Premieres (CD Review)

by Karl Nehring

Premieres. Scott Wheeler: Birds of America; Avner Dorman: Nigunim (Violin Concerto No. 2); Bright Sheng: Let Fly. Gil Shaham, violin; The Orchestra Now; Leon Botstein, conductor. Canary Classics CC26

Our first encounter with The Orchestra Now conducted by Leon Botstein did not go all that well, as we found their previous release, Transcription as Translation (AVIE AV2822), to be less than inspiring listening (you can find our review of that CD here). This time around, however, we find these same musicians on a different label and taking a different musical approach; rather than transcriptions of works from the past, they are teaming with violin virtuoso Gil Shaham (b. 1971) to present three contemporary concertos for violin and orchestra. Each of these works was in fact written expressly for Shaham, who writes, “it is an honor to have premiered and been a part of the creation of the three compositions featured on this album. I treasure my friendships with Avner, Bright, and Scott, whose inspired music has already resonated with so many, and with Leon, whose singular artistry and vision made this project happen."

Birds of America is American composer Scott Wheeler’s (b. 1952) second violin concerto. It is in the typical three-movement, fast-slow-fast format, with all three movements incorporating bird-inspired sounds and themes. Although that description might make it seem as though the music might sound gimmicky or superficial, the piece sounds at once serious and playful, pleasant and substantial. Nigunim by Israeli composer Avner Dorman (b. 1975) is in four movements with a slow-fast-slow-fast pattern. It is a more intense-sounding, driven work than Birds. There are clearly discernible Jewish influences and elements, such as Klezmer music. Let Fly by Chinese American composer Bright Sheng (b. 1955) is in three movements, played without a break, with the soloist asked to insert a brief cadenza between the second and third movements. The work’s title has a dual origin: “first, it is the aural image of the violin melody just flying off in the air, an everlasting sensation when I first saw Gil Shaham perform a concert. The second inspiration of the title came from my daughter Fayfay (homonym for ‘to fly’ in Chinese). I wrote a child rhyme named after her when she was born on November 15th, 2010. And the first phrase of the song appears a few times in the composition.” It’s a rhapsodic piece, flowing and free, with Shaham given plenty of opportunity to shine. With three substantial concertos, excellent engineering, and informative program notes, Premieres is a recommendable release.

 

Concert Report: Pat Metheny Side-Eye III+ 

 

In my recent review of the latest release from the veteran American guitarist and composer Pat Metheny (b. 1954), titled Side-Eye III+ (you can find that review here), I mentioned that I was looking forward to attending a live concert in April by the touring version of this band. And so it was that on a pleasant spring evening in Cincinnati that my wife, one of my sons, and I sat down in our front-row balcony seats to enjoy another evening of music from Metheny’s electric band. Our son Isaac, now in his 50s, had been just a young kid when we took him and his older brother to see the Pat Metheny Group (Metheny, guitar; Lyle Mays, keyboards; Steve Rodby, bass; Paul Wertico, drums; Pedro Aznar, guitar, vocals; Naná Vasconcelos, percussion) back in the fall of 1981. Since then, sad to say, both Lyle Mays (1953-2020) and Naná Vasconcelos (1944-2016) have passed on; they are both dearly missed. Around 2019 or so, Metheny embarked on what he came to call his Side-Eye project, seeking out and jamming with talented young musicians who were familiar with his music, which led to some recordings and tours. The most recent incarnation of Side-Eye is Side-Eye III, which includes Metheny plus Chris Fishman on piano, organ, and synthesizers and Joe Dyson on drums. For the recent studio album, Metheny augmented the core trio with a number of other musicians, hence the designation “III+” in the title. For the concert tour, the trio was expanded to a quintet with the addition of Leonard Patton, percussion and vocals, and Jermain Paul, bass. Metheny and his band put on quite a show, playing for more than two hours. There were tunes from the new album, such as “In On It,” “Urban and Western,” and “SE-O;” there was a solo acoustic guitar segment from Pat, alone on stage, and there were even some old Pat Metheny Group favorites, including a couple we had hear back in 1981, “Phase Dance” and “Are You Going With Me?” The two musical and emotional highlights of the evening for me were also Pat Metheny Group tunes, both from the same 1984 album, Metheny’s final release on Manfred Eicher’s ECM label, First Circle (ECM 1278), “The First Circle” and “Más Allá (Beyond),” both of which on this night featured the moving vocal contributions of Leonard Patton. “The First Circle” is a kinetic, propulsive song that just keeps cranking up the energy level until you think you are going to burst with sheer joyful excitement; “Más Allá,” on the other hand, is more reflective. On the 1984 ECM album, it was sung by a young Pedro Aznar, then soon after the passing of his old bandmate and friend Lyle Mays in 2020, the mature Pedro Aznar, now an established musician in his native Argentina, recorded the tune on YouTube in tribute (you can watch that video here). Hearing Side-Eye III+ with Leonard Patton singing this tender melody brought back memories of Pedro, of Lyle – and with those memories came tears of both sadness and joy. Such is the power of music. Should you ever get the opportunity to catch Pat Metheny in concert – whether solo or in a group – do not hesitate, because he is one of the master musicians of our time.

