I want to talk to you about mud.
Not the sole-adorning, crossing-the-grass mud. I’m talking about thick, jailbroken swamp; the kind of mud that takes a full hand of fleshy, calloused fingers to scrape from your cheek. That was the raw, slopping sound world of Øyvind Torvund’s “MudJam”—a rib-vibrating reminder that beneath the glyphs and tuplets and extramusical suggestion, music is just sound; simple, physical, shoved around by skin, wood, and metal. At the most recent installment of the Monday Evening Concert series, each work demonstrated a different way this tug-of-air might communicate meaning; some works focused inward at the sonic material itself while others gazed outward towards their reflection in the world. The program impressed on me how sound, like dirt and water, can be molded to convey simplicity of form while its inner makeup remains impenetrably intricate—sound soil patted into a castle whose form can be either admired or subjected to the impending tide. What the hell am I talking about? I have no idea. But I left Monday’s program, New Voices IV: Untitled School, with a renewed sense of wonder at the aural sludge we work with as composers and musicians.
This isn’t to imply that the evening’s entertainment was messy or monochromatic or tracked itself halfway across my apartment before I thought better of it and took off my boots. In fact, the program was exquisitely designed and brilliantly performed—ambitious and hip and carefully paced. New York-based piano and percussion quartet, Yarn/Wire, were not just instrumentally virtuosic, but musically virtuosic. Consisting of Laura Barger and Ning Yi on pianos with Ian Antonio and Russell Greenberg on percussion, Yarn/Wire’s dozen years together has yielded a savviness for new music which bathed each work with a sense of proud ownership. In Thomas Meadowcroft’s Walkman Antiquarian, their playful ensemble work intertwined with nostalgic electronics in child-like exploration, punctuated by moments of breathtaking, reflective stillness. As Paul Griffith puts in his program notes, “Memory is coming to us from several angles and at different removes, in a form that proceeds with the necessity of a ritual.” This reminiscent quality is partially an artifact of the form, but is also illuminated by Meadowcroft’s orchestration. Resonances are disembodied and passed around the ensemble with the saccharine distortions of memory: Vinyl crackles become beads dancing on a speaker cone, melodic episodes reverberate eerily from the harp of the piano. Textures dissolve with a casual inevitability in the way that memories softly, if persistently, return to reality.
The more inward-focused works were Catherine Lamb’s Curvo Totalitas and Johannes Kreidler’s Scanner Studies. Where Meadowcroft’s work attended to sound’s referential (and so, emotional) potential, Lamb’s contribution was one of austere magnification of sound itself. Waves of metallic rumbling respirate slowly, almost imperceptibly, gradually unveiling a world of spectral details and transformations. Yarn/Wire’s performance was patient and deliberate, elegantly unfolding subtle shifts of timbre to stunning, pulsating, effect. Scanner Studies (numbers 1 and 2 were performed) were equally concise in concept: images are sonified in the manner of a simple grahic score before parameters are expanded to the point of absurdity. But beneath the amusing exercises is Kreidler’s always keen eye for musical potential in the mundanely ordinary, and a profound awareness of dramatic, rhetorical and comedic form.
The title work of the program, Torvund’s Untitled School, was a massive, seven-movement audio-visual exploration of scales, chords and textures that closed the evvening. Clever and driving, its later movements traverse imitations of various styles and textures before landing in the chirping soundscape of “Jungles.” This dramatic shift begged the question of how (or where) the work might progress—serene landscapes quivering with life amid dimming lights might well have concluded the piece. But then came the mud.
The final two movements, “MudJam” and “Campfire Tunes,” were set apart in several ways. There were no accompanying images. The stage lights were dimmed. There was no formal separation starting or ending either movement. All of this amplified a sense of arrival: Now, we listen rather than watch. Returning to sound(s) from the world rather than the brain, Yarn/Wire summoned a hell-raised, raucous rumbling, only loosening its grip for the flickering, smokey tranquility of “Campfire Songs.”
