Jennie Oh Brown Plays Joseph Schwantner (CD Review)

Looking Back – Flute Music of Joseph Schwantner
Innova Records (Innova 919)
Jennie Oh Brown, flute; Jeffrey Panko, piano;
Karin Ursin, flute and piccolo
; Janice MacDonald, flute and alto flute; Susan Saylor, flute and bass flute

Joseph Schwantner has written a substantial body of work featuring flutes. On her Innova recording Looking Back, flutist Jennie Oh Brown provides superlative performances of several of these compositions. Brown’s interpretations are vividly detailed, presenting the various nuances of Schwantner’s scores in enthusiastic and vital fashion (one is recommended to flutist and composer Cynthia Folio’s liner notes; they provide excellent analysis and detailed descriptions of both compositional and technical aspects of the pieces at hand).

The title work, composed in 2009 and dedicated to the memory of legendary flutist and teacher Samuel Baron, is a case in point. The first movement is a challenging duet with the estimable pianist Jeffrey Panko. They revel in contrapuntal dialog and cascading virtuosic doubled lines. The middle movement is a solo, which involves various extended techniques, including overblowing in the altissimo register, singing and speaking into the instrument, and stabbing accents. The final movement “Just Follow …” builds a lattice of ascending scalar interplay between flute and piano, sending the music aloft in a final valediction.

Black Anemones, another duo,  revels in sumptuous harmonies, punctuated by piano octaves, with melodies that feature the flute’s lower register, played in sultry fashion by Brown. The short work Soaring has a more dissonant palette, with upper register punctuations and fleet-fingered runs culminating in a dazzling passage of repeated notes and a final flourish.

The flute quartet Silver Halo ups the ante and reprises the various playing techniques found in the other works, with several more added for good measure. Schwantner is a master colorist: the abundant variety of timbral combinations and imaginative doublings found in Silver Halo amply attest to this. Brown plays beautifully, and she is abetted by excellent colleagues: Karin Ursin, Janice MacDonald, and Susan Saylor. A compliment disguised as a minor quibble: one wants more! The disc clocks in at less than three quarters of an hour; it might have been nice to include another chamber work with flute. That said,  Schwantner and Brown provide us with plenty to consider and savor: Looking Back is a winner of a recording.

Jenny Olivia Johnson: Don’t Look Back (CD Review)

Jenny Olivia Johnson

Don’t Look Back

Innova Recordings CD 925

 

Wellesley professor Jenny Olivia Johnson presents a program of synth-inflected songs on Don’t Look Back, her debut recording for the Innova imprint. Like many good indie classical songwriters, her formula combines beautiful sounds with stark lyrics: I like to think of it as the “Corey Dargel effect.” Very fine interpreters sing the songs: Megan Schubert, P. Lucy McVeigh, and Amanda Crider. Johnson’s performances as percussionist and electronic musician are seamlessly melded with instrumental contributions by some of the luminaries from the current indie classical scene: violinist Todd Reynolds, cellist Peter Gregson, flutist Jessica Schmitz, clarinetist Eileen Mack, and pianist Isabelle O’Connell among them. Conductor Nathaniel Berman leads the ensemble in assured renditions of the material. While plenty of composers are reveling in the electro-acoustic playground, there aren’t too many that have the orchestrator’s ear and sense of pacing possessed by Johnson. Recommended.