The young conductor looks to the future

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Robin Ticciati
The young conductor looks to the future
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JSBach
talks to ...
Solo Violin Sonatas and Partitas, BWV1001-1006
Johnny Gandelsman vn Johnny Gandelsman
In a Circle F b ICR101 (124’ • DDD)
The violinist and co-founder
of Brooklyn Rider discusses his
Bach’sViolin
debut solo recording of Bach
Sonatasand
Partitasare among
themostfrequently Wasitachallengetoplungestraightinto
performedworksfortheinstrument, Bachforyourfirstsolorecording?
orany instrument. Recordings evince a Notreally.Overthethelastthreeyears
spectrum of approaches, from historical I’veperformedallsixSonatasandPartitas
treatmentsonperiodinstrumentsto inconcert about 30 times, which has been
conceptsRomanticandbeyond. deeply rewarding. I wanted to capture this
Amongthe newest journeys is Johnny moment of personal learning and growth.
Gandelsman’s freshly considered account Doyoumissthecollaborativeprocess
ofthesemonuments.Theviolinist,a Does your varied musical diet – folk, jazz, whenplayingalone,orisitinsome
co-founderofthestringquartetBrooklyn classical – influence your approach to Bach? senseliberating?
RiderandamemberofYo-Yo Ma’s Silk Absolutely. Through my work with Brooklyn OneofthereasonsIwantedtoworkon
Road Ensemble, imbues the music with a Rider and Silk Road Ensemble I have been soloBach at this point in my life was to focus
lean, focused sound, animating rhythmic lucky to work with incredible masters of inward, after spending almost two decades
impulses,andsterlingattentiontoline variousnon-classicaltraditions.Whenworking mostlyworkingincollaborativesettings.
andharmonicimplication. ontheopeningmovementoftheGminor Ifound it incredibly fulfilling, from carrying
Gandelsmanplayshismodernviolin Sonata,forexample,Itriedtoimagine how sole musical responsibility for a performance
withgutstrings,transitionalbowand the great Iranian kemancheh virtuoso to the simple things like travelling by myself.
whispersofvibrato,offeringsomething Kayhan Kalhor would approach and develop Of course there are moments of self doubt,
ofacrossoverviewoftheSonatasand an improvisation. When working on the and those are particularly lonely and
Partitas.Theperformancesaboundin Partitas, I often thought of the incredible Irish frustrating, but overall it’s been a good journey.
nuanceandcharacter,witheverynote, fiddler Martin Hayes. Like Kayhan, Martin is a
eveninmultiplestops,emerginginlucid magician with the bow, with great articulation What is your next recording project?
detail.Butwhat’smostarrestingisthe and maximum freedom of expression. I have some ideas – watch this space!
violinist’sabilitytotiephrasestogether
withseamlessinevitabilityandprovidea
fluentsenseofstructurefrombeginning
Danielpour
toend.Gandelman’skeenearforthe indicativeofDanielpour’slongstanding
long-termismostevidentinPartitaNo2’s StringQuartets–No5,‘InSearchofLavita loveofItaly,whereitanditssuccessor,
mammothChaconne,whichheshapes nuova’;No6,‘Addio’;No7,‘PsalmsofSolace’a Addio(2009),werecomposed.TheFifth’s
withbothforthrightvigourand aHilaPlitmannsopDelrayQuartet threemodestmovements,writtenforand
ruminativeelasticity.Someviolinistsstress NaxosAmericanClassicsM8559845 intendedtogivepleasureprimarily,follow
thework’sepicandspiritualramifications; (76’•DDD•T/t) amoderate-fast-slowpatternrepeated
Gandelsman’ssubtleurgencyhasitsown butextendedinNo6,analtogethermore
commandingimpact,especiallygiventhe ambitiousworkwithagravitymissingfrom
tasteandagilityofthereading. theFifth.Danielpourwritesinthenotes
C
CI Inthevariousdancemovements,the Aswithhissymphonies thattheSixth‘narratesthestoryofhow
OJI
D violinistrevelsinthemusic’sirresistible andconcertos,Richard familiesareeventuallybrokenapart
A
R
R motion,whetherliltingorcourtly, Danielpour(b1956) throughdistance,time,andultimately
MI
DI almostasifheisimprovising.And likestogivehis throughdeath’;thecloseoftheopening
A
Y: VL Gandelsmanimbedshimselfinthe quartets(thereareseven,spreadfairly movementhasthesamemoving
H
AP interweavinglayersofthefugues evenlythroughhiscareer)descriptivetitles. simplicityasBarber’s Adagio (originally
R
OG toluminouseffect. No5(2004)bearsthesobriquetInSearch written as part of a string quartet), but
HOT DonaldRosenberg ofLavitanuova,aquotationfromDante without the melodic distinction.
