Jóhann Jóhannsson: A Prayer to the Dynamo (CD Review)

by Karl Nehring

A Prayer to the Dynamo; The Theory of Everything – Suite; Sicario – Suite. Paul Corley, electronics production and electronics; Skúli Sverisson, guitar; Iceland Symphony Orchestra conducted by Daniel Bjarnason. Deutsche Grammophon 486 4870

The late Icelandic composer Jóhann Jóhannsson (1969-2018) is perhaps best known for his film scores such as those for the movies Sicario and Arrival. His compositions often combine elements of classical, electronic, and ambient music to great effect. Among his other attributes, Jóhannsson had a remarkable gift for writing music conveying an atmosphere of that is deeply contemplative and inward-focused – serious, but somehow neither morose nor depressing. Those dimensions of his music take on a special poignancy in light of his tragically short life. He died at 48 in Berlin, the German autopsy report indicating that the likely cause of death was a fatal conjunction of cocaine and flu medication. On the surface, that might strike some readers as an indication of a character flaw or another case of some high-flying celebrity being brought down by wretched excess, but it is highly plausible that the story is deeper and more tragic than it might first appear, involving the pressure of composing music for high-profile film studios. But that is speculation to which it is best not to take too far, lest we ourselves succumb to our own dark and very possibly untrue thoughts. Let us instead turn to the music at hand on this new  release, which present different dimensions of his art.

 

The program begins with A Prayer to the Dynamo, a work for full symphony orchestra. As the liner notes point out, as a composer of film scores, Jóhannsson (pictured left) had access to orchestras, “but this album offers a rare chance to hear his orchestral writing freed from cinematic or orchestral constraints. A Prayer to the Dynamo calls for a full orchestra, as well as a soundtrack comprised of the sounds of the Elliðaár power plant itself.” Jóhannsson had a great fascination with technology, and had made recordings of electrical installations and generators at the Elliðaár Power Station in Iceland (pictured below). Furthermore, he was also captivated by the works of Edison, Tesla, and especially a chapter in the memoirs of American historian Henry Adams (1838-1918) in which Adams described his impressions of the 1900 Paris World Exhibition and the hidden power of the enormous machines he had seen there. The net result is a coherent musical work, not a collection of sound effects; the electronic sounds are blended in quite subtly. The work is in four parts, the first of which is colorful yet mysterious. The second part, which is the longest, slowly builds tension. The third gives an impression of power being built up, along with birds in flight, then the energy slowly dissipates at the end. The fourth part begins in the low strings, as once again we sense a buildup of energy, more bird activity, and then a kind of contemplative dissolution to the end. A fascinating work.

 

The album also includes two suites from Jóhannsson's soundtracks for the films The Theory of Everything and Sicario, both of which were nominated for Oscars and other awards, with the former winning the Golden Globe for Best Original Score. The suites recorded here were arranged by Jóhannsson and are receiving their premier performances on disc. The presentation of the music varies from how it was presented in the soundtracks. For example, the opening piano music (“A Model of the Universe”) that opens the Theory of Everything Suite appeared later in the score, while the music that closes the suite (“Cambridge, 1963”) was actually used at the beginning of the score. Similarly, the brief three-part Sicario – Suite does not follow the order of the score, opening with “Target,” a brief section mostly in the lower strings that establishes a feeling of tension, which is from later in the score. This is followed by “Desert Music,” in which a plaintive solo cello part sings out against quite orchestral accompaniment. Finally, the suite and the program end with “Melancholia,” which features a prominent role for a solo bass guitar. It is a peaceful but haunting conclusion to this remarkable album. The CD booklet offers some valuable insights into Jóhannsson and his music. Dynamically recommended. 

Recent Releases, No. 28

By Karl W. Nehring

Jóhannsson: Drone Mass. One Is True; Two Is Apocryphal; Triptych in Mass; To Fold & Remain Dormant; Diving Objects; The Low Drone of Circulating Blood, Diminishes with Time; Moral Vacuums; Take the Night Air; The Mountain View, The Majesty of the Snow-clad Peaks, From a Place of Contemplation And Reflection. Paul Hiller, conductor; American Contemporary Music Ensemble (Clarice Jensen, artistic director and cello; Ben Russell, violin; Laura Lutzke, violin; Caleb Burhans, viola); Theatre of Voices (Else Torp, Kate Macoboy, Signe Asmussen, Iris Oja, Paul Bentley-Angell, Jakob Skjoldborg, Jakob Bloch Jespersen, Steffen Bruun). Deutsche Grammophon 483 7418.

Here we have another recording of music from the late Icelandic composer Jóhann Jóhannson (1987-2018), whose compositions have been reviewed several times before in Classical Candor. Jóhannson was a composer with a rich imagination who was fascinated with sounds, so you never quite knew what he might come up with next. As the liner notes characterize it, “Drone Mass is an electroacoustic oratorio. It can also be seen as an exercise in apophenia – the tendency of the human brain to draw connections between apparently unrelated things, to find patterns and meanings where none was intended. As the composer himself admitted, he was inspired by the musical concept of the drone, but he was also keenly aware of the drones that patrol our skies. ‘I have no specific thoughts about how these ideas relate to each other,’ he wrote, ‘but for me they have some kind of poetic resonance, which is usually enough for me.’ Despite its title Drone Mass is neither a setting of the Mass nor a piece that simply drones. In fact, much of it is full of movement.” Jóhannsson based his text on the so-called “Coptic Gospel of the Egyptians,” part of the Nag Hammadi library discovered in 1945, including a hymn described as consisting of “a seemingly meaningless series of vowels.” The work’s premier performance took place in 2015 at the Egyptian Temple of Dendur space in  New York’s Metropolitan Museum of Art. Augmenting the ACME players were the vocal ensemble Roomful of Teeth, with the composer himself controlling the waves of electronic sound. The album reviewed here was recorded during May 2019 at the Garnisonskirken in Copenhagen. It was produced by Francesco Donadello, another friend and regular associate of Jóhannsson’s. ACME were joined by the Danish vocal group Theatre of Voices and their Artistic Director Paul Hillier. They too have a very close connection with Drone Mass, having performed it twice in the US, and in Krákow, with Jóhannsson and ACME. Most recently, ACME and Theatre of Voices gave a further performance in Athens, just four months after the composer’s death. Theatre of Voices also appear on other recordings of Jóhannsson’s work, including Orphée, Englabörn & Variations, Arrival, and Last and First Men.

Although the idea of electronics, a seemingly meaningless series of vowels, and even the very idea of a “drone mass” itself might sound forbidding and off-putting, the music itself is not so. Rather, it is music that is engaging and immersive, drawing the listener in with its interweaving of the mysterious and the familiar, the acoustic and the electronic, the ancient and the contemporary, the ephemeral and the eternal. At