If anything fell short in the program’s careful design, it was the occasional awkward trappings of traditional concert format: The space, balance and performers were all on-point, but some pieces needed time for digestion afterwards. Jonathan Hepfer exuded calm, considerate intelligence and I could imagine him and/or members of the ensemble saying a few words about each piece during stage changes. Certainly program notes can provide helpful context, but with new music the context is unclear at best, and usually still in-development—brief discussions might serve (or supplement) this sort of series well. Still, Paul Griffiths’ program notes were beautiful (“scanning geometries in a thundercloud?” Be still my chart…), and the program held my interest throughout. Needless to say, this will be the first of many Monday Evening Concerts for me; I’ve already marked the remainder of this season’s offerings in my calendar.
String quartets have an extensive tradition, not only in their repertoire and performance practice, but also in characteristic sound. Accordingly, mixing electronics with string quartet is tricky because the balance has to be just right: Too much electronics and the strings are felt as accompanying the speakers, too little and the electronics are commenting beneath a string quartet. Indeed composers might want those effects from time to time, but creating them effectively and intentionally is a delicate procedure. On December 16th, People Inside Electronics presented the Eclipse Quartet in a program of electroacoustic works—all from within the last eight years—that addressed various approaches to handling this precarious balance.
Several pieces took the approach of quartet writing supplemented by subtle electronics that became part of the ensemble itself, often felt rather than heard explicitly. Kojiro Umezaki’s (Cycles) what falls must rise benefitted greatly from this atmospheric type of electronics, which consumed the strings and shakuhachi (performed by the composer) in a scored reflection of touching, personal energy. Ian Dicke’s Unmanned wove granular soundscapes into the agile ebbs and flows so natural to string quartets. The ensemble’s deep understanding of contemporary music was especially apparent in the careful unfolding of Dicke’s textures; straying further and further from the acoustic realm, the quartet gradually withdrew musically and physically until repeating harmonies devolved into electronic noise amid an empty stage.
Among this group of works, Tom Flaherty’s Recess best showcased Eclipse Quartet’s precise and invigorating virtuosity: Driving rhythmic hockets and frenzied, fragmented melodies sandwiched a gorgeously slow middle movement. Flaherty’s work can be performed with or without the electronics and so it is not surprising that it employed the most inconspicuous electronics of the program. And the piece was all the better for its electronic restraint; the writing achieved brilliant, contrapuntal balance between foreground and background throughout. The quartet returned the favor by savoring every raucous tutti and playful imitation with both composure and excitement, thrusting the audience into an intermission of wine-drinking fueled by enthusiasm rather than by awkward, idle small talk.
The bookends of the concert were works of more experimental nature, treating the electronics as an independent—even oppositional—feature rather than an integrative one. Especially striking was the opening piece, the world premiere of Zeena Parkins’s Spirit Away the Flesh. A mosaic of romantic, shimmering and agitated moments emerges from a broadly spatialized atmosphere of field recordings and voices. Recorded spoken texts address the creative process of abstract artists Eva Hess, Hilma Af Klint, and Richard Serra; inquisitive and curious creative impulses are voiced in densely-packed aphorisms. The performers cleverly emphasized the music’s own synthetic and exploratory nature, conveying a coherence among Parkins’s many appropriated influences that felt fresh, individual, and hip from beginning to end.
Parkins’s spacious and unforced writing made way for a Mari Kimura’s I-Quadrifoglio, an active and linear four-movement prayer in response to the Fukushima nuclear disaster of 2011. Kimura’s movements (“Faith,” “Love,” “Hope,” and “Luck”) each playfully interacted with the electronics, ranging from subtle synthetic backgrounds in the first movement to hopping echoes, sweeping filters and harmonizing lines in the later movements. An improvisatory style was delineated by a few moments of stunning cohesion: A melodic doubling between first violin and cello, the violin inheriting soaring, ascending sweeps from the electronics, and a teasing callback to the elegant opening harmonies in the final movement.
