CD Review: Hideki Yamaya, 'The Mandolino in 18th- Century Italy'

Portland-based plucked strings expert Hideki Yamaya recently released a CD entitled The Mandolino in 18th-Century Italy, performing with lutenist John Schneiderman. The recording is of the Dalla Casa Manuscript, a mid-18th century compilation of mandolino music by amateur musician Filippo Dalla Casa.

The mandolino in this recording is very different from the modern mandolin; it is small and downright dainty, strung with nylon strings and plucked with fingers instead of a plectrum. The instrument has a delicate tone--the upper registers can be tinny and affect the pitch, which is off-putting at first but actually grows endearing as the music plays on, and the unique timbre becomes a joy to hear.

A peppery, virtuosic little sonata by Antonio Tinazzoli (1650-1730) opens the CD, barrelling forward in one whirlwind movement, showcasing the range of the instrument. The rest of the CD is very much in the galante style, with sonatas/concertos by Giuseppe Vaccari and Ludovico Fontanelli (1682-1748). Yamaya’s accurate and judicious ornamentation can’t be easy to effect on this feathery instrument. The compositions themselves are delightful, warm and fetching; Yamaya’s enthusiasm for playing these gems is obvious and infectious. His own variations on the menuet themes by an anonymous composer are virtuosic, and in one of these variations the mandolin switches to accompaniment and the lute takes the solo; other than that the lute is continuo throughout. The final Giga of the closing Vaccari concerto is particularly enjoyable, featuring surprising, modern-feeling syncopations.

This release is authentic and satisfying; samples of the work can be found here.

CD Review: 'Brooklyn Rider Plays Philip Glass'

The innovative and exciting NYC string quartet Brooklyn Rider has a new CD from In a Circle Records in which the group records Philip Glass's entire string quartet oeuvre, which is the 5 numbered quartets plus the world premier recording of the Suite from "Bent" for String Quartet.

Brooklyn Rider, whose CD Dominant Curve was included in the Washington Post's list of top ten classical albums from 2010, was the right choice to premiere this important work. Bent, winner of the 1997 Cannes 'International Critics Award' tells the story of doomed relationships between gay men in Nazi Germany. The first of its 8 movements opens with a plaintive cello melody wending its way through a forest of suppurating strings, and one can feel the danger, the flight, the violence of the film. There are rays of hope in this work, however slim they may be. Brooklyn Rider understands how to perform this music from an intuitive, gut-level standpoint; one misplaced accent, one slightly shifted emphasis and the meaning of the whole structure is lost; the repetitive nature of Glass's motives both vertically and horizontally amplifies the importance of each little change, and without attention to every minute detail both technically and emotionally there will be nothing left. From the terrifying cello chords exploding from the smooth texture in the fourth movement to the forlorn wailing of the solo viola which is the only instrument heard in the final movement, the power of the composition shines through.

Some of the other quartets also come from film scores, including #3 which came from the 1983 film Mishima about the life of the quixotic Japanese author who committed seppuku in the early 70s. Very different in character from the Bent, there is less of the ceaseless in and out arpeggiation and more homophonic movement and stark chordal textures. String Quartet #1 was composed in 1966 but not first recorded until more than 20 years later. It is more experimental: its atonal warbling that at times veers toward a pizzicato almost completely lacking in pitch requires very different techniques of the group, and they render the ceaseless pulse with painful exactitude.

There is wondrous variety to be found in this release, each quartet with its own unique character, and Brooklyn Rider has the relentless energy required to sustain interest in the somber, often haunting sound world through which Glass's compositions wander. This release represents another big win from an unconventional and visionary group, and is an important contribution to both string quartet and Philip Glass discography.

CD Review: 'L'Infidele' by Jon Mendle

Archguitarist Jon Mendle recently released his first CD, entitled L'Infidele after a lute sonata of the same name by the master baroque lutenist Sylvius Leopold Weiss (1687-1750). This release, from Brooklyn's In A Circle Records and produced by the great Sergio Assad, showcases Mendle's incredible artistry and deep musicianship through the interesting dichotomy of playing ancient music on an instrument invented only in 1980, by guitarist/lutenist Peter Blanchette.

The archguitar is an eleven-stringed instrument that looks rather like a mutant classical guitar. According to Mendle's website, "the Archguitar is a hybrid of the Renaissance and Baroque lutes, 19th century guitar, and modern guitar, making it ideal for a large cross section of early music, as well as certain modern and impressionist works."

On to the CD however; it contains Mendle's own transcriptions of the Weiss lute sonata as well as one by Adam Falckenhagen (1697-1761) and CPE Bach's Prussian Sonata V which was originally written for clavier.

The CD opens with the deep and weighty Largo at the head of the Falckenhagen sonata. In the subsequent Allegro un Poco Mendle's technique is revealed in the fantastic roulades and turns that he throws out in a manner sounding seamless and almost effortless, which is as it should be, the ornamentation feeling like a perfectly natural and unobtrusive outgrowth of the musical stuff from whence it came. The finale contains a mischievous recurring staccato theme that Mendle draws out insightfully and plays with obvious delight.

