Sauro Berti: Solo Non Solo.
Sauro Berti, bass clarinet. Ravello. $14.99.
David Liptak: The Eye That
Directs a Needle; Freight; Preludes; Ricardo Zohn-Muldoon: yo no / tú
sí / yo tú / sí no; Daphne; Flores
del Viento III. Ravello. $14.99.
Alan Beeler: Symphonies Nos. 1
and 4; Clarinet Concerto; Violin Concerto; Marimba Concerto in Sixths; Marimba
Concerto da Chiesa; Mad Song after William Blake; Homage to Roger Sessions.
Navona. $14.99.
Jeffrey Jacob: Symphonies Nos. 1
and 3 (“Death and Transfiguration”); String Quartet No. 2; Elegy; Adagietto
Misterioso. Navona. $16.99.
Sauro Berti, bass
clarinetist of the Teatro dell’Opera di Roma, is the focus of a
performer-oriented Ravello CD of modern clarinet music that, like many other examples
of contemporary music, straddles the line between classical and other forms (in
this case, primarily jazz). The works here are not so much undistinguished as
they are largely indistinguishable: there are no fewer than 13 composers represented,
in 14 pieces, but no one here shows a style so distinguished that it would lead
listeners to be sure that a given work is by that specific composer rather than
someone with a different name. A full hour-and-a-quarter of solo-clarinet music
would in any case be a bit much, but most of the works here are for more than a
single instrument. Ultraclarinet by
Achille Succi is for two clarinets (played by Berti and Succi); Sintesi by Thomas Briccetti is for
clarinet and metronome; Peans Giga by
Stefano Nanni is for clarinet and bass clarinet (both played by Berti); Oh, More or Less is for tenor saxophone
and bass clarinet (Mario Ciaccio and Berti); Due Pezzi Brasiliani by Silvio Zalambani, one of the more
interesting works here, is for basset horn and pandeiro, a type of hand-frame
drum that looks a bit like a tambourine (Berti and Davide Bernaro); Cosmic Turtles Sidekick by Brad
Baumgardner is for two bass clarinets (Berti plays both); Broken Mirror by Carlo Boccadoro is for drums and clarinet
(Gianluca Nanni and Berti); Blue Buk
by Luca Velotti is for two clarinets (Berti and Velotti); Spasm by Michael Lowenstern is for bass clarinet and electronics;
and Weirdo-Funk by Bob Mintzer is for
clarinet and drums (Berti and Nanni). Every piece on the CD is essentially an
encore: the works run from one minute to five. This means that nothing ever
establishes itself and develops to any significant extent, and whatever
involvement listeners may start to feel – whether because of the playing or the
instrumentation – evaporates soon. This applies to the single-instrument works
as well as the others: Walk for bass
clarinet by Boccadoro; Prayers from the
Ark, another piece of above-average interest, by John Manduell; Adagio e Allegro for basset horn by
Teresa Procaccini; and Concerto “Carte
Fiorentine N. 2” for clarinet by Valentino Bucchi. The disc is simply a
showcase for short-form contemporary works for clarinet and related
instruments; wind players will likely find it more congenial than will casual
listeners.
Another Ravello CD features
two different solo instruments: marimba in Ricardo Zohn-Muldoon’s Daphne and guitar in David Liptak’s Freight. Three works by each composer
are combined to produce a disc with the somewhat overdone title of Stars. Stories. Song. These composers’
approaches actually have little in common, so the title is presumably intended
as a unifying device, although it is not especially clear or effective on that
basis. Nor are the works themselves related particularly closely to each other.
Of the works by Zohn-Muldoon, Daphne
is about the mythic woman’s flight from Apollo; yo no / tú sí / yo tú
/ sí no, for soprano, flute, guitar, violin, bass and
percussion, sets four poems by Raúl
Aceves; and Flores del Viento III,
for soprano, flute, violin and percussion, sets seven by Laura Zohn. Of the
pieces by Liptak, Freight is a
tribute to folk guitarist Elizabeth Cotton; The
Eye That Directs a Needle, for soprano, violin and percussion, refers to
early professional astronomer Maria Mitchell; and Preludes, for alto saxophone and marimba, proves the most involving
work on the disc, its seven movements offering interesting and purely musical
contrasts that do not depend on the literary references incorporated into the
music. The audience for this CD is hard to pin down: existing fans of the two
composers will want it, but neither the individual works nor the theme imposed
on the totality by the disc’s title will reach out in a significant way anyone
not already interested in Zohn-Muldoon or Liptak.
