As a fellow Miyazawa flutist, I could hardly contain my excitement about this review. Thrive is Areon Flutes’ third full album release and innova Recordings debut. The flute chamber music ensemble upholds a dogma of revitalizing chamber music for 21st-century audiences. In May 2008, Areon Flutes was awarded the Bronze Medal at the prestigious Fischoff Chamber Music Competition in Notre Dame, Indiana, the first flute chamber music ensemble to do so in thirty-five years. In 2015 they were hailed as one of the most memorable live performers by the San Francisco Examiner. This album Thrive features compositions by Elainie Lillios, Cornelius Boots, and Mike Sempert, and performances by the core trio of Areon Flutes: Jill Heinke, Kassey Plaha, and Sasha Launer.
Lillios’s Summer Sketches, the winner of Areon’s 2014 International Composition Competition, begins with a playful, wandering flute solo. Two more flutes join in and engage in an aural game of hide-and-seek. At times the music describes an action like skipping and diving, and other times seems more onomatopoetic. The two movements, “Skating on Discs of Light” and “Dry Wind,” follow ants running past a picnic, mosquitos buzzing past your ear, spiders creeping toward their prey, and dragonflies dive-bombing the lazy river. Unorthodox tone color, hums, trills, percussive tongue and finger slaps, flutters and growls used on the whole flute family evoke these quintessential insectoid summer sounds. This broad exploration of sounds and soundscape makes sense for an electroacoustic composer flexing her flute trio muscles. Lillios gives a voice to every insect, spider, and bug. Summer Sketches evokes a 21st-century variation of Messiaen’s Catalogue d’oiseaux combined with a modernized Das Jahr (Hensel), compacted into two movements.
Cornelius Boots’s Chthonic Flute Suite, commissioned by Areon Flutes, takes the listener on a journey through the underworld. The first movement, “Root of Ether,” begins with a calm, solo meditation. About a minute in, the player exhales poignantly; upon this ‘last breath,’ the tempo picks up and the listener approaches the allegorical rabbit hole. The next movement, “Enantiodromia,” kicks off with a loud chord, and then the three flutes move in and out of sync with each other, taking turns with the melody and turning counterpoint on its head. This middle movement of Chthonic Flute Suite suggests diving down the rabbit hole and finding the underworld. ‘Enantiodromia’ is the concept that any force inevitably produces its opposite, usually towards equilibrium. This is quite possibly my favorite piece on the album for the sheer amount of fun I had listening to the twists and turns. As the name suggests, the piece moves in cycles of turning, reversing, and toppling – on an unrelated note, I just found the perfect word to describe politics. The third movement of Boots’s journey, “Void of Day” opens with a wan panpipe solo. The anemic yet cheerful tune gives way as the trio volleys melodies between each other, forming a collage of scenes from the underworld. At the midpoint, the music suddenly becomes somber and churchlike. Boots changes the mood on a dime. A great gravity overcomes the prior mystique. This does not last until the end, for as the name suggests, the void is coming! After nearly a minute of frantic chordal chuffing, the flutes arpeggiate up and…nothing. Boots saw the opportunity and took it – the void swallows the piece before it can conclude.
The last piece on this album is Uncanny Valley by Mike Sempert, commissioned by Areon Flutes. This gentle three-part counterpoint in the beginning evokes relaxing video games like Journey, Flower, and Thomas Was Alone. I choose this comparison conscientiously. The video games listed are all simple stories concerning man versus machine and are renowned for their unique (and pleasant) soundtracks. When the synthesizer enters, the piece takes on its own soul. Stumbling rhythms, harmonious electronic dance sounds and waltz-like melodies in the flutes offer a glimpse into a halting conversation between artificial intelligence and organic beings. The two halves of this multi-sided duet (organic flutes vs artificial synthesizers seek and fail to find common musical ground. The synthesizers eventually cut out, and the three flutes come together more united than before. This is a track I put on repeat and imagine a different story for each playthrough. It feels like a science fiction story put into music, and I have the pleasure of deciphering it.
Thrive easily earns a spot in my top five albums of 2016. Every track is easy to listen to, and the more you listen, the more levels of appreciation you gain. There is very little showing off, which frankly is something of a relief. So many compositions and performances are downright acrobatic nowadays. Finding a composition without virtuosity for flashy virtuosity’s sake is becoming a rare treasure. It is said that a true master makes something difficult seem easy; Areon Flutes embodies this concept and makes modern compositions for chamber ensembles accessible and pleasurable to all.
Thrive is available from Innova Music at innova.mu/albums/areon-flutes/thrive, and from iTunes, Amazon, and other music retailers.