Month: June 2017

Canada, CD Review, CDs, Contemporary Classical, Experimental Music, File Under?

Marc Sabat and JACK – Harmony (CD)

 

Marc Sabat

Harmony

JACK Quartet

Canadian Composers Series #5

Another Timbre

 

Euler Spirals Scenery (2011), Claudiu Ptolemy (2008), Jean Philippe Rameau (2012)

 

A long time fixture on the Toronto scene as a string performer, improviser, and composer, Marc Sabat now resides in Berlin. However, he has taken his experimental penchant for tuning systems with him, writing in extended just intonation with a fluency that rivals Harry Partch and Ben Johnston’s own explorations of pitch. On the CD Harmony, JACK Quartet plays two quartets and a duo with rapt attention to the detailed nuances of Sabat’s pitch language and a keen sense of its corresponding flowing rhythms.

 

Euler Lattice Spirals Scenery (2011) is a five movement work that name checks various elements and personages of the intonation studies milieu. The first movement, Preludio, is subtitled “Les Quintes Justes” and it indeed does deal with sustained pure fifths in evocative fashion. Two of the movements, numbers two and five respectively, are titled Pythagoras Drawing. Movements three and four are each dedicated to a different composer who has been influential on Sabat; they are titled Harmonium for Claude Vivier and Harmonium for Ben Johnston. Each successive movement sends us a little further into the dark forest of dissonant overtones that accumulate on top of “Les Quintes Justes.” Thus, the entire piece can be seen as gradually revealing the compass of Sabat’s pitch palette.

 

Claudius Ptolemy (2008) is a duo, played by JACK violinist Christopher Otto and cellist Kevin McFarland (note: Jay Campbell now plays with the group). Open string double stops as well as dissonant intervals, harmonics, and ambling melodies combine in this adagio essay to make a fresh-sounding conglomeration of familiar playing techniques. The aforementioned “ambling affect” is one that Sabat shares with a number of his Canadian colleagues, not least Linda Catlin Smith, whose volume in the Canadian Composer Series (#1) appeared as a review here earlier in 2017. The final work on the Sabat CD is named after another important music theorist: Jean-Philippe Rameau (2012). Here the simultaneities are particularly fetching, with double-stops from multiple quartet members overlapping into beautiful chords. In one of his treatises( from 1737), Rameau struggled to describe the consonant and dissonant properties of just intonation: Sabat’s Rameau lays it out for all to hear with abundant clarity. 

 

by Christian Carey
Concert review, Contemporary Classical, Experimental Music, Los Angeles

Dog Star 13 – The Mean Harpsichord

On Thursday, June 15, 2017 Dog Star Volume 13 landed at the Cal Arts campus for a concert titled The Mean Harpsichord. No fewer than three harpsichords were in place at The Wild Beast, where every chair was filled with someone interested in hearing experimental music at the cutting edge. The 2017 Dog Star Orchestra series, a local new music tradition since 2005, featured a total of eleven concerts this year and has been running at various locations all around Los Angeles since June 3.

The first piece on the concert program was Tasten, by Eva-Maria Houben and for this two harpsichords were employed, manned by Robert Holliday and Sepand Shahab. Two soft notes by Holliday began Tasten, followed by an extended silence. About 30 seconds later, and almost as an answer, three separate notes were heard from the second harpsichord. More silence followed, allowing the notes to ring out and slowly decay. This pattern continued with the sounding of one, two or a few notes by each harpsichord, followed by an extended silence between.

The two harpsichords seemed to alternate in turn, but not strictly, and the extended silences acted to draw the listener into a heightened level of concentration. It was as if each set of notes added a clue to some larger form or structure. There were occasional seven or eight note phrases, but no chords, and the sounds were never hurried. This is very spare music, and it often seemed like a quiet conversation between two people who know each other very well – perhaps after dinner on a dark porch – with the long silences actually adding to the communication. The score for this was not conventionally notated, but was rather a page of instructions followed by several more pages of symbols and letters that gave the harpsichord players their cues. Tasten reduces pitch, rhythm and dynamic content to the minimum while at the same time raising the listeners awareness in ways that are not otherwise experienced in a conventional musical performance.