P
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Compelling: the Boston Modern Orchestra Project under Gil Rose recording works by Jeremy Gill
Overall,theSixthisafine,if–at while in no sense a pastiche composer, Nielsen’sConcertofurnishedthethematic
28minutes–overlongachievement,its many of his works illustrate that fascination impetusforGill’scompellinglyactive
codaasetofvariationswheretheplayers and highlight the context into which they andvariedNotturnoconcertante.(Nielsen
leavethestageonebyoneuntilthecellist fit. The three works on this involving iseventually quoted six and a half minutes
aloneremains,theothersaccompanying Boston Modern Orchestra Project disc before the end.) The lighter, playful
thefinalbarsoffstage.Iwaslesstakenby have this trait in common to greater or Serenada concertante is more allusive, using
QuartetNo7,PsalmsofSolace(2014), lesser degrees. the named forebears as models rather than
describedas‘thesearchfortheDivine’ Before the Wresting Tides was written in quoting directly. The playing throughout is
viathe‘intellect,theforceofwill,and 2012 as a companion piece to Beethoven’s superb, the recording first-rate, making this
romanticlove’,culminatinginthefinale’s Choral Fantasy, for performances in averywarmlyrecommendable disc.
prayerwithitssopranosolo,powerfully Philadelphia early the following year. GuyRickards
sungherebyHilaPlitmann.Themusicis Althoughusingsimilarforcesto
Martin
oftenexpressivelystatic,irrespectiveofthe Beethoven’s,Gillmadenoattemptto
amountofsurfacedetail;ifthesearchwas writein a Beethovenian manner and his Concerto for Wind Instruments and Piano.
invainitstrikesmethatDanielpour’sheart cantata(settingversesbyHartCrane)is Ein Totentanz zu Basel im Jahre 1943 –
wasnotinit.Thatcertainlycannotbesaid structuredverydifferently.Thecoreof Concert Suite. Zwischen Rhone und Rhein
of the Delray Quartet, whose advocacy is theworkisthefivestanzasofCrane’s MassachusettsChamberPlayers/
totally committed. Naxos’s sound is rather ‘VoyagesII’,alternatingthechoruswith MatthewWestgate
airlessandtwo-dimensional but perfectly duetsforsoloistswithinthemainbody MSR Classics F MS1602 (53’ • DDD)
clear.GuyRickards ofsingers; this is then framed and
punctuated by piano, the orchestra
Gill
accompanying throughout.
Before the Wresting Tidesa. Notturno Serenadaconcertante(2013)andNotturno This fascinating
concertanteb. Serenada concertantec concertante(2014)wereconceivedasapair tribute to Frank
cErin Hannigan ob bChris Grymes cl ofshort concerto-type works, the one for Martin is dominated
aChing-Yun Hu pf aMarsh Chapel Choir; oboe, its companion for clarinet, when a by a chamber edition
Boston Modern Orchestra Project / Gil Rose pairofcommissionsarrivedserendipitously of nine movements from Ein Totentanz zu
BMOP/sound F Í 1055 (57’ • DDD • T) incloseorderinthecomposer’smailbox. Basel im Jahre 1943, a piece Martin
Inboth pieces the impact of the past is more composedforhisniece,themimeartist
musically present, not least derived from the MariettevonMeyenberg,toaccompany
favourite works of the two commissioning atheatrical presentation of eight meetings
Themusicofthe soloists (and performers here), oboist Erin with Death. The music, which initially
pastisof near endless Hannigan (who chose‘Mozart,Straussand seemstameenough,philosophically
fascination to Jeremy Goossens’) and clarinettistChrisGrymes, derivedandthereforeharmless,begins
Gill (b1975) and, whose dream about a mis-playing of totake on an increasingly sombre, ritual
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In the Weeds: Ventus Machina’s debut disc contains mostly unfamiliar works for wind quintet – see review on page VII
Moravec
air.Martinuseshisconsummateeaseat comesearly on, with lightning and a
handlingawiderangeofmaterials– in The Blizzard Voices cataclysmic rush that suggests Verdi’s
addition to mainstream and contemporary Emily Pulley, Deborah Selig sops Erica Brookhyser Requiem and engulfs the simple children’s
classicalcurrents,heletshimselfbe mez Matthew Dibattista ten David Kravitz bar games and all else before it. This sets the
influencedbyjazz,folkmusicandthe David Crushing bass-bar New England scene for a series of testimonials from
theatre– to work from within an Conservatory Concert Choir and Chamber survivors and victims that serve as a powerful
intellectually conservative context to Singers;BostonModernOrchestraProject/ theme-and-variations narrative context; after
produce occasional moments of authentic GilRose the impersonal, implacable opening, the
emotion, undoubtedly a reflection of the BMOP/sound F Í 1054 (61’ • DDD/DSD • T) emergenceofindividualvoicesisallthe
time and place at which they were written. morewelcomeandengaging,although
The forces recruited by conductor Idon’t hear much of the Midwest in either
Matthew Westgate for the recording the text or the music.
