Rimarimba – Egg Foo Young (Video)

Rimarimba

This Fall, Freedom to Spend is presenting their first catalog deep survey of an artist’s work. The Rimarimba Collection consists of four albums from UK-based Robert Cox’s Rimarimba project: 1983’s Below The Horizon, 1984’s On Dry Land, 1985’s In The Woods, and finally, the “once-imagined, now-realized assembly” of 1988’s Light Metabolism Number Prague.

Cox is still active as a musician, but these documents attest to the specialness of his works in the eighties, when he eschewed falling into the genre trap of identifying too closely to minimalists, ambient artists, industrial recordings, and post-punk and instead cast a wide swath that both encompassed and transcended these various pigeon-holes of production.

The release dates, as well as a sample track – “Egg Foo Young’ – are included below.

FTS005–FTS008
Limited 4x LP Collection Release Date: September 21, 2018

Below The Horizon (FTS005)
Release: October 5, 2018

On Dry Land (FTS006)
Release: January 8, 2019

In The Woods (FTS007)
Release: February 22, 2019

Light Metabolism Number Prague (FTS008)
Exclusive to Collection: September 21, 2018

 

Philadelphia Gives NY Premiere of Van der Aa Violin Concerto

The Philadelphia Orchestra

Photo: Steve J. Sherman

 

New York Premiere of Van Der Aa Violin Concerto

The Philadelphia Orchestra

Yannick Nézet-Séguin, Music Director and Conductor

Janine Jansen, Violin

March 13, 2018

Carnegie Hall

Published on Sequenza21.com

By Christian Carey

 

NEW YORK – Dutch composer Michel Van der Aa (b. 1970) is best known for his imaginative and formidably-constructed multimedia works that incorporate both film and electronics. Notable among these are the operas Blank Out (2016) and Sunken Garden (2012), as well as a music theater work based on Portuguese writer Fernando Pessoa’s The Book of Disquiet (2008). Even pieces for acoustic ensembles, such as the clarinet chamber concerto Hysteresis (2013), have frequently incorporated electronics as part of their makeup. Thus, when Van der Aa composed his Violin Concerto (2014) for soloist Janine Jansen and the Royal Concertgebouw Orchestra, the absence of electronics was significant. (Interestingly, after the success of the concerto, his follow up piece for orchestra, Reversal (2016), also abstains from the electronic domain). However, even in the analog realm, Van der Aa incorporates a sound world that acknowledges his interest in decidedly non-classical elements.

 

The score indicates that the solo violin part should be played with the vibrato, portamento, and usual techniques common to the instrument in contemporary concertos. The accompanying strings however, are asked to refrain from using vibrato in sustained passages, creating a kind of sine tone effect. Various styles are incorporated in the solo part, from bluegrass fiddling to more angular contemporary passages. Other aspects of the orchestration hearken to pop music terrain: near the end of the first movement, for instance, a climax approaches house music in its boisterous brass and percussion.

 

On March 13th, joined by Jansen, the Philadelphia Orchestra, conducted by Yannick Nézet-Séguin, delivered an energetic and assured performance of the concerto at Carnegie Hall. The violinist played with the supreme confidence of a soloist who has endeavored to make a work entirely her own. With its variety of solo demeanors, both shaded and nuanced and explosive and mercurial, Van Der Aa’s Violin Concerto seems the ideal vehicle for Jansen’s multi-faceted artistry. The Philadelphians matched her playing with equal confidence, with strings sensitively taking up the “sine tone” accompaniment of the sostenuto passages and winds, brass, and percussion gamely taking on roles in the electronica mimicry of wide swaths of the piece. Interpretively speaking, Jansen and Nézet-Séguin were on the same page throughout. In a dramatic conclusion to the piece, the violinist played her last gesture nose to nose with the conductor, eliciting surprised exhalation and then sustained applause from the audience.

 

Sergei Rachmaninov’s Second Symphony is one of my favorite of the composer’s works and I have seen a number of performances of it in concert. While I might quibble here or there with Nézet-Séguin’s tempo choices, the conductor’s tendency to press ahead during the potentially “schmaltzy” moments of the piece rendered it free of several layers of sentimental “varnish:” still emotive yet utterly fresh-sounding. The Philadelphia Orchestra’s strings are justly renowned and were exemplary here, but the winds, brass, and percussion each contributed in both spotlight and ensemble moments as well. Thus, it was a touching exchange onstage when the conductor insisted on walking out to each of them in turn, bestowing embraces and well-earned praise.