Arianna (Monteverdi) by Mark So followed, and for this some 10 musicians with their various instruments gathered while a field recording of street sounds and construction equipment was heard over the speaker system. A solemn, deep tone was heard from something like a small hand-pumped portable organ accompanied by softly sorrowful notes from a violin. Harpsichords joined in as well as a cello, creating a feeling of disconnection and loneliness that was very effective in combination with the impersonal sounds coming from the field recording. All of this was slow and stately – there was nothing rapid or with a rhythmic beat. The texture was smooth and lush, and some lovely harmonies were heard at times among the various instrument groupings. A pop tune and then some faint voices were heard in the field recording that contrasted with a series of low, mournful chords from the portable organ and strings. The strongly expressive feel of this piece was the result of distributing small sections of an original Claudio Monteverdi score to the various acoustic instruments. There was no effort to quote this music per se, but rather fragments of chords and harmonies were employed in diverse ways to create the richly haunting mood. Arianna (Monteverdi) is an impressive example of the creation of a new contemporary piece fashioned from the musical DNA of a 17th century Italian master.

Shadow Earth, by Michael Pisaro was next and this was performed by Sepand Shahab at the harpsichord. This began quietly with a few short sequences of notes, followed by some simple chords that unfolded into a modest dissonance as the piece progressed. Counterpoint appeared in the lower registers and this led to a series of thick chords that precipitated a dark, mysterious feel. There was no continuous beat or pulse in this music, but rather a sequence of brief, disconnected passages; sometimes these included chords with harmony and at other times just a few singular notes. It was very much the musical equivalent of a woodcut relief print – where the total is the sum of the ink markings and the white space – so that the viewer’s brain forms the completed image. The abstraction of the sound that is heard in this piece partners with the listener’s imagination. Shadow Earth nicely evokes the contrasting darkness and light of shadows in the same way – the music paints only a part of the image and the listener completes the picture.

(more…)

by Paul Muller
CD Review, Contemporary Classical, Experimental Music, File Under?, Percussion

LA Percussion Quartet – Beyond (CD)

Los Angeles Percussion Quartet

Beyond

Works by Daniel Bjarnason, Anna Thorvaldsdottir, Christopher Cerrone, Ellen Reid, and Andrew McIntosh

Sono Luminus 2XCD

Los Angeles Percussion Quartet performs on one of the most compelling releases of early 2017. Beyond (Sono Luminus, June 16, 2017) is a double-disc helping of new works for percussion ensemble by Daniel Bjarnason, Anna Thorvaldsdottir, Christopher Cerrone, Ellen Reid, and Andrew McIntosh. All of these composers are up and coming stars in the new music world. Both Reid and Cerrone are New Yorkers (Reid is now based in NY and LA) who have taken Los Angeles by storm in recent seasons with opera and orchestra projects. Bjarnason and Thorvaldsdottir are Icelandic composers who both have a strong connection to the West Coast. McIntosh is very strongly identified with the LA scene, as a composer, string performer, and the guiding force behind Populist Records, one of the most interesting experimental labels out there (here is my recent review of a Populist release by Daniel Corral).

One of the fascinating things to hear on Beyond is the way in which each composer translates their musical approach to the percussive idiom. Thus, Bjarnason’s penchant for dynamic and scoring contrasts is demonstrated in Qui Tollis, a composition equally compelling in both its pianissimo and fortissimo passages. Thorvaldsdottir’s Aura maintains its creator’s fascination with pitched timbres and colorful clouds of harmony; these are deployed with a deft sense of ensemble interplay. Cerrone imports acoustic guitar and electronics in the five-movement suite Memory Palace. The places he references are familiar to New Yorkers, from the pastoral hues of “Harriman” to the tense ostinatos of “L.I.E.” (Long Island Expressway, for those of you who have the blissful fortune to be unaware of this stress-filled commuter highway), and his depictions ring true. Fear-Release by Reid presents a dramatic use of unfurling cells of rhythmic activity alongside pensive pitched percussion. Its coda for metallophones is particularly fetching; after all of the built up tension of the piece’s main body, it serves as a kind of exhalation.

