By Karl W. Nehring
Gustav Mahler | Xiaogang Ye: The Song of the Earth. CD1 Mahler: Das Lied von der Erde (symphony for teneor, alto, and orchestra, text after Hans Bethge’s Die chinesischesche Flote); CD2 Xiaogang Ye: The Song of the Earth op. 47 (for soprano, baritone, and orchestra; text, Chinese poems of the Tang Dynasty). Michelle DeYoung, mezzo-soprano; Brian Jagde, tenor (Mahler); Liping Zhang, soprano; Shenyang, baritone (Xiaogang Ye); Long Yu, Shanghai Symphony Orchestra. Deutsche Grammophon 483 7452.
This release consists of two CDs. The first contains a performance of Gustav Mahler’s Das Lied von der Erde (“The Song of the Earth”), a work that should be familiar to most classical music lovers. The second contains a 21st century homage to and reimagining of Mahler’s opus by the Chinese composer Xiaogong Ye (b. 1955), who had been commissioned by conductor Long Yu to compose a new symphonic work based on the same poems that Mahler had used in creating Das Lied. But whereas Mahler created his German text based on Hans Bethge’s German translation of a French translation of Chinese poetry, Ye created his Chinese text based on those same Chinese poems. The liner notes include some observations by Yu about the similarities and differences between the two compositions. “Close comparisons are possible, with people able to see the double picture – how Europeans feel about love, pleasure, and death, and how the Chinese feel about the same things. In this project, you can hear that the last piece of the Mahler, Der Abscheid – ‘The Farewell’ – and the last piece in the Chinese work both purvey exactly the same emotion. [Though not through the same textures.] Mahler creates oil paintings, while Xiaogang Ye paints in watercolour. But the juxtaposition of these two pieces allows fruitful comparisons.”
As far as the performance on the Mahler disc goes, in all honesty I would have to say that it is satisfactory, but not one for which I could work up much enthusiasm. There are simply too many truly excellent versions available such as Klemperer on EMI, Oue on Reference Recordings, and Haitink on Philips, to name just a few from my personal pantheon (the Klemperer recording, with singers Fritz Wunderlich and Christa Ludwig, is one of the transcendent glories of recorded music – but I digress…) to keep me from making a strong recommendation for this one. In short, it is okay, but there are better versions to be had.
The main focus of interest for this release is the Chinese composition. Here we enter a different sound world from that of Mahler, based on different scales, a different language, and even several different instruments. Still, the overall feeling is not radically different, given that we are still listening to an essentially standard symphony orchestra, even though the language and some of the instrumentation might sound unfamiliar. The bottom line is that although this is not an essential recording, it is certainly an interesting recording. Mahler fans with a special fondness for Das Lied von der Erde might well gain additional appreciation for and insight into Mahler’s achievement by hearing this unique Chinese perspective on Mahler’s original source of inspiration. Moreover, one need not be a Mahler fan to enjoy this fascinating, colorful, at times exotic-sounding new composition by this relatively unknown (at least in the West) Chinese composer. A word of caution, however: for those new to the world of classical music, this well-engineered two-CD set could well be a gateway drug to mainline Mahler addiction.
Gerber: Sinfonietta No. 1 (Piano Quintet, 1991) arr. Daron Hagen; String Sinfonia No. 1 (String Quartet No. 4, 1995) arr. Adrian Williams; Two Lyric Pieces for Violin and Strings (2005); String Sinfonia No. 2 (String Quartet No. 6, 2011) arr. Adrian Williams; Sinfonietta No. 2 (String Quartet No. 5, 2000) arr. Adrian Williams. Emily Davis, violin. Kenneth Woods, English String Orchestra, English Symphony Orchestra. Nimbus Alliance NI 6423.
As the liner notes point out, “most of the music on this recording consists of arrangements of chamber music pieces by Steven Gerber (1948-2015), commissioned by the Gerber Trust to help make performances of his music more accessible for chamber orchestras, smaller symphony orchestras and string orchestras. Taken together with Gerber’s beautiful Two Lyric Pieces for Violin and Strings, they provide a fascinating overview of Gerber’s development as a composer over most of the last two years of his working life.” That pretty well provides a succinct overview of this release, to which I would of course like to add a few thoughts and observations from my little listening enclave on this side of the pond.