The program closed with Missy Mazzoli’s haunting ode to the Brooklyn Bridge, Harp and Altar. Electronics also play against the ensemble here, most of all in the moments where Gabriel Kahane’s voice materializes, singing lines from the Hart Crane poem from which the piece takes its title. But the synthesis of the two contradicting sound worlds is seamlessly brokered by Mazzoli’s signature language: Static yet driving, eerie yet loving, simple yet complex. The use of a clicktrack left something to be desired, but the performance by Eclipse Quartet unfurled dramatic waves of suspense and resignation throughout. The result was an emotionally tumultuous conclusion to the concert, but also one that poignantly reaffirmed the fundamental question of the night: When the performers can themselves convey such deep musical meaning, what role can (or should) technology play? Is it accompanist? Performer? Sound effects?
If you looked around the room at Throop Church during the performance, the incredible amount of work People Inside Electronics did to stage this program was readily apparent. The chairs, performance space and speakers were thoughtfully laid out. The space created was intimate but exciting. The people, cables, mixing boards, computers, light stands and video cameras waiting at the ready betrayed the incredible amount of care afforded every detail. And it payed off: The sound was excellent, the electronics seemed flawless, the concert carried an air of comfortable professionalism that put the audience in the right frame of mind for an adventurous program. At musical commencement, the audience witnessed the members of the Eclipse Quartet do their part, leaping around the fingerboard and pulling the bow heavily through the strings. But like so many modern concerts, that other, binary, member of the ensemble was invisible save a coy, glowing apple hovering above a table of audio equipment. We didn’t see her sweat. We didn’t see her frantically reach to execute the code, or run out of breath as she swept filters across delay lines. She was the buffering, multi-channel elephant in the room, but we didn’t get to see her balance tenuously on the ball.
I enjoyed the program immensely, but it seems to me that this is the missing aspect we must reconcile in order for electroacoustic music performance to move forward. The music is already there: The writing and use of electronic sounds was intricate and balanced and clever, and the Eclipse Quartet showcased impressive chops and huge ears. But the audience needs to experience the exertion, the risk, the capacity to fail of all essential elements of a performance—we need to see the jungle of cables, to doubt them, in order to really appreciate when they work. Of course, sometimes a composer wants to hide technical facets of a performance from the audience, but the impact experiencing a performance has on an audience’s perception of the music must be rightfully acknowledged and incorporated into compositional practice. I left “Electric Eclipse” encouraged that electronics have matured beyond mere exploration in contemporary music–they were meaningful, emotional and powerful musical-rhetorical devices. But I also left confident that the performance practice of electroacoustic music is now the pressing limitation to its further development. It is time to abandon the stoic, screen-lit face as an acceptable prime form of electronic music and explore ways for technology to critically enhance the performance of music, rather than just the sound of it.
On Thursday night the Calder Quartet brought life to a formidable program of chamber works–new and old–at Walt Disney Concert Hall. Although the performance might have benefited from some amplified sound reinforcement, the energy and precision of the quartet kept audience eyes and ears focused intensely on the intimate assembly of musicians onstage. A well-designed balance of lively minimalism and lush romanticism set the stage for Schubert’s iconic (and massive) Quartet No. 14, Death and the Maiden. The program, however, offered more than stylistic contrast: The three pieces differed markedly in their approach to using musical time to engage the audience.
The classical language of the Schubert breaks the work into digestible chunks, its musical ideas and developments laid out in clear, periodic sections. Like much music of the 19th century, the challenge to the performer(s) lies in conveying passion without obscuring the clarity of form—a delicate balance deeply embedded into the performance practice of string quartets. The rhetorical value of this style takes advantage of human cognition and memory to build and articulate increasingly larger narratives, but as such its effectiveness becomes increasingly intertwined with the listener’s memory and frame of reference. So it was especially mindful to contrast Schubert’s thoughtful, rational bites with the Schoenberg (which lived fully in the heart) and the Cerrone (which was firmly planted in the body).