The culminating, and most substantial, work on the recording is McIntosh’s I Hold the Lion’s Paw, a nine-movement long piece some three quarters of an hour in duration. Much of its composer’s music concerns itself with microtones and alternate tunings – he is experienced in playing both Early music’s temperaments as well as contemporary explorations of tuning. Thus it is no surprise that McIntosh’s pitch template for I Hold the Lion’s Paw is an extended one. However, this is just one aspect of a multi-faceted piece, which also makes extensive use of low drums and cymbals for a ritualistic colloquy. Still more ritualized, taking on an almost sacramental guise, is the pouring of water and striking of ceramics filled with water. Every percussionist I know loves an instrument-making assignment and McIntosh doesn’t disappoint: DIY elements include aluminum pipes, cut to fit. None of the elements of this significant battery of instruments seems out of place: despite the use of water, I Hold the Lion’s Paw is no “kitchen sink” piece. On the contrary, it is a thoughtfully constructed and sonically beguiling composition. Several excellent percussion ensembles are currently active: Los Angeles Percussion Quartet is certainly an estimable member of this elite cohort.

by Christian Carey
CD Review, File Under?, Film Music, jazz

Thelonious Monk: a Rediscovered Soundtrack from 1960 (CD Review)

Thelonious Monk

Les Liaisons Dangereuses 1960

Saga/Sam Records/Universal

2xCD, LP, and digital formats

Thelonious Monk, piano, composer, arranger; Charlie Rouse, tenor saxophone; Barney Wilen, tenor saxophone; Sam Jones, double bass; Art Taylor, drums

Since its arrival at our house, this release has been in heavy rotation. After it seems as if everything that the famed modern bebop pianist Thelonious Monk put to record had been issued, a treasure like this surfaces: the pianist’s soundtrack for Les Liaisons Dangereuses, the 1960 Roger Vadim film adapting Pierre Choderlos de Laclos’ famous 1782 novel. Buoyant versions of Monk classics such as “Rhythm-a-Ning,” “Well You Needn’t,” and “Crepuscule with Nellie” are abetted by excellent soloing from two tenor saxophonists, Barney Wilen (in whose archives these recordings resided) and Charlie Rouse, a frequent partner of the pianist’s. Monk’s playing, varied here in approach from succulent balladry to rousing uptempo soloing, spurs on the rhythm section of bassist Sam Jones and drummer Art Taylor to ever more complex coordinations. A previously unissued cut, the gospel number “By and By” by Charles Albert Tindley, receives a particularly sensitive reading. The recording contains a bonus disc that features alternate takes and a quarter hour of the group rehearsing and discussing “Light Blue.” To top it all off, the sound is excellent. Heartily recommended.

by Christian Carey
CD Review, Concerts, File Under?, jazz

Friday: Aaron Parks Trio Plays at Smalls

Parks trio color
Aaron Parks Trio left to right : Billy Hart, Aaron Parks, Ben Street Photo: © Bart Babinski / ECM Records

On Friday, June 16th from 7:30 to 10 at the New York jazz venue Smalls, pianist Aaron Parks celebrates the release of Find the Way, his second release on ECM as a leader (and third overall). On 2013’s Arborescence, Parks appeared on the label as a solo artist, crafting improvisations in a live setting that were gently sculpted but nevertheless stirring selections. This time out, Parks plays in a trio; he has a versatile and well-versed rhythm section at his disposal and to his credit, the pianist adopts an attitude of collaboration, encouraging each artist to take a turn in the spotlight. He is joined by eminent jazz drummer and frequent ECM recording artist Billy Hart and bassist Ben Street, a musician with many avant-jazz credentials who also plays in Hart’s quartet.

Aaron Parks - Find the Way

With energetic tom fills and textural cymbal playing, Hart particularly stands out on “Hold Music,” one of eight originals on the recording (the only cover is the title song, a chestnut that isn’t a household name, but ought to be). On “Song for Sashou,” Street supports a supple quasi-bossa, gliding in and out of register with Parks’ comping to underscore both rhythmic elements and a fetching countermelody.

There’s a painterly quality to the tune “Adrift.” It serves as a point of departure from the washes of sound that Parks evokes in his solo playing. These are now incorporated into a multifaceted context with a rhythm section’s underpinning. Still, the title is an accurate one; even with drums and bass, there is a delicacy of approach here that prevents the music from feeling too strongly grounded. Often Parks takes neo-impressionist approach. “Unravel” flirts with Ravel in its extended chord arpeggiations and revels in delightful offsets in the interplay between the hands. “The Storyteller” pits Parks’ stacking of extended chords against bluesy right hand licks. Meanwhile, Hart makes space for fills to spur things onwards and Street plays multi-register melodies, once again finding a melodic role for the bass to navigate. “Alice,” with aching suspensions and deft filigrees in its intro, followed by a rousing colloquy for the trio, is a particularly memorable composition and one that demonstrates that there is a bit of welcome steel in the midst of this trio’s buoyant demeanor. Find the Way is a big step forward in the development of Parks’ already potent musicality – one imagines that this will be a memorable gig!

by Christian Carey
Concert review, Contemporary Classical, Dance, Los Angeles, Premieres

Breadwoman Appears in Santa Monica

On Thursday, June 8, 2017 the Santa Monica Public Library presented the Los Angeles premiere of Breadwoman: Variations and Improvisations in the MLK Jr. Auditorium.