At least the Navona CD of symphonic music by
Alan Beeler has clear appeal – to listeners who want to hear modern
applications of the now somewhat old-fashioned practice of creating and
developing tone rows and using them as the germs of extended works. Beeler here
shows his command of orchestral forces as well as solo instruments within the
concerto format – not hesitating to produce works in a standard number of
movements and with traditional tempo indications, but communicating through the
pieces in ways designed to bring listeners into an atonal universe. The two
symphonies here, played by the Moravian Philharmonic Orchestra under Petr
Vronský, are both quite short
(13 minutes apiece); both are in four movements and both use traditional forms.
Symphony No. 1 (2003, five years before No. 4) even spells out the forms it includes:
sonata for the first movement, song for the second, Scherzo with Trio for the
third, and rondo for the finale. Nevertheless, the choice of themes and the
persistent atonality make these works, each around the length of Prokofiev’s
“Classical” symphony, sound anything but traditionally classical. The same
orchestra and conductor offer the 11-minute Violin Concerto (2003), with
soloist Vít Mužík, and 10-minute Marimba Concerto in Sixths (2004),
featuring Ladislav Bilan. Bilan is also soloist for the seven-minute Marimba Concerto da Chiesa (2007), here
accompanied by the Moravian Philharmonic Strings. The Clarinet Concerto (1997-2000), which runs 13 minutes, features
Richard Stoltzman with the Slovak Radio Symphony Orchestra conducted by Kirk
Trevor. And two short concluding pieces written in 1986, which close the CD and
function as encores, are played by the Czech Radio Symphony Orchestra under
Vladimír Válek. Beeler clearly finds short
forms attractive, apparently feeling that all he has to say can be expressed in
a very compact manner; and since the music is abstract and not especially
emotionally involving, listeners are likely to agree. The performances are quite
good – Stoltzman and Vronský,
in particular, are strong advocates of contemporary music and handle these
works very well. Beeler’s pieces are more workmanlike than inspired: carefully
wrought and thoughtfully assembled, making their points in short order and
leaving it to audiences to decide afterwards whether those points were well
taken.
Jeffrey Jacob also writes in
traditional forms and also gravitates to shorter movements and comparatively
brief complete works, but the pieces on a Navona CD show him reaching out for a
greater emotional connection with listeners than Beeler seems to seek. The
two-movement Symphony No. 1, performed by the Moravian Philharmonic Orchestra
under Toshiyuki Shimada and featuring Jacob himself as pianist, draws on T.S.
Eliot’s Four Quartets in an attempt
to depict timelessness through contrasting moderate and quick movements.
Symphony No. 3, played by the London Symphony Orchestra under Daniel Spalding
and with Jacob himself again at the piano, is intended as a contemporary view
or update of Richard Strauss’ Death and
Transfiguration, its three movements progressing from darkness through
delicacy to eventual exaltation – although less effectively than does the Strauss
original. String Quartet No. 2,
played by the New England String Quartet (violinists Julia Okrusko and Klaudia
Szlachta, violist Lilit Muradyan and cellist Ming-Hui Lin), follows a similar
pattern in more-compressed form, each of the two movements starting in
something akin to despair and ending with affirmation. Elegy, played by the Hradec Králové
Philharmonic under Jon Mitchell, is a somewhat thornier piece, working toward
resolution through largely contrapuntal means. It stands in contrast to Adagietto Misterioso, performed by the
Moscow Symphony under Joel Spiegelman, which is nostalgic and lyrical and the
most approachable work on the entire CD. Jacob’s music has sufficient emotive
power to draw listeners in, although it does not always repay their involvement
with any strongly stirring resolution. It is nevertheless music that reaches
out to the audience more forthrightly than do many of the works produced by
contemporary composers.
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