For many music lovers, this is quite likely the first time they have ever heard of the late American composer Steven Gerber, nor are they likely familiar with any of his music. However, conductor Kenneth Woods, a Wisconsin native now living in the UK (who, by the way, wields a mean Fender Telecaster as well his conductor’s baton) has made it one of his personal and professional priorities to record works by lesser-known composers whose music he believes deserves wider exposure. This generously filled (73:07) disc is one of the fruits of his endeavors.
The program begins and ends with chamber pieces arranged for chamber orchestra, opening with Sinfonietta No. 1, an arrangement of Gerber’s Piano Quintet from 1991 and closing with Sinfonietta No. 2, an arrangement of his String Quartet No. 5 from 2000. The former is like a miniature symphony in four brief moments that total not much more than 15 minutes, the first three movements sounding somewhat spiky and playful, the fourth more dramatic. The latter, although in only two movements, is longer at just over 18 minutes. The first movement, marked Fantasy, is bold and dramatic, while the second movement consists of a remarkable set of theme and variations that highlight both Gerber’s ability to write interesting melodies and arranger Adrian Williams’s ability to bring them to colorful life.
Between the two Sinfoniettas we have as the centerpiece the only Gerber work on this CD that is performed in its original form, his Two Lyric Pieces for Violin and Strings, which as you might guess from the title are the pieces which tug most strongly at the heartstrings. Indeed, this is a composition so compelling that I was amazed never to have encountered it before. Violinist Emily Davis plays with heartfelt expression, but never cloyingly, with sensitive support from the strings of the English String Orchestra under the baton of Maestro Woods. What a wonderful musical discovery!
Preceding and following the Lyric Pieces are String Sinfonias Nos. 1 and 2, which are arrangements by Adrian Williams of Gerber’s String Quartets Nos. 4 and 6, respectively. These are more serious in tone than the other works on the program, more inwardly focused and intense. Evidently these were string quartets more along the lines of, say, Shostakovich rather than Haydn or Mozart. That is not to say the Sinfonias are difficult works, or especially prickly, it is simply that they are not as immediately engaging to to the ear as the other works on the program.
The overall sound quality is fine. Tonal balance leans a bit toward the warm side, but to my taste at least is a sound I prefer to overly bright and clinical. I can recall the days when the Nimbus label on a CD meant that it was recorded in “Ambisonic” sound, intended for multichannel playback, and often sounding distant and overly reverberant in two-channel systems. Those days are far behind us, thank goodness. For those looking for music off the beaten path but not too far out, Gerber is well worth an audition, especially the Two Lyric Pieces for Violin and Strings, a heretofore undiscovered gem.
Every Note Is True. The More It Changes; The Eternal Verities; She Won’t Forget Me; For Ellen Raskin; Blue; Goodness Knows; Had I But Known; Merely Improbable; Praise Will Travel; At The Bells and Motley. Ethan Iverson, piano; Larry Grenadier, bass; Jack DeJohnette, drums. Blue Note B003473002.
Pianist Ethan Iverson first came to my attention as the pianist in the iconoclastic jazz trio The Bad Plus back around 2003 when I heaped praise on their major label debut album These Are the Vistas in my “More Jazz Than Not” column in The $ensible Sound. Could that really have been nearly 20 years ago? (I can imagine Iverson asking himself the same question from time to time…) I was less enamored of the group’s subsequent albums and did not think that much of it when I read about Iverson leaving the group in 2017. In 2018, I enjoyed an ECM album he recorded as part of a quartet with trumpeter Tom Harrell (Common Practice, ECM 2643), and somewhere over the past year or two I started following him on Twitter, where I discovered that in addition to his talents as a musician, Iverson has also blossomed into a writer, critic, interviewer, and blogger of note; I would strongly suggest those with an interest in jazz to check out his website at ethaniverson.com.
The moment I saw on Twitter that he was coming out with a new trio album on the venerable Blue note label with Larry Grenadier on bass and none other than drum grandmaster Jack DeJohnette, I immediately pre-ordered it and began counting the days before it would show up in my mailbox. The Blue Note “First Look” promotional video (https://www.youtube.com/watch?v=Aj8JCkxUQdU) ratcheted up my anticipation even higher. When it arrived, though, would it live up to my expectations?