The CPE Bach is redolent with nascent classicism, and Mendle's playing makes the distinction between this style and the High Baroque of Weiss and Falckenhagen very clear. Again the fantastically difficult ornaments, this time in the middle Andante, are all realized smoothly and yet not monochromatically, alternately bold and delicate as called for. Throughout this CD the spectacular ornamentation is one commonality linking all of the compositions together; Mendle has a natural feel for it and isn't afraid to express himself through everything from filigreed and almost non-existent mordants to lengthy and substantive turns and doppelt-cadences. The Allegro Assai of this piece features voice-leadings taking off on various flights of fancy all their own.

The L'Infidele sonata, really a baroque dance suite, finishes out the CD. The Entree was exquisite, the Courante danceable and pulsing, and the Menuet featured terraced dynamics that yielded a fetching echo effect. Mendle explores a wide variety of tone colors in this suite; saucy mezzo-staccato phrases give way to sere, almost harsh plucking and muted, other-worldly legatos. The grumbling drone strings in the Musette present yet another delight to be savored.

If there were any flaw with this CD, it would only be that I wanted more after listening to it, and I immediately played it over from the beginning. Look for more great things to come from this brilliant young artist, who has already played with the likes of Yo Yo Ma and his teacher Sergio Assad.

CD Review: Portland Opera's 'Orphee'

This year saw a milestone in the Portland Opera's history with their first-ever commercial recording, a complete rendering of Philip Glass's Orphee. Recorded during Orphee's run in November of 2009, the surprise hit of Portland Opera's last season transfers admirably to this disc from Orange Mountain Music. Not only is this CD a first for the PO, but it is doubly important in that it is also the first complete recording of this opera, the last of Glass's triptych based on films by Jean Cocteau to be put to disc.

The production benefited from the previous experience with this work brought to the fore by conductor Anne Manson and principals Philip Cutlip (Orphee) and Lisa Saffer (La Princesse), all of whom performed this previously with the Glimmerglass Opera. The recording succeeds brillantly in capturing the crispness and concision of the dialogue, which was adapted by Glass from the script for the 1949 Cocteau film of the same name. Cutlip's rich, expressive baritone and soprano Lisa Saffer's moody Princesse seem to leap out from the recording with their sincerity and intensity. The dialogue moves along as in a film; i.e. no long expressive arias, so the singers have the challenge of both continuously advancing the plot while delivering enjoyable listening from a musical standpoint.

The oft-mysterious framework provided by Glass's orchestral underpinning comes through in delicious color, from the hurly-burly French cafe music to be found in the opening scene to the dark mystery of the journey to the underworld, and the ceaseless movement of the music seems to command rapt attention. Particularly poignant are the tender moments between tenor Ryan MacPherson as Heurtebise and Georgia Jarman as Eurydice, Orphee's sometimes-scorned wife, as well as Orphee's obsessive madness with the cryptic radio broadcasts that he takes to be the finest poetry in the world. The heart-rending decision by Heurtebise and La Princesse to defy the will of the underworld and return their loves to their former lives after the harrowing journey beyond the doors of death is as inspiring and beautiful as one could hope opera to be. As a side-note, the French diction is marvelously clear throughout.

Portland Opera has distinguished itself by releasing such a meaningful, high-quality recording by one of the world's most important living composers. In short, this is a brilliant recording of a brilliant work. It is one that will bear repeated listening, with new facets to be discovered at each turn.

CD Review: Silvius Weiss Lute Music II

BIS Records recently released a CD by Swedish lutenist Jakob Lindberg playing music of the German composer Silvius Weiss. Weiss was an almost exact contemporary of J.S. Bach, whom he met and challenged to a counterpoint competition--Bach on the harpsichord, Weiss on the lute. That says quite a lot about Weiss' abilities on the lute, and Lindberg's rendering of this difficult music leaves nothing to be desired by way of technique or interpretation. The odd title of the release is in reference to that fact that this could be considered a companion CD to an earlier release by Lindberg of Weiss' lute music.

The Ouverture to the first work, Sonata No. 39 in C Major, gallops forward in a bold, declamatory style, briskly paced and featuring a succinct realization of the contrapuntal outworkings that is delightful to hear. Lindberg's ability to so cleanly voice the numerous entwined melodies is stunning, and gives one great appreciation for Weiss' virtuosity on the lute (and an understanding of why he may have had the cheek to challenge Bach.) The Sarabande is truly delectable, full of an unrequited longing that Lindberg savors, note by note.

The Tombeau sur la Morte de M. Comte de Logy takes the form of a peripatetic allemande that is all grief, a slow, singing journey through the sadness that Weiss felt at the death of this great lutenist. Lindberg reveals a keen understanding of the subtle colorations required to prevent this somber dirge from becoming agonizingly dull, which can happen to pieces of this kind in lesser hands. Instead he yields a work that is engaging and full of the sincere, grave pathos that came to flower in the high Baroque.

The entire disc is fantastic, a true revelation of Weiss' genius as a composer and Lindberg's singular skill as a lutenist. It is an absolute delight, a treat for the ear as well as the soul.

