Alex Sop, flute; Seth Baer, bassoon; Michael Clayville, trombone; Nico Muhly, piano; Nadia Sirota, viola; Logan Coale, bass; Young People's Chorus of New York. Bedroom Community Record under license to Decca Music Group, Ltd. Decca B0014742-02.
After listening to one of Nico Muhly's earlier albums of largely spiritual choral music, A Good Understanding, this disc of the composer's modern dance music, I Drink the Air Before Me, came as a bit of a shock. As is his wont, Muhly composes parts of the program for chorus--the beginning and the end--but this time the musical accompaniment is sparse and very dynamic. Indeed, it is often the contrasts between the percussive bass, flute, bassoon, trombone, viola, and piano and the sweetness of the Young People's Chorus of New York that are most astounding. Moreover, during purely instrumental segments, the contrasts among the instruments themselves are what stand out most strikingly.
Mr. Muhly writes in the liner note, "I Drink the Air Before Me is an evening-length score for Stephen Petronio's dance piece bearing the same name. Inasmuch as it was celebrating Stephen's company's 25th anniversary, the piece wanted to be big, ecstatic, and celebratory. Our initial meeting...yielded a sketch...Start small, get big! The rules: a children's choir should begin and end the piece. The work should relate to the weather: storms, anxiety, and coastal living. A giant build-up should land us inside the center of a storm, with whirling, irregular, spiral-shaped music and irregular, spiral-shaped dancing." Yes, start small, get big. Indeed, it does. Yet, if anything, it starts big, the opening notes practically jolting the listener out his seat. Nevertheless, the music, divided into a dozen episodes, does get bigger and more ambitious as it goes along.
Here are the names of the twelve selections, their descriptive titles saying a lot about the nature of the music making: "Fire Down Below," "First Storm," "Salty Dog," "Varied Carols," "Music Under Pressure 1 - Flute," "Music Under Pressure 2 - Piano," "Jagged Pulses," "Music for Boys," "Music for Gino," "Music Under Pressure 3 - Ensemble," "Storm Center," and "One Day Tells Its Tale to Another."
There are some wonderfully rhythmic sections along the way, "Salty Dog" and "Jagged Pulses" in particular; and some others have a lovely, graceful, almost old-fashioned lilt to them, the lengthy "Varied Carols," for instance.
At the center of the work are the three movements labeled "Music Under Pressure," in which the music spirals upward, as the composer says. Then, the piece comes to a climax with "Storm Center," a little like Beethoven's storm in the Pastoral Symphony, before subsiding into the elegance and beauty of the final, choral movement, which Muhly tells us comes from Psalm 19. In all, it's a fascinating composition, well played and well executed, that should reward the listener upon repeated hearing.
The studio sound, I assume recorded in 2010 since the Digipak case says Muhly copyrighted the music in 2010, is quite vivid, with excellent transient response and clarity. The instrumentalists are arranged pretty much in a straight line before us, with the chorus seemingly behind them, which may or may not represent the actual arrangement of the performers. In any case, the result is impressive and makes listening to the sonics almost as enjoyable as listening to the music.
John J. Puccio, Editor, Publisher, Reviewer
Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.
Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer
For more than 20 years I was the editor ofThe $ensible Soundmagazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.
For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst
I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.
Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.
It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.
When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.
So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio
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