In a word, indeed. I have always been a big fan of jazz piano trio albums, and this one is something special. The opening little vocal ditty, “The More It Changes,” with lyrics written by Iverson’s wife, the writer Sarah Deming, and performed by Iverson on the piano with vocals by Iverson, Deming, and a host of their friends (phoned in), is something I thought would wear on me after a few listens, but the more I listen, the more it touches me. Perfect for the pandemic, I guess. And then we get to the trio music. A few notes from Iverson, a flourish from DeJohnette, and then we are off, and right away there is a sense of a classical music vibe. There are echoes of Bach, but yet it is clearly jazz. As the program proceeds, the interplay among the three musicians is fascinating. None of them is showing off, but each of them is exhibiting mastery. The music just flows out of them. Gradually, the influence of baroque and classical gradually shifts until by the time we get to the final track, “At the Bells and Motley,” we are in blues territory.
Adding to the appeal of the album is the top-notch engineering. It was recorded by Andreas K. Meyer with the assistance of Shubham Mondal at the Clubhouse in Rhinebeck, NY, and is simply one of the finest-sounding trio recordings I have ever auditioned. I have argued before that jazz can be thought of as a form of chamber music; this album is a prime example and I recommend it with utmost enthusiasm.
The more it changes, the more it stays the same
We pass the ball to other ages, it’s how we play the game
You never sing alone when the rhythm catches you
The song goes on when the band goes home
And every note is true…
KWN
Gustav Mahler | Xiaogang Ye: The Song of the Earth. CD1 Mahler: Das Lied von der Erde (symphony for teneor, alto, and orchestra, text after Hans Bethge’s Die chinesischesche Flote); CD2 Xiaogang Ye: The Song of the Earth op. 47 (for soprano, baritone, and orchestra; text, Chinese poems of the Tang Dynasty). Michelle DeYoung, mezzo-soprano; Brian Jagde, tenor (Mahler); Liping Zhang, soprano; Shenyang, baritone (Xiaogang Ye); Long Yu, Shanghai Symphony Orchestra. Deutsche Grammophon 483 7452.
As far as the performance on the Mahler disc goes, in all honesty I would have to say that it is satisfactory, but not one for which I could work up much enthusiasm. There are simply too many truly excellent versions available such as Klemperer on EMI, Oue on Reference Recordings, and Haitink on Philips, to name just a few from my personal pantheon (the Klemperer recording, with singers Fritz Wunderlich and Christa Ludwig, is one of the transcendent glories of recorded music – but I digress…) to keep me from making a strong recommendation for this one. In short, it is okay, but there are better versions to be had.
The main focus of interest for this release is the Chinese composition. Here we enter a different sound world from that of Mahler, based on different scales, a different language, and even several different instruments. Still, the overall feeling is not radically different, given that we are still listening to an essentially standard symphony orchestra, even though the language and some of the instrumentation might sound unfamiliar. The bottom line is that although this is not an essential recording, it is certainly an interesting recording. Mahler fans with a special fondness for Das Lied von der Erde might well gain additional appreciation for and insight into Mahler’s achievement by hearing this unique Chinese perspective on Mahler’s original source of inspiration. Moreover, one need not be a Mahler fan to enjoy this fascinating, colorful, at times exotic-sounding new composition by this relatively unknown (at least in the West) Chinese composer. A word of caution, however: for those new to the world of classical music, this well-engineered two-CD set could well be a gateway drug to mainline Mahler addiction.
Gerber: Sinfonietta No. 1 (Piano Quintet, 1991) arr. Daron Hagen; String Sinfonia No. 1 (String Quartet No. 4, 1995) arr. Adrian Williams; Two Lyric Pieces for Violin and Strings (2005); String Sinfonia No. 2 (String Quartet No. 6, 2011) arr. Adrian Williams; Sinfonietta No. 2 (String Quartet No. 5, 2000) arr. Adrian Williams. Emily Davis, violin. Kenneth Woods, English String Orchestra, English Symphony Orchestra. Nimbus Alliance NI 6423.
For many music lovers, this is quite likely the first time they have ever heard of the late American composer Steven Gerber, nor are they likely familiar with any of his music. However, conductor Kenneth Woods, a Wisconsin native now living in the UK (who, by the way, wields a mean Fender Telecaster as well his conductor’s baton) has made it one of his personal and professional priorities to record works by lesser-known composers whose music he believes deserves wider exposure. This generously filled (73:07) disc is one of the fruits of his endeavors.