Crossposted at NW Reverb

CD Review: Brookly Rider--'Dominant Curve'

The NYC based string quartet Brooklyn Rider covers a lot of ground with their newest release from In A Circle Records, Dominant Curve. From Debussy to arrangements of John Cage and featuring compositions by the musicians themselves, Brooklyn Rider shows deep artistic maturity and a spiritual essence bordering on the psychedelic.

This disc, centered around Debussy's monumental String Quartet No. 1, featured music by, inspired by, or in the spirit of Debussy. Achille's Heel, by violinist Colin Jacobsen, opened with a spare threnody that hinted little at the chaos to follow in the second movement. Every trick in the book was pulled out: harmonics, glissandi, multiple stops and col legno combined to produce an intense sonic mind-warp, varied and somehow hypnotic despite the dynamic extremes. The third movement, Loveland, was simple and beautiful, featuring sighing violins and pizzicato cello playing in closely-layered modalities that occasionally intersected to create lush cadences. Finishing with a dragonfly's flight of fancy on a ceaseless moto perpetuo, the music heaved and seethed in impossible quadrangles and dying suns.

The extremely atmospheric (Cycles) what falls must rise by Kojiro Umezaki (who also played shakuhachi and electronics) was an eerie soundscape of very different character. Redolent with Japanese imagery and mystery, it moved ceaselessly, sound colors shifting in and out like a ghost coming in from a cold gray electronic fog. The piece closed with a perplexing coda, a more conventional string quartet playing with the shakuhachi. It seemed awkwardly appended to the end of an otherwise marvelous piece. Thematically it was enjoyable but did not seem to fit in the slightest with the rest of the material; it served to unnecessarily break the spell.

They approached the Debussy with a vigorous attack that seemed at times like almost too much, but Debussy always sounds right to me when played at the very edge of the emotions; his music inhabits a world of dreams and half-light, of terror and overpowering surges of innate divinity. Brooklyn Rider made the most of this titanic work, throwing caution to the wind with bold tempos and unabashedly dramatic dynamics. Yet there was something old-fashioned there too; the whole thing had a sepia-tone timbre to it, like listening to a recording from the thirties. The third movement ended with a gentle, rapturous ascent, rendered as prayerfully as anything by Messaien.

It closed with two more contemplative, dreamy works in keeping with the overall feel of the release: ...al niente by Dmitiri Yanov Yanovsky and an arrangement of John Cage's In a Landscape. Exciting and fresh, Dominant Curve is full of worthwhile new material as well as a valid and imaginative interpretation of the Debussy string quartet.

Glowing Reviews: A good week for music

Last week I unfortunately missed Grey Anne's CD release party despite my best efforts to find it, so I've been anxiously waiting for her debut cd facts n figurines. It came in the mail today and I listened to it all the way through a couple of times. It was f*$#ing great, like I was sure it would be; I reviewed it at Suite101. Between that and my last week of music, which consisted of Fidelio last Thursday, PSU Symphony last Friday, La Stella on Sunday, and the PBO last night, I feel sated and happy, music whore that I am.

CD Review up at Suite101, my new writing gig

I have recently been accepted to write articles at Suite101, a sort of general interest website. If I play my cards right, I might actually make a little money there, so zippadeedoodah for that! I'm going to link Suite101 over to the side of my blog here, but if you'd like to read the review, check it out here. (Hint: if you click on the ads next to my article, that's how I get paid. ;0)

CD Review: Rachel Taylor Brown's "Half Hours with the Lower Creatures."

Rachel Taylor Brown has been getting a lot of good press lately (from NPR among others) and after listening to her new CD Half Hours with the Lower Creatures, it's easy to see why. I really enjoyed the vast majority of this very personal exposition. Each track has a subtitle to it, such as 'the goad,' 'waste,' 'whack,' etc., which I couldn't make much sense of but since I am a big fan of subtitles, parentheticals and the like, I think it's great. The first track I might've subtitled 'Trio for voice, Found Sounds and Toy Piano.' It's a lengthy, diverting opening that segues seamlessly into the second track (as does each track into the one that follows it.)

It's obvious from listening to this that RTB has issues with Judeo-Christianity (ahh, don't we all) but her way of expounding on it is honest and without overt malice. The most powerful track for me is passion (the goad), which is just what it says: a story about the passion of the Christ, only with an emphasis on its misuse in fleecing the flock. She's got a very clever, subtle way of staggering the relatively straightforward vocals and piano; there’s a story just underneath the text that you have to intuit (rather than interpret) by listening to the music. In another dead soldier in fallujah (waste), Brown cuts right to the chase and delivers a criticism of the war in Iraq with sensitivity and compassion, yet mercifully absent any tawdry schadenfreude at our boondoggle over there. After passion, the instrumental arlington and the penultimate track vireo, a brooding and organic dirge, are the strongest tracks for me. I detected hints of Tori Amos, Elliot Smith and Queen (a little too much of that one for my personal taste) here but from start to finish, Lower Creatures, is by and large a winner This album lives in the atmospherics, which are sometimes more difficult to create accurately than dazzling the listener with tricky music. Be prepared to sit down and listen to it in one sitting; it makes much more sense that way.