 

Jansen and the Royal Concertgebouw Orchestra, conducted by Vladimir Jurowski, have recorded Van Der Aa’s Violin Concerto for Disquiet Media. It is paired with the aforementioned Hysteresis, performed by Amsterdam Sinfonietta, directed by Candida Thompson, with Kari Krikku as soloist. The performances are detailed and evocative, giving an excellent sense of the composer’s approach to ensemble works. One hopes that both the recent high-profile performances of the Violin Concerto and this persuasive recording prove inviting to other soloists and ensembles: Van der Aa’s work is worthy of wider currency.

 

 

Kit Downes – Obsidian (CD Review)

Kit Downes - Obsidian

Obsidian
Kit Downes, organ and composer; Tom Challenger, tenor saxophone
ECM Records

Prior to this recording, Kit Downes was primarily known as a pianist in jazz settings, notably leading his own trio and quintet. Obsidian is his debut CD as a leader for ECM Records; he previously appeared on the label as part of the Time is a Blind Guide release in 2015. However, Downes has a substantial background as an organist as well. The program on this recording consists primarily of his own works for organ, but there is also a noteworthy folk arrangement and engaging duet with tenor saxophonist Tom Challenger.

The organs employed on Obsidian are all in England, two in Suffolk at the Snape Church of John the Baptist and Bromeswell St Edmund Church, and Union Chapel Church in Islington, London. Instruments from different eras and in very different spaces, they inspire Downes to explore a host of imaginative timbres and approaches. Over an undulating ostinato, skittering solo passages impart a buoyant character to the album opener “Kings.” An evocative arrangement of the folk song “Black is the Colour” pits piccolo piping against ancient sounding harmonies in the flutes and bagpipe-flavored mixtures. “Rings of Saturn” is perhaps the most unorthodox of Downes’s pieces, filled with altissimo sustained notes and rife with airblown glissandos, an effect that is not found in conventional organ repertoire. The piece is well-titled, as it has an otherworldly ambience. Pitch bends populate “The Bone Gambler” as well, while vibrato and frolicsome filigrees animate “Flying Foxes.” “Seeing Things” is a joyous effusion of burbling arpeggios and the more usual fingered glissandos, demonstrating an almost bebop sensibility. Suitably titled, on “The Last Leviathan” Downes brings to bear considerable sonic power – with hints of whale song in some of the textures – and fluent musical grandeur.

Although some of the release seems inimitable, closely linked to Downes’s improvisatory and textural explorations, other pieces cry out for transcription; one could see other organists giving them a wider currency. “Modern Gods” is an exercise in modally tinged dissonant counterpoint, while “Ruth’s Song for the Sea” and the folk-inflected “The Gift” possess the stately quality of preludes.

The duet with Challenger is a tour de force, in which each adroitly anticipates and responds to the other’s gestures and even notes, as the fantastic simultaneities that occur at structural points in the piece attest. Once again, there is a supple jazz influence at work. While Downes provides room for Challenger’s solos, he also challenges him with formidable passages of his own. Obsidian contains much textural subtlety and fleet-footed music, but it is also gratifying to hear Downes and Challenger celebrating the power of their respective instruments. Heartily recommended.

George Perle Orchestral Music (CD Review)

George Perle

Orchestral Music 1965-1987

Jay Campbell, cello

Seattle Symphony, Ludovic Morlot, conductor

George Perle Vol. 4, Bridge Records 9499

 

A recording of five previously unrecorded pieces, Orchestral Music 1965-1987 supplies excellent renditions of an underserved segment of composer George Perle’s output. Best known for his chamber music – he received a Pulitzer for his Wind Quintet No. 4 – Perle (1915-2009) also had significant orchestra commissions, including a residency with San Francisco Symphony and a 150th anniversary commission from the New York Philharmonic. Those who know his work as a music theorist will also be aware of his significant contribution to the field of 12-tone theory, as well as publications on his own idiosyncratic compositional method, “12-tone tonality.” The latter practice, with its use of carefully cultivated chromatic collections that obliquely refer to pitch centers, is fully on display in lithe and elegantly proportioned works such as Dance Fantasy (1986) and Sinfonietta 1 (1987). A bit more astringent in harmonic language are Six Bagatelles (1965), which seem indebted to Alban Berg, a touchstone figure for Perle, in their use of forceful angularity.

 

An intriguing entry on the disc is Short Symphony, 1980, which seems to be something of a response to Copland’s own, early and modernist in design, work by that name. The contrapuntal nature of its woodwind components recall some of Perle’s best chamber music. Elsewhere the orchestration is more muscular, with heraldic brass and rich passages for strings. Short Symphony display the composer’s consummate craftsmanship.