For Verklärte Nacht, the quartet enlisted the help of violist Richard Yongjae O’Neill and cellist Nicholas Canellakis to round out the sextet. The ensemble succeeded brilliantly at drawing out the suspended, tortured lines to create a sense of timelessness—one more akin to Wagnerian romanticism than the expressionist modernism many associate with Schoenberg. Indeed, the balance and nature of six strings catered to a sense of atmosphere difficult to achieve with quartet alone, and the piece moved easily from complex contrapuntal textures to detailed, swelling blocks of sound. I say this performance lived in the heart because the musicians patiently explored passing themes without spoiling the frustrated trajectory of the work. As a result, a few moments—most of all the gorgeous final twinklings of the piece—provide reflective cadences both sweet and complicated; cadences that reflect the resignation and messiness of emotion rather than the tidy wrappings of rationality.
In stark contrast to both was the night’s opening performance, the world premiere of Christopher Cerrone’s Can’t and Won’t. Evolving from faint tappings to raucous hockets, the piece married suspense-building devices of minimalism with savvy quartet writing. In particular, repetition and patterns allow Cerrone to redirect his audience’s attention to other aspects of the music; musical time unfolds not only through bold metric modulations, but also though subtle evolutions of harmony. Just as crucial, though, is its invitation to admire the dramatic athleticism of performing this music as the Calder Quartet summoned delicate, alternating harmonics with precision, and attacked furious bowings with vigor. Sonically, this physicality manifested in the wood and bow noise inherent to instruments, adding a rawness to the energetic build that prepares the final “tender” movement: The wild, frenetic energy is suddenly withdrawn to make room for soft, staggered re-entrances of the upper strings, swelling and climbing quietly into the stratosphere.
Programming for string quartet in a large space like Walt Disney Concert Hall requires consideration of the inevitable compromises to both the intimacy and the intensity of the performance. Even cornerstone works like the Schubert rely on their framing to succeed, and so opening the night with the charged and pulsing Can’t and Won’t was a smart exposition of the excitement possible in Calder Quartet’s tight virtuosic playing. Further, the added resources and musical breadth of Verklärte Nacht offered a subtle but effective dynamic; as a result each piece on the program felt like the centerpiece in its own way. Perhaps it is fitting for a hall that feels simultaneously modern and classic that each work on a program spanning nearly two hundred year felt essential, but it is also an indication of the immense talent and flexibility of the Calder Quartet.
On November 18th Walt Disney Concert Hall transformed into a showcase of the community, talent and swagger of Los Angeles new music. The second annual Noon to Midnight event was as much an exhibition as a festival: An overlapping schedule of pop-up performances populated the building’s many nestled spaces, encouraging attendees to wander and casually sample the day’s various offerings. The music-making spilled over Gehry’s grand titanium shipwreck onto the sidewalk and plaza, but the main stage served as a central hub for major performances, punctuating the day with moments of communion between curious ears scattering outwards toward the bustling amphitheater, beer garden, and cozy nooks and crannies of the hall.
In truth, this collar-loosening was the first successful performance of the day. Among younger audiences, the glitzy, glass-enclosed posters of Dudamel might seem out of touch with the Phil’s superimposed tagline “our city, our sound” as his immaculate white bow tie and baton are a far cry from the flimsy band posters that litter telephone poles around Echo Park. But something about licking food truck drippings off of your fingers while listening to electric guitars compete with traffic noise really tempers the imposing austerity of the concert hall. And so, from the very onset, Noon to Midnight transformed the space from a venue for witnessing art into a home-base for engaging with it.
And engaging it was. Yuval Sharon and Annie Gosfield’s new performance piece, War of the Worlds was a fitting centerpiece for the event, occupying both the hall and remote sites in a sprawling, tech-savvy production that cleverly balanced national and local relevance (see Nick Norton’s review here). Wild Up performed two separate sets. The first was a showcase of the collaborative works born of the LA Phil’s National Composers Intensive, featuring new pieces by six young composers. As one might expect, the music reflected an excited exploration of the ensemble’s open-mindedness, navigated by some promising compositional voices. The second set utilized the ensemble’s larger forces to premiere several new works that best demonstrated the ensemble’s agile, performative charm—sometimes dance-y, sometimes delicate, sometimes asking “how did I end up waist deep in this swamp” and “are trombone multiphonics the only way out.” But whether shimmering or sloshing, Christopher Rountree and wild Up were always committed, always convincing, and always a hell of a lot of fun to watch.
