General
Music Director of the Badische Staatskapelle Karlsruhe, the
Alabama Symphony sounds like a first-rate ensemble with virtuosity to
spare. The music itself is sometimes
compelling although often less so, for all its careful construction. Imaginary
Islands is an Alabama Symphony commission – an evocative three-movement work
that is reminiscent of Debussy and contains many nicely imagined elements
without ever seeming particularly original.
Shapeshifters, for two pianos
and orchestra, is equally serene most of the time, with duo pianists Quattro
Mani (Susan Grace and Alice Rybak) – for whom the work was written – flowing
along with an orchestral accompaniment that is somewhat too monochromatic,
although certainly well played. With the Grain, a guitar concerto
written for David Starobin, who performs it here, is the CD’s most interesting
work, because it nicely solves a genuine musical problem: how to balance the
guitar against a full orchestra.
Lyricism predominates here, as it does in the other works, but it fits
the guitar sound better than that of pianos or full orchestra, and the balance
of solo and ensemble seems so natural that its inherent difficulties are never
apparent. The naming of the four
movements for patterns of wood grain makes no particular sense, but the music
stands well on its own and shows evidence of genuine thoughtfulness.
There
is considerable thinking as well in the three piano sonatas of Gerhard Frommel
(1906-1984) on a new CD from the Grand Piano label. Frommel’s music is almost unplayed today, for
political reasons: it was approved by the Nazis, although Frommel’s relationship
with Hitler’s Third Reich remains a matter of dispute. What is clear from Frommel’s first three
piano sonatas is that he found his voice in the classical and Romantic
traditions, with a fairly apparent overlay of Stravinsky, and had no particular
interest in atonality or the arguments of the “second Viennese school.” These three sonatas, essentially classical in
form and length, come across with very different emotional and intellectual
impact. The first and longest, from
1930-31 and revised in 1975, is in the challenging key of F-sharp minor and is
mostly a tender, lyrical work. The
second, in F major, dates to 1935 and shows a much stronger Stravinsky
influence in its clownishness and grotesqueries. The third as played by Tatjana Blome is a curious
piece, dating originally to 1940-41 but being revised in various ways from as
early as 1962 to as late as 1980. It is
the most impressionistic of the three works and shows the most individual
treatment of the piano in its structure.
Blome plays all the sonatas sensitively and with great understanding,
and the disc will be a treat for listeners interested in off-the-beaten-path
piano music that is nevertheless very worthy of being heard with an unbiased
ear, leaving behind any uncertain political association its composer may have
had.
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