Breadwoman has a long and colorful history, reaching back to her first incarnation by Anna Homler in the 1980s. The late Steve Moshier created the synthesized accompaniment and in 2016 the original reel-to-reel tapes were remastered by the RVNG record label in New York. A Breadwoman and Other Tales CD was released last year to wide acclaim in publications such as Pitchfork, The Wire and the Los Angeles Times. A good-sized crowd turned out on a weekday evening for this rare presentation of performance art and music.

The liner notes of the Breadwoman CD state that: “Breadwoman is a guide, a storyteller and an observer of human events. She communicates with gestures and songs in a language that is both mysterious and familiar. Breadwoman is so very old that she stands outside of time. Her territory is that of the interior, where there are no distinctions and all things are whole.” The strong interest in the 2016 CD has prompted Ms. Homler to organize a new live performance and the result was Breadwoman: Variations and Improvisations.

For this concert Ms. Homler was seated behind a microphone and shiny silver table filled with all manner of whistles, rattles, noisemakers and various other found percussion pieces. Maya Gingery as Breadwoman sat still on a chair completely covered by a gray shroud, awaiting the start of the performance. At the foot of the stage, Jorge Martin presided over a vast array of patch cables, mixers, amplifiers and analog synthesizers. All of the pieces in this hour-long performance were performed continuously with no interruptions. This began with Yesh Te’, a gentle invocation sung by Ms. Homler while Breadwoman was seen to be moving and coming to life under her shroud. The electronic accompaniment was similarly subdued, and full of deep sounds – at times Ms. Homler sang, played a tin flute or rattled racks of beads to add some variety to the texture. Her vocals resembled some long-lost Central European language – the words could not be understood, nor were they meant to be – but the sounds and cadences were highly evocative of a primal culture.

Ee Chê followed and here there was a strong percussive beat in the electronics while the singing became stronger and more assertive, as if part of some ritual incantation. At this point, Breadwoman had completely removed the shroud and, although still sitting in her chair, was fully revealed. Her heavily layered clothing and face, obscured by the bread-like headgear, brought to mind a homeless woman such as might be seen in many Los Angeles neighborhoods – the anonymous look and slow movements evoked an immediate and timeless empathy. Breadwoman gathered in some long loaves of bread from the floor before her, and using these as canes, slowly rose to her feet. All of her movements were slow and deliberate as if the weight of a thousand past generations were weighing down on her old body. The choreography, pace and drama of Breadwoman’s movements corresponded perfectly with the music and electronics; even as she was buried in the costuming and makeup, Ms. Gingery couldn’t have been more convincing. Fittingly, Jorge Martin’s analog synthesizers seemed to be closely following Moshier’s original tracks.

More evocative music followed. In one segment, Breadwoman took up what looked to be two large cups and seemed to be splashing the contents on the ground, perhaps in a rite of fertility. The electronic beat was solid and the singing of Ms. Homler was like that of a mystical incantation. Breadwoman later lifted two large rattles and shook them while turning slowly around. It was as if we were witnessing some age-old ritual with Breadwoman as a venerable high priestess.

In another segment deep tones coming from the electronics were accompanied by the sounds of a forest at night. Crickets, frogs and larger, more ominous critters seemingly lurked in the darkness while Breadwoman remained passively seated. Heavy breathing was heard, with indistinct voices and the sounds of running water. Ms. Homler took up various items of found percussion and the clicking, grinding and growling sounds added to the sense of predatory danger. Breadwoman remained stoically seated, making only a few slow movements, as if resigned to the organic dangers of primal life.

The final segment was brighter in tone, the sound of some small bells dispelled the ambient tension and a low drone in the electronics was accompanied by Ms. Homler with a chant. This was taken up by voices in the electronics as Breadwoman rose and faced skyward. The feeling was communal and mystical, as if we were present at the dawn of human spirituality. A low drone in the electronics added a sense of importance to the proceedings as Breadwoman raised a long loaf of bread upward as if acknowledging a higher power. The chanting vocals faded to silence with Breadwoman standing in motionless reverence as the performance came to a conclusion.