The smaller ensembles offered a more intimate experience, including a noisy, forward-looking set by gnarwhallaby, installation performances by HOCKET and Southland Ensemble, jazzy moments with the LA Signal Lab, and a tight, driving performance by Jacaranda. Outdoor spaces hosted less traditional instrumentations like RAGE THORMBONES and Los Angeles Electric 8. The performance that perhaps best encapsulated Noon to Midnight as a whole was Grisey’s Le Noir de l’Etoile: red fish blue fish, spread among the serene beer garden atop Disney Hall, animated the crisp evening air and city views with a radically virtuosic performance in which audience members strolled between and around the performers to create a consuming, fluid and completely individual experience of the colossal work. Here the performance and experience of the music were inseparably entangled, defined by the audience’s direct engagement with the production. The same could be said of Chris Kallmyer‘s Soft Structures, almost a festival in itself.
In total, the day included more than twenty separate programs, and it would be impossible to speak to each set individually. But parsing the experience into discrete parts would betray the atmosphere the LA Phil took such care to create in the first place; Noon to Midnight is a monument of local music that generates all the electricity and none of the pomp of the traditional concert. The music, performers, spaces, drinks and food all embodied an LA personality that manifested in every detail. Having spent most of my life in Silicon Valley, what strikes me most since moving to Los Angeles is the physicality of the city: people don’t just philosophize about things, they make them. There is a reverence for the man-made and the hand-made: What the east side lacks in blooming nature it replaces with colorful graffiti, what towering buildings of Hollywood obscure from your view they replace with blinding LEDs and enormous marquis. In a field of new music that can all too easily slip into intellectualism, this combining of upstart and established groups alike was a heartening account of the range of artists getting their hands seriously dirty making art. It is clear that music here is being made not only in pristine halls, but also in aged, mixed-use buildings with shoddy plumbing. And so, rather than hanging the the local art on a white wall, standing back and rubbing its beard to pontificate, Noon to Midnight was instead an invitation to come together, wash hands, and admire the buildup of dirt in the sink. A glorious, silver sink in the middle of downtown.
Cellist Ashley Walters released her first solo album, Sweet Anxiety, on Populist Records last month. The music is complex and difficult—sometimes on its surface, sometimes in the hidden technical requirements—but Walters breathes life into each work with her astounding virtuosity. Beyond physical skill, however, Sweet Anxiety showcases her ability to find musical consequence across a range of compositional styles. The result is a stunning album, strengthened by its aesthetic diversity and yet unimaginable without Walters’s distinct talents.
The journey of this album is in the gamut of musical intent: some pieces clutch the wheel with caffeine-trembling hands while others gaze contemplatively out the passenger-seat window. To this end, Nicholas Deyoe’s For Stephanie (on our wedding day) works as an effective exposition for the record, a short juxtaposition of dramatic, lush chords against melodic fragments and sparkling timbral echoes. Walters’ impeccable balance guides the listener’s ears, pulling you in to reveal subtle verticalities before thrusting you back in your seat to bathe you in guttural drones. Deyoe’s writing here reveals a keen sense of energy and diffusion, which Walters embodies with astounding sensitivity. This understanding between Deyoe and Walters is particularly highlighted as the splashing, melodic climax dissolves into a passage of gorgeous tranquility, calmly rippling outwards until subsiding into the stillness.
And then, emerging from quiet tappings, comes the funk. Right as you are wondering if Walters had herself become ocean, the unmistakable percussive episodes, insect-like buzzing, and haunting melodies of Berio’s late Sequenza XIV zap the air with electricity. Along with Deyoe’s works, Sequenza XIV employs a more traditional musical rhetoric, building forward momentum in which listener expectations are resolved, subverted, or re-directed. In both Sequenza XIV and Another Anxiety, Walters sets these moments ablaze with acrobatic changes of technique, tone and dynamic. Furious passages are handled with intimidating virtuosity, but it is Walters’ right hand technique that stands out here. The control of bow pressure and position transforms even the most extended of techniques into musical devices rather than musical effects. This in particular makes the dramatic contrasts inherent to the language of these pieces especially effective and expressive.