comprise faculty members, freelancers and Paul Moravec’s The composer says in his booklet notes
top students and the playing is well ambitious The Blizzard that ‘a well-balanced mixed chorus singing
coached,vitalandvirtuoso;checkoutthe Voices chronicles a perfectly in tune strikes me as the most
trumpetriffin‘DancewiththeAthlete’ snowstorm that beautiful and resonant of sonorities’. The
orthesearingaltosaxin‘TheDance suddenly struck across the upper Midwest in New England Conservatory Concert Choir
withtheMotherandherChild’.It 1888 and killed hundreds, including a large and Chamber Singers give him all that and,
capturesthe emotion. number of children returning home from with expert work from the orchestra and
Thereisalsomuchtoenjoyfromthe school. It is a secular oratorio, the third of earnest, generally splendid work from the
eleganttrombonistintheConcertofor the composer’s ‘American Historical’ series soloists,giveapassionateandcommitted
WindsandPiano–twomovements of large-scale choral works, and brings an performance.LaurenceVittes
Martinwrotein1924foraParisian impressive battery of musical resources to
Volker
puppettheatrethatemployedmanyartists the task. Based on the Pulitzer Prize-winning
fromDiaghilev’sBalletsRusses– but the poet and essayist Ted Kooser’s book of the ‘Young Prometheus’
Zwischen Rhone und Rhein march is barely samenameandcommissionedbyOpera Dust to Dusta. Echoes of Yesterdayb.
worth a parody. Omaha,TheBlizzardVoiceswaspremiered Three Quotationsc. Young Prometheusd
The stunning recordings were made at in2008, taken to Carnegie Hall in 2013 and dCarolyn Treybig fl bdMatthew Davich cl
theUniversityofMassachusetts;thelarge has now received its first recording, made in aKatelyn Westergard, aAlicia Enstrom,
militarysideinstrumentscalledBasel 2015 at Mechanics Hall in Worcester, dAlison Gooding Hoffman vns aJim Grosjean va
Drumsontrack3playuninterruptedfor Massachusetts. dStephen Drake, aEmily Nelson vcs
90secondsofpureaudiophilehell– or A Prologue opens with ominous dKristian Klefstad pf cLuna Nova Ensemble
delight. LaurenceVittes Mahlerian octaves. The blizzard itself Navona F NV6140 (67’ • DDD)
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musicforwindquintet.TheNew ThefirstmovementofDavidBruce’s
Brunswick-basedVentusMachinaare TheShadow of the Blackbird uses the opening
relativelyyoung,formedasrecentlyas2011, notes from Schumann’s Kreisleriana to
More than half of this andtheirfirstfullCDincludestwopieces launch a rhapsodic, Spanish-tinged fantasia
disc of music by the writtenspeciallyforthem(byMartin that slows down into an introspective chordal
American composer KutnowskiandMikeTitlebaum),twoneat episodeanchoredbyslowrepeatednotes.
Mark Volker is devoted arrangementsandoneoftheirfavourite Therepeatednotesreturninthemanner
to the titular Young Prometheus, a suite drawn items,bysomewaythelargestworkhere, offlamenco-like flourishes as the music
from an updated ballet inspired by Mary Cuban-bornPaquitoD’Rivera’sseven- builds to a climax and slowly retreats to a
Shelley’s Frankenstein. The ballet’s protagonist movementsuiteAirestropicales(1994). quiet conclusion. Next to this movement’s
(and title) is Frank, described in the booklet LikeD’Rivera,wellknownasajazz freewheeling flow, the slow and sparsely lit
note as ‘a young, disfigured middle school performerandcomposer,VentusMachina second movement seems like an anticlimax.
misfit “created” by adolescence and society’. haveafootinjazzandpopularmusic,genre Reversing the movements might guarantee
Volker’smusicfortheballeteschews experiencethatservesthemwellin better box office but for now I’ll grant David
horror-filmbloodandthunder.Instead, D’Rivera’smusicaltravelogueofSpanish Brucethebenefitofthedoubt.
thetale of Frank and his path from outsider America.Thereisamarkedcrossoveraspect Doubt,however,istheoperativeword
to admired figure is depicted in eight totheopeningwork,Titlebaum’sShortSet inregardtoLevingston’sKinderszenen.The
scenes of colourful and propulsive activity. (2016),too,thecentralmovementofwhich pianistfollowshisoverstressedopeningpiece
Scored for flute, clarinet, violin, cello and islooselybasedonBillyStrayhorn’sIsfahan. witharhythmicallystiffNo2andaNo3
piano, the work reveals Volker’s gift for Thefinaleprovidesthedisc’stitle,relatingto hamperedbyamblingdetachedarticulation.