The loud and long applause that followed was intended the performers, of course, but also for the artistic concept of Breadwoman as a tangible representation of our distant human past.

The Breadwoman and Other Tales CD is available from RVNG Records and Amazon.

Photo courtesy of  Elaine Parks.

by Paul Muller
CD Review, Chamber Music, Contemporary Classical, File Under?, Recordings

Kronos Plays Folk Songs

Kronos Quartet, with Sam Amidon, Olivia Chaney, Rhiannon Giddens, and Natalie Merchant

Folk Songs

Nonesuch CD

 

From its earliest recordings, which included transcriptions of jazz, Kronos Quartet has cast their net wide. The group’s repertoire encompasses music from the world over and from numerous composers in a variety of styles. To remind myself of Kronos’ earlier days, I put on their “Landmark Sessions” recordings of Thelonious Monk and Bill Evans. And what a reminder it was, pointing up the fluid nature of the quartet’s ability to shift tone and rhythmic feel to accommodate nearly whatever they approach.

 

On Folk Songs, their latest CD for Nonesuch, Kronos are joined by an all-star cast of vocalists – Sam Amidon, Olivia Chaney, Rhiannon Giddens, and Natalie Merchant – in a collection of American folksongs from various traditions.  The arrangements – skilfully wrought by Nico Muhly, Donnacha Dennehy, Jacob Garchik, and Gabriel Witcher – deploy the skills sets of the guests, including instrumental contributions, Amidon’s guitar and Chaney’s harmonium and percussion, to good effect. The aforementioned fluidity of the quartet affects the way that they serve as collaborators in the various selections. Amidon’s neo-folk adoption of Appalachia is well-served by fiddle tune melodies and straight tone chords. Merchant’s soulful voice is matched by chocolatey timbres and poignant phrasing. Frequent Kronos collaborator Dennehy’s contribution, an arrangement of the traditional Irish song “Ramblin’ Boy,” is an ideal vehicle for the supple singing and exuberant playing of Chaney. An arrangement by Garchik of Delta Blues vocalist Geeshie Wiley’s “Last Kind Words” is a suave and winning instrumental interlude. Giddens is a marvel, her beautiful singing winsomely swinging in two originals inspired by traditional blues: “Factory Girl” and “Lullaby.” While Kronos is currently busy with a multi-year commissioning project (titled “Fifty for the Future”), such thoughtful music-making in an entirely different vein is most welcome.

 

by Christian Carey
CDs, Cello, File Under?, Recordings

Mariel Roberts on New Focus (CD Review)

Mariel Roberts

Cartography

New Focus Recordings CD/DL

Mariel Roberts

Cartography

New Focus Recordings CD/DL

Cellist Mariel Roberts’ second solo album, Cartography, provides a stylistically diverse set of pieces that are all played compellingly and with earnest commitment. Eric Wubbels’ ‘gretchen am spinnrade’ has little to do with Schubert apart from taking the spinning wheel as its motivation. Indeed, spinning gestures abound, but they are hyperkinetic in terms of speed and demeanor (Wubbels plays the piano with almost daemonic fury). Roberts is required to retune her cello, employ microtones, and scratch strings with her fingernails. The propulsive sections are on the edge of assaultive, and when the piece takes a breather and moves into more atmospheric territory, the listener may well realize that their shoulders are around their ears. That said, it is a most impressive work, from the standpoint of virtuosity and extended techniques and in the dynamic interplay between the performers.

Cenk Ergun’s Aman is quite different. It relies first on percussive effects, with clocklike pizzicatos moving from higher register to low open strings. Grating string sounds are set against electronics, some of which take on an old-school analog cast while others play off the percussive sounds in the cello. Again, pacing is key. Where Wubbels seemed eager to take listeners to the edge, Ergun places his sounds carefully and purposefully, allowing each one to settle before the next follows, creating a fascinating blend of acoustic and electric sounds. The long denouement, where Roberts finally gets to play some bowed sounds, replete with microtonal haze and delicious slides, is a welcome surprise.