On the other hand, quite literally, are Andrew McIntosh’s Another Secular Calvinist Creed and Wolfgang von Schweinitz’s Plainsound-Litany. Both works are patient, disciplined explorations of microtonal material—horizontal in Creed and vertical in Plainsound. The Schweinitz presents intervals of varied intonation and timbre, emerging and receding in succession. A meditative atmosphere is sustained through the gentle ease of Walters’s playing (a true feat given the technical difficulty of the piece), unfolding the material like an exposé of unhurried snapshots with shifting perspectives. Creed instead explores microtonal relationships melodically in the form of a 31-note scale. Ascending and descending, the lines slowly fragment into opposing forms before recombining into a final, climbing iteration. Missing from the sound recording is the theatre of contradiction embedded in McIntosh’s piece: Radically disjunct physicality is required to produce the smooth, conjunct musical material. Still, the inclusion of these two pieces offers a contemplative and unforced contrast to the more propulsive works on the album.
Perhaps most curious is the inclusion of Wadada Leo Smith’s Sweet Bay Magnolia with Berry Clusters. The piece inherits the uninhibited, reckless abandon of an improvisation—one which emphasizes performer intuition and awareness over formal archetypes. The task of communicating a work that is less about the plot than the language itself is a difficult one, but Walters succeeds brilliantly. Under her hands, piece oozes with personality, spinning out a trajectory of ideas and development with convincing and relatable motivation. Surrounded by works that treat time as a means of either thematic propulsion or suspension, Sweet Bay Magnolia stands instead with the Berio in its improvisatory bend, creating the impression that the listener is witnessing the piece’s conception in real time. And so, beyond the merits of the piece itself, Sweet Bay Magnolia helps rounds out the album in way that highlights the variety of stylistic intent included.
Sweet Anxiety is a showcase of musical aptitude, not only for Walters’ skilled performances, but for the interpretations and larger flow of the album. Its incorporation of distinct and diverse compositional approaches is bold and effective, and the commitment to conveying the sound world and personality of each piece makes for exceptionally moving moments. This album is, no doubt, both “sweet” and “anxious”—so much so that you may have to remind yourself there is just a single instrument. But that would be somewhat deceiving, because in truth this is music for much more than solo cello; it is music for Ashley Walters.
On October 20th Populist Records—a Los Angeles label dedicated to local experimental music—released two new albums: Nicholas Deyoe’s “for Duane” and Ashley Walters’ Sweet Anxiety (review of Walters’s album is forthcoming). The day after moving to Los Angeles, I abandoned the assembly of Ikea furniture for the double-release show at Thymele Arts, complete with vegan cupcakes and custom beers from Solarc Brewing. But if the familiar faces, cozy venue and homegrown accoutrements rang more of a trendy Thanksgiving dinner than a classical concert, it certainly wasn’t for lack of musical substance: Selections from the albums were performed with a virtuosity and commitment that commandeered my sugar-high into a full case of gotta-get-home-and-listen-to-this. And so, surrounded by mockingly-tiny allen wrenches and indecipherable assembly instructions, I enter the violent and delicate sound world of Deyoe’s “for Duane”.
In talking about his music, Deyoe emphasizes how building friendship, collaboration and trust with his performers has informed his work since arriving in California a decade ago. “for Duane” is an album born of these relationships, marked by detailed instrumental writing and performances saturated with musical intention. Deyoe’s sound world is one of seeming contradictions; bold yet nuanced, violent but fragile. Throughout the album there is a dialectic between body and mind, pitting raw physicality against moments of distilled clarity and introspection. But behind these dramatic shifts in affect is always music that shimmers with complexity, keeping the listener suspended in the neurotic, intricate atmosphere that pervades this album. If one thing in particular stands out on first listen, it is that this atmosphere is inhabited by the performers with such conviction and vulnerability that many moments feel intimate—even voyeuristic—to listen to. But with each subsequent listen the uncompromising degree of creativity and care afforded every moment becomes clear.