dramatic incident and portraiture. Buoyant thequintet’shomebaseneartheTantramar ThechilddepictedinNo4isnotsomuch
rhythmic elements, sometimes nudged by saltmarshbytheBayofFundy. pleadingasemoting,whileLevingstonlays
jazz inflections, keep tense and exuberant Theothercommissionedworkincluded heavilyintoNo5’sinnerlines.Happily,
moments on their toes. Aside from its roots isTonadasymateadas(2015),asingle- No6’spompousprocessionalchordsare
in dance, the suite is an appealing chamber movementtonepicturethetitleofwhich spot-on;butthepianist’soverlyprotracted
piece the musicians on this recording play couldlooselybetranslatedas‘Tunessung No7,‘Träumerei’(‘Dreaming’),oughtto
with vivid artistry. drinkingwithfriends’.Thereisaslightly beretitled‘Comatose’.ByNo8, one really
The scoring is identical, with clarinet boozyjocularityaboutKutnowski’smusical beginstonoticeLevingston’sirritatinghabit
doubling on bass clarinet, in Three Quotations, discoursewhichisratherdiverting.Despite ofstartingcertainpiecesundertempoand
inspired by quotes from Robert Aitken, Sylvia hisEasternEuropeanname,Kutnowski– graduallypickingupspeed.No9’s hobby-
Plath and Alvin Toffler; the piece is a fine alsoresidentinNewBrunswick–wasborn horsehasrarelysoundedsoheavy-handed
exampleofthecomposer’saffinityformoody inArgentinaandTonadasymateadasevokes andfoursquare.Levingston’sslow-motion
lyricismandspunkymetricalchanges. thewarmnightsofBuenosAiresamidthe crawlthroughNo13, ‘Der Dichter spricht’
Astring quartet evokes a painting by snowsofEasternCanada.William (‘The Poet Speaks’), also warrants a new
Raphaëlle Goethals in Dust to Dust, in which Scribner’sarrangementofPiazzolla’sSong title: ‘Der Dichter stirbt’ (‘The Poet Dies’).
Volker binds poignant and impassioned WithoutWordsisnicelydonebutgivenhere Similarly,Levingston’ssensitiveand
gestures to summon ‘the ephemeral, but inthequintet’sownadaptationreplacing intimatelyshapedArabeskeisletdown
substantive, progression of human life’. theoboewithacoranglais.Withatimely byadeathlyslowcoda.
Matthew Davich is the excellent soloist in nodtotheBernsteincentenary,Richard JamesMatheson’stitleselectionisa
Echoes of Yesterday for clarinet and interactive Price’s1989arrangementoffoursongs five-part suite depicting a series of stained
electronics.Thework’satmospheresare fromWestSideStorymakesapleasant glass windows created by Marc Chagall.
generatedastheclarinetpromptsallsorts encore.GuyRickards Much of the music evokes the statically
ofsonicresponsesfromacomputer,which sonorous, declamatory keyboard aesthetic
‘Windows’
ismore than amenable to entering into characterising many of Olivier Messaien’s
magicalandotherworldly conversation. BruceTheShadowoftheBlackbird works or Liszt’s late style, with Philip Glass
DonaldRosenberg MathesonWindowsSchumannArabeske,Op18. peering in for a look. Yet Matheson goes
Kinderszenen,Op15 his own creative way. The second-to-last
‘IntheWeeds’
BruceLevingstonpf movementisconstructedfromobsessive
‘MusicforWindQuintet’ SonoLuminusFDSL92218(69’•DDD) yetcarefullycraftedarpeggiosthatstart
BernsteinWestSideStory–Suite(arrPrice) inthe piano’s high registers and gradually
D’Rivera Aires tropicales Kutnowski Tonadas y descend to the bass, returning upwards.
mateadas Piazzolla Milonga sin palabras There’s also impressive textural and
Titlebaum Short Set BruceLevingston’s emotional variety in the final movement’s
Ventus Machina annualsoloCD long chains of repeated bass notes and
MSR Classics F MS1633 (60’ • DDD) releasesfollowa reiterated chords.
patternconsistingof SonoLuminus’sresonantlyample
apoetictitleandaprogrammeinterweaving engineeringparticularlylendsitself
oldandnewmusic.‘Windows’istrueto toMatheson’s vibrant writing and
Thisisanengaging– form,withworksbyDavidBruceand Levingston’s compelling, colourful pianism.
andengagingly JamesMattheson(bothb1970)bracketing Judging from this release, Levingston is far
played–programme Schumann’svenerableKinderszenen better suitedtonewmusic than he is to
ofmostly unfamiliar andArabeske. Schumann.JedDistler
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