Spinner, by George Lewis, begins emphatically, with double stop glissandos, tremolandos, and slashing gestures. Despite its modernist demeanor, it is actually the most conventionally scored piece on Cartography. While the elements are ones that appear in plenty of contemporary repertoire, without electronics or fingernail scratches to adorn them, Lewis incorporates this vocabulary into a spiraling form (hence the title) that allows for discontinuous development; it is a fascinating compositional design. Indeed, ‘spinner’ is my favorite work thus far of his in the concert tradition. 

There are relatively few notes in Daneil Brynjar Franzen’s The Cartography of Time, a sprawling amplified work more than twenty minutes in duration. But each note is wrung of every bit of resonance, making it seem to truly matter. Against the pitches is an exaggerated whoosh of unpitched string sound, providing a rustling and airy background. Partway through, the piece abandons lower notes for high harmonics, which reverberate intensely. Then the two are combined to great a ghostly duet. Then still another, yet higher, set of harmonics enter, making a registral trio. The slow fade that ensues is one to savor.

Roberts thus treats us to a program in which there are works that use material sparingly and those that exude abundance. Cartography is an engaging listen from start to finish. One might ask how she can top it, but then her first album, 2012’s Nonextraneous Sounds, engendered similar questions, so watch out for what Roberts has yet in store for us!

by Christian Carey
CDs, Contemporary Classical, File Under?, Piano, Recordings

Andrew Lee plays Ryan Oldham (CD Review)

Pianist R. Andrew Lee has released a new EP on Irritable Hedgehog. It is a recording of composer/improviser Ryan Oldham’s Inner Monologues (Venn Diagram of Six Pitches). The hexachord in question is presented in slow-paced fashion, appearing throughout the keyboard in configurations of varying densities. There certainly are links between Oldham and the Wandelweiser Collective and Morton Feldman in terms of the slow unfolding and deft touch with which material is deployed. One also might infer nods to both Linda Catlin Smith and Tom Johnson, the first in terms of a willingness to allow the proceedings simultaneously to drift and grid to an underlying pulse; the second via the process-based treatment of pitch and spacing. Inner Monologues is both an impressive and beguiling work.

As is so often the case, Lee is a dedicated advocate and compelling performer, cannily exploiting the resonance of the instrument, never pushing the proceedings but instead trusting the piano’s decay to be a guidepost, and exhorting the listener to live in the space of that decay far longer than is customary. When I recently heard Lee’s performance of a piece by Jürg Frey at New Music Gathering 2017 in Bowling Green, Ohio, he demonstrated a similar patient intensity that is perfectly suited to experimental and post-minimal repertoire. See and hear him in person when you can. But in the meantime, let his Irritable Hedgehog releases be a valuable stand-in for the live experience.

by Christian Carey
Contemporary Classical, Electro-Acoustic, File Under?, Microtonalism, Percussion, Recordings

Pateras, Noetinger, and Synergy (Review)

Beauty Will Be Amnesiac Or Will Not Be At All

Immediata (Digital)

Anthony Pateras

On Beauty Will be Amnesiac Or Will Not Be At All, composer/pianist Anthony Pateras and composer/sound artist Jérôme Noetinger join forces to create an hourlong work for Synergy Percussion and improvised electronics. Its conceit is a clever one: the piece is of similar scope to Iannis Xenakis’ work Pleïades and utilizes a similarly gargantuan battery of percussion instruments, over 100, notably Xenakis’ 17-pitch microtonal metallophones, the Sixxen. These are used to particularly fine effect in the accumulating washes of sound in the piece’s first movement.

Jérôme Noetinger

Pateras’s notated music and Noetinger’s electronics blend well together, with an emphasis on merging their respective sonic terrains rather than juxtaposing them. Along with many textural diversions, the percussion combines pulse-driven mixed meter passages with polymetric sections of considerable complexity. Noetinger finds his way inside this space admirably, teasing out contrasting rhythmic figures of his own and adding layered textures with refreshing subtlety. That said, his electronics cadenza in movement four is a standout. Haloed in a soft-mallet gong roll, he employs static to mirror the hypercomplex rhythms found in the previous movement’s percussion parts. Added to this is a duet of sustained high pitches, whose call and response fleshes out the frequency spectrum. Drum rolls return, piano this time, to reassert the place of unpitched percussion in the proceedings.Synergy performs with dedication to the subtlest details of Pateras’s score and with responsive attention to Noetinger’s contributions as well. Thus, the recording is a truly successful amalgam of notated and spontaneous music-making.

by Christian Carey