A Cosmic Rhythm With Each Stroke
Vijay Iyer, piano, Fender Rhodes, electronics
Wadada Leo Smith, trumpet
ECM New Series CD 2486
A Cosmic Rhythm With Each Stroke is a duo outing featuring keyboardist (and recently hired Harvard Professor) Vijay Iyer and trumpeter elder statesman Wadada Leo Smith. The most striking aspect of the duo’s approach is their willingness to cede each other space in the proceedings. Thus instead of the rapid call and response we frequently hear from jazz duos, here there are often successive solos which mine connected musical territories.
The central part of the album is an extended suite titled A Cosmic Rhythm With Each Stroke. Dedicated to Indian artist Nasreen Mohamedi (1937-1990), it finds the duo exploring a variety of textures. In addition to piano, Iyer breaks out electronics and a Fender Rhodes, leavening the proceedings with a judicious use of each. Smith frequently explores the stratospheric range of his instrument, punctuating his solos with trills, staccato outbursts, and overblowing. When the two come together in closer colloquy, the intervening soloing morphs into an impressively rich stack of piquant harmonies and imitative gestures.
The CD closes with a truly beautiful composition by Smith, “Marian Anderson,” named after the celebrated African-American contralto. Along with the album opener, Iyer’s “Passage,” it brings out a different demeanor from the musicians: lyrical, less angular, and more directly collaborative. While one certainly appreciates the approach on the central suite, offsetting it with these two tunes is an elegant touch.
Michael Mizrahi, piano
Works by Sarah Kirkland Snider, Troy Herion, Mark Dancigers, Asha Srinivasan, Missy Mazzoli, and Patrick Burke
New Amsterdam CD/DL
Pianist Michael Mizrahi’s sophomore album Currents is out this week via New Amsterdam Records. Below is the considerably charming video introduction to the release, featuring excerpts from Troy Herion’s Harpsichords.
The title track, by Sarah Kirkland Snider, is a real standout. It adroitly covers a wide swath of both emotional and technical terrain. Thus, it is an ideal solo vehicle for Mizrahi, a pianist who clearly treasures this collection of works, each one filled with abundant variety. And the way that he plays them, he’s likely to make many listeners treasure them too.
Aquarius chamber choir, conducted by Marc Michael De Smet
This collection of choral music by Estonian composer Arvo Pärt celebrates his eightieth birthday. It is programmed to emphasize his interpretations of Marian texts such as the Magnificat, Nunc Dimittis, and O Antiphons, all of which are central to his choral output. It also includes an excerpt from the totemic Kanon Pokajanen, his largest choral work, as well as shorter excerpts such as The Deer’s Cry and I am the True Vine. (The latter is particularly beautifully performed.)
Aquarius, a group of twenty-four voices, seems “right-sized” for these works, with enough voices to provide the requisite heft and majesty where necessary while still being able to create diaphanous pianissimo passages elsewhere. Conductor Marc Michael De Smet does an exquisite job of shaping phrases, balancing chords, and, a very important consideration in the performance of Pärt, pacing the proceedings. I will be on the lookout for their complete recording of Kanon Pokajanen.
Guillaume de Machaut
Muriel Cantoreggi: viola;
Geneviève Strosser: viola;
Jürg Dähler: viola
The Hilliard Ensemble
David James: countertenor;
Gordon Jones: baritone
Begun in 2001 and composed over a ten-year period, Machaut-Transkriptionen is one of composer Heinz Holliger’s most imaginative and attractive works to date. Using pieces by medieval composer Guillaume de Machaut (1300-1377) as a jumping off point, Holliger refashions the original material for three violas and the voices of the Hilliard Ensemble (now, alas, disbanded). They are employed in startling ways, encompassing frequent dissonances, extended techniques in the strings, vocal clusters, and alternate tunings.
The cycle begins with alternations between Machaut’s original vocal works and string trios that are recompositions of the same selections. A gradual morphing of roles eventually brings the voices into the contemporary sound world of the strings. In some of the pieces, there is a coexistence between lines from Machaut and Holliger’s original ideas. In others, Holliger uses techniques and formal designs from Machaut pieces as compositional groundwork for otherwise far flung fantasies.
The CD is capped off by a stirring quarter of an hour: a redesign of Machaut’s Complainte for voices and violas. It is here that all of the techniques found in the preceding selections are brought to together to craft a work that, on its surface, bears little resemblance to medieval music. But the spirit of the Ars Nova period in which Machaut composed, with its enthusiasm for experimentation and, for its time, great abstraction, clearly motivates Holliger, with fascinating results. Recommended.
Used, Broken, & Unwanted
Laura Cetilia, cello, autoharp, voice, and electronics
Estuary Ltd. CD
A live recording from 2013 made in Providence, Rhode Island, Used, Broken, and Unwanted demonstrates to good effect the wide-ranging timbral palette and drone-based structures that artist Laura Cetilia explores. The title track makes use of repetition, not in the symmetrical fashion of process-driven minimalism, but to create an undulating undergirding for the wisps of vocal and cello melodies that sporadically emerge. This elegantly segues into the exquisitely fragile “Thrum/Pin.”
“Plucked from Obscurity” makes efficacious use of pizzicato; the electronics with which it contends range from the bell-like to the percussive. Particularly lovely is the delicate album closer “Tears of Things,” in which the main, initially pizzicato-driven, ostinato is gradually supplanted by sweeping guttural electronics and an accumulation of upper register sustained notes.
In the surprisingly burgeoning field of cellists who sing, Cetilia is a distinctive one. Alternately penetrating and atmospheric, Used, Broken, and Unwanted is a stimulating listen throughout.
Poèmes pour Mi
Bruun Hyldig Duo (Hetna Regitze Bruun, soprano; Kristoffer Hyldig, piano)
Naxos CD 8.573247
Hetna Bruun is billed as a soprano here, but she routinely sings as a mezzo. Given that Olivier Messiaen’s song cycle Poèmes pour Mi was composed for a Wagnerian soprano, Marcelle Bunlet, to sing, Bruun’s voice has the perfect combination of requirements to do it justice: a warm vocal color and a mezzo’s timbre with fine control of an extended upper register. Similarly, Kristoffer Hyldig combines traits at the piano, playing with power where needed and acting elsewhere as a reserved colorist. The 1936 composition is a love letter to Messiaen’s first wife Claire Delbos (nicknamed “Mi” because she played the violin and its top string is tuned to “E”). The CD includes another song cycle dedicated to Delbos, Chants de Terre et de Ciel (1938), one that celebrates the birth of their son Pascal in 1937. It is astonishing to be reminded that, even though both of these cycles are from relatively early in Messiaen’s career, they demonstrate most of the signatures of his mature musical language, harmonically and rhythmically. Vocalise-Étude is also included here. Of the three it is the least successfully performed, as it sits a bit higher than Bruun’s comfort zone. Still, all told, this is an impressive disc of Messiaen’s vocal music that reminds us of the prodigious feats he was capable of even early on in his career.
Maggie Molloy has reviewed the Righteous Girls’ gathering blue for the website Second Inversion.