Transatlantic (CD review)

Stravinsky: Concerto in E-flat “Dumbarton Oaks”; Craig Urquahart: Lamentation for Flute and String Orchestra; Dorman: Nofim (Sights); Takemitsu: Toward the Sea II; Stravinsky: “No Word from Tom” from The Rake’s Progress; Copland: Appalachian Spring Suite (Original version for 13 instruments). Stathis Karapanos, flute; Chen Reiss, soprano; Noah Bendix-Blgley, violin; Marie-Pierre Langlamet, harp; Garrett Keast, Berlin Academy of American Music. ONYX 4223.

By Karl W. Nehring

This generously filled (82:07) release offers a fascinating and musical program presented by a fascinating musical ensemble. The Berlin Orchestra of American Music came into being as American conductor Garrett Keast, now living in Berlin, got together with bassist and friend Rosie Salucci, a fellow American Berliner, to see about organizing some chamber orchestra  performances of works by American composers. Even though this occurred during the summer and fall of 2020 during the ongoing pandemic, the musicians enjoyed the experience and the idea of forming the orchestra and making this recording came together. Although the musicians represent many countries spanning five continents, more than half the orchestra either came from the United States or had studied there. One thing led to another, and this recording was finally made during January and February of 2021.

The eclectic program is a mix of the familiar and unfamiliar. From Stravinsky, (who the liner notes remind us became an American citizen in 1945), we get a perky and delightful performance of the “Dumbarton Oaks Concerto,” a rhythmically complex, at times harmonically tart, but overall whimsically delightful Stravinksian take on Bach’s Brandenburgs. We also get a selection from his opera The Rake’s Progress (the libretto is included in the liner notes), music with which most listeners are most likely far less familiar, but which should appeal to those who enjoy the sound of a lively soprano voice. From American composer Craig Urquhart (b.1953) comes another unfamiliar piece, his soulfully expressive Lamentation for Flute and String Orchestra, a truly moving composition of great beauty. Much different in mood are the Nofim (Sights) of Israeli-American composer Avner Dorman (b.1975), which are more lively, with three of the four Nofim also featuring the soprano voice of Chen Reiss. From the only non-American composer on the program, Japan’s Tóru Takemitsu (1930-1996), we get Toward the Sea II, a peaceful work that features the alto flute and harp in music that is meant to capture the rhythm of the sea. As with so much of the late Japanese master’s output, this music has a natural grace about it that is uniquely appealing.

The program concludes with Copland’s Appalachian Spring Suite, which music lovers have grown accustomed to hearing as performed by full symphony orchestras. Here, however, we have the music in its original arrangement for 13 instruments, which is something that those who enjoy the piece really ought to hear. The intimacy of the smaller forces produces a feeling of poignancy in the quieter passages and joy in the exuberant passages that is simply more direct and personal than is communicated by a large orchestra. I am not saying that this is the only way to listen to the piece, or even necessarily the best way; however, I think it is a vitally important way to experience Appalachian Spring for those who enjoy the music, and this recording from Onyx is a fine way to do so – with the added bonus of hearing some other excellent music as well. The liner notes, although brief, are informative, and the engineering is first-class (the engineers no doubt enjoying the advantages of being able to record relatively small forces in a space familiar to them, the Teldex Studio in Berlin). With 82 minutes of interesting music so well recorded and well played, Transatlantic proves that you don’t need to have household names recording for a giant label to make a truly fine recording. Highly recommended.

KWN

To listen to an excerpt from this album, click below;