The album opens with Finally, the cylindrical voids tapping along, commissioned by the LA Phil and premiered by wasteLAnd at the 2016 Noon to Midnight festival. Six songs and an interlude for soprano, flute, trombone, cello and double bass, set to a text by Allison Carter, comprise the piece. A work of outrageous expressive agility, it functions well as an introduction to Deyoe’s musical language: the composer weaves Carter’s text into an ensemble impassioned with frenetic, nervous energy and punctuated by inescapable, foreboding stasis. A formidable palette of noises are summoned from the trombone, combining with the low strings to create heavy, thick textures whose surface twinkle with flute, sometimes appearing suddenly, other times emerging from the background. Soprano Stephanie Aston masterfully navigates these transformations of character, and the pacing of each textural change feels natural and carries a sense of inevitability before yielding finally to the work’s sinking, moaning conclusion.
1560 is a relentlessly energetic three-movement work for violin and viola. Written for and performed by Adrianne Pope and Linnea Powell of Aperture Duo, the resulting sound is much bigger than its parts. The crispness of their unison playing gives the moments of departure the impression of an object coming apart at the seams as it spirals wildly (which is likely heightened in a live performance by Deyoe’s instructions for the changing physical positions of the players). Here, too, the timing proves fundamental to the work’s success, building to one final, screaming, bow-heavy stand before dying away to the whispering harmonics that end the piece.
The next two pieces on the album are both solo works. Lied/Lied was written for speaking/singing violinist Batya MacAdam-Somer using fragments of her own text. It is a modular work of twelve parts, which can be combined and varied in a number of ways, and on the album MacAdam-Somer brings great wit to her performance of this conversational, sometimes light-hearted collection. But where the playful moments of Lied/Lied bounce around the room like banter among friends, Immer wieder offers a sobering, reflective alternative to solo work. Stephanie Aston performs this second solo piece with a patience that aptly highlights Rilke’s superimposition of love and fate. Deyoe inflects the vocal writing with microtonal shadings that amplify his use of extreme registers, adding a haunting ethereal quality to the soaring high notes and an emotive, human quality to the lows. Taken together, the solos are a brief respite from the dense, imagined soundscapes of the earlier works, instead offering protagonist-driven performances of more personal and relatable impetus.
The album closes with a considerable, two-movement work, Lullaby 6 – “for Duane”, dedicated to Deyoe’s father who passed away last year. The first movement functions mostly like a chamber concerto for cello, and Ashley Walters’s playing embodies the love, tension and conflict of the piece with astounding musicianship and sensitivity. The gestural cello writing awakens lush backgrounds—sometimes aggressive timbral blocks, other times intricate, animated whisperings—carefully balanced in their counterpoint of fore-and background in a way reminiscent of Berio’s writing. The ensemble’s playing is chaotic and precise, creating a sense of urgency as it evolves into raucous, tutti, walls of sound. Suddenly, though, the intensity recedes into a quiet choir of voices, a distant resonance of the preceding brutality. Given this space, the cello comes to the lead once more, only in this second movement it finds itself fruitless in arousing the once anxious ensemble. Instead, the cello is itself absorbed into the quiet murmurs of the background, slowly and gradually. As the other instruments disappear completely and the cello begins to dissipate into the atmosphere, Deyoe offers one final, grounding gesture—a quiet, open strike of the lowest cello string, which vibrates freely for just a moment before it, too, is silenced for good.
Overall, the album “for Duane” is a testament to the creative potential born out of serious collaboration between composer and performer. Deyoe’s fiercely intelligent writing articulates a musical voice both bold and sensitive. Brought to life by the excellent performances of the musicians, this album truly hits you in the chest with its raw physicality before re-crossing its legs and asking you sweetly over rimmed glasses, “… and how does that make you feel?”
Well make of it what you will, but it makes me feel good, Populist Records. It makes me feel really, really good.