 

The standout piece on the disc is the Cello Concerto (1966), played with suppleness and impressive virtuosity by soloist Jay Campbell (also of JACK Quartet). The Seattle Symphony, under the estimable leadership of Ludovic Morlot, plays with both verve and precision. The finale is particularly varied in its demeanor, contrasting fluid cello solos with complex chords and supple wind duos, and forceful brass punctuations. It neatly resolves the well-known issue of balance in a cello concerto by bridging solos, small sections in counterpoint, and full orchestral interruptions to create a form where cello and ensemble eloquently coexist. One could readily see this piece having a substantial rebirth, particularly if Campbell continues to serve as its persuasive champion.

Thomas Strønen’s Time is a Blind Guide – Lucus (CD Review)

Thomas Strønen – Time is a Blind Guide

Lucus

ECM Records 2576

 

Ayumi Tanaka, piano; Håkon Aase: violin; Lucy Railton, violoncello; Ole Morten Vågan, double bass; Thomas Strønen: drums, percussion

 

Composer/percussionist Thomas Strønen’s Time is a Blind Guide has shifted membership since its debut recording. Distilled to a quintet line-up on Lucus, its latest outing for the ECM label, it retains a cohesive way of interacting that highlights a fluent interplay of textures. The Mediterranean-inflected album opener “La Bella,” the sole composition on which Strønen shares credit with Aase and Vågan, is a case in point. Fills from Strønen’s kit activate repeated notes in the strings and piano in a subtle build that gradually includes ever widening whorls of melodic snippets.

 

Often Strønen wisely deploys the quintet as an interlocking set of two trios – string trio and jazz piano trio. This is done quite effectively on “Wednesday;” the jazz side of the ensemble plays in a smoky swinging groove while Aase and Railton perform a gentle rainstorm of pizzicatos. Vågan is an interloper, moving from walking lines to sultry arco playing. On the title track, also undergirded by a propulsive string ostinato, Tanaka supplies limpid impressionist cascades. The strings build up successive layers, creating countermelodies that arc around the piano and accentuate the undergirding material of the rhythm section. The double trio idea also prevails in the standout composition “Truth Grows Gradually,” in which the players revel in a complex yet catchy groove.

 

Elsewhere, the ensemble activities vary. On “Baka,” the percussionist crosses over into the world of orchestral instruments, bringing out regular bass drum punctuations. “Friday” juxtaposes pizzicato solos with high string harmonics in a polyrhythmic duet enlivened by its textural contrasts. After an extended double bass introduction, “Tension” presents folk-tinged violin melodies and attenuated post-bop piano lines against a variety of jazz kit punctuations by Strønen. Gradually, Tanaka fills out the texture with rapid fire repeated notes against an expansive collection of string glissandos and harmonic minor pirouettes. The Eastern-tinged “Release” leads with a sweeping piano melody that alternates with oscillating strings and thrumming low register pedals. Oddly enough, “Release” is placed earlier on the disc than “Tension,” which would seem to be a corresponding antecedent. That said, the sequencing of these compositions flows organically with ample variety along the way. Whether performing again as a larger group or in the quintet that appears on Lucus, one hopes that Time is a Blind Guide are just getting started.  

 

-Christian Carey

Mark Renner – “Saints and Sinners”

RERVNG11_DIGITAL_COVER_500px


On Febuary 16, 2018, RVNG Intl. digitally released Few Traces, a recording of rarities by Mark Renner. The physical release is this Friday (February 23rd).


Renner is an under-heralded icon of the Baltimore arts scene. A talented painter, printmaker, and musician, Renner’s work proved pivotal in the local community during the first early glimmers of post New Wave alternative rock.

 
Few Traces contains music from 1982-90. Built with a minimum of gear – a four-track recorder, guitar, and a Casio synthesizer – its songs and instrumentals are simply constructed but eloquent, tuneful, and charming in their immediacy. One can imagine college radio in an alternate universe spinning Renner’s “Saints and Sages,” “Half a Heart,” and “The Wild House” in heavy rotation. Given the resurgence of eighties synth pop, perhaps their time has come.


To garner some context for Renner’s work, Maia Stern has released a short documentary (embedded below). You can also check out streams of some of my favorites on the recording and there is a link below to purchase it via Bandcamp, as well as some information about charitable contributions that are being made from the release’s proceeds. Recommended highly.


 








“On behalf of Mark Renner, a portion of the proceeds from Few Traces sales will be donated to Ethiopia ACT, an organization committed to public health strategies to serve Addis Ababa’s community, under Come! Mend!, an initiative bridging RVNG’s work and interest supporting non-profit organizations and charities.”