The program begins and ends with chamber pieces arranged for chamber orchestra, opening with Sinfonietta No. 1, an arrangement of Gerber’s Piano Quintet from 1991 and closing with Sinfonietta No. 2, an arrangement of his String Quartet No. 5 from 2000. The former is like a miniature symphony in four brief moments that total not much more than 15 minutes, the first three movements sounding somewhat spiky and playful, the fourth more dramatic. The latter, although in only two movements, is longer at just over 18 minutes. The first movement, marked Fantasy, is bold and dramatic, while the second movement consists of a remarkable set of theme and variations that highlight both Gerber’s ability to write interesting melodies and arranger Adrian Williams’s ability to bring them to colorful life.
Between the two Sinfoniettas we have as the centerpiece the only Gerber work on this CD that is performed in its original form, his Two Lyric Pieces for Violin and Strings, which as you might guess from the title are the pieces which tug most strongly at the heartstrings. Indeed, this is a composition so compelling that I was amazed never to have encountered it before. Violinist Emily Davis plays with heartfelt expression, but never cloyingly, with sensitive support from the strings of the English String Orchestra under the baton of Maestro Woods. What a wonderful musical discovery!
Preceding and following the Lyric Pieces are String Sinfonias Nos. 1 and 2, which are arrangements by Adrian Williams of Gerber’s String Quartets Nos. 4 and 6, respectively. These are more serious in tone than the other works on the program, more inwardly focused and intense. Evidently these were string quartets more along the lines of, say, Shostakovich rather than Haydn or Mozart. That is not to say the Sinfonias are difficult works, or especially prickly, it is simply that they are not as immediately engaging to to the ear as the other works on the program.
The overall sound quality is fine. Tonal balance leans a bit toward the warm side, but to my taste at least is a sound I prefer to overly bright and clinical. I can recall the days when the Nimbus label on a CD meant that it was recorded in “Ambisonic” sound, intended for multichannel playback, and often sounding distant and overly reverberant in two-channel systems. Those days are far behind us, thank goodness. For those looking for music off the beaten path but not too far out, Gerber is well worth an audition, especially the Two Lyric Pieces for Violin and Strings, a heretofore undiscovered gem.
Every Note Is True. The More It Changes; The Eternal Verities; She Won’t Forget Me; For Ellen Raskin; Blue; Goodness Knows; Had I But Known; Merely Improbable; Praise Will Travel; At The Bells and Motley. Ethan Iverson, piano; Larry Grenadier, bass; Jack DeJohnette, drums. Blue Note B003473002.
The moment I saw on Twitter that he was coming out with a new trio album on the venerable Blue note label with Larry Grenadier on bass and none other than drum grandmaster Jack DeJohnette, I immediately pre-ordered it and began counting the days before it would show up in my mailbox. The Blue Note “First Look” promotional video (https://www.youtube.com/watch?v=Aj8JCkxUQdU) ratcheted up my anticipation even higher. When it arrived, though, would it live up to my expectations?
In a word, indeed. I have always been a big fan of jazz piano trio albums, and this one is something special. The opening little vocal ditty, “The More It Changes,” with lyrics written by Iverson’s wife, the writer Sarah Deming, and performed by Iverson on the piano with vocals by Iverson, Deming, and a host of their friends (phoned in), is something I thought would wear on me after a few listens, but the more I listen, the more it touches me. Perfect for the pandemic, I guess. And then we get to the trio music. A few notes from Iverson, a flourish from DeJohnette, and then we are off, and right away there is a sense of a classical music vibe. There are echoes of Bach, but yet it is clearly jazz. As the program proceeds, the interplay among the three musicians is fascinating. None of them is showing off, but each of them is exhibiting mastery. The music just flows out of them. Gradually, the influence of baroque and classical gradually shifts until by the time we get to the final track, “At the Bells and Motley,” we are in blues territory.
Adding to the appeal of the album is the top-notch engineering. It was recorded by Andreas K. Meyer with the assistance of Shubham Mondal at the Clubhouse in Rhinebeck, NY, and is simply one of the finest-sounding trio recordings I have ever auditioned. I have argued before that jazz can be thought of as a form of chamber music; this album is a prime example and I recommend it with utmost enthusiasm.
The more it changes, the more it stays the same
We pass the ball to other ages, it’s how we play the game
You never sing alone when the rhythm catches you
The song goes on when the band goes home
And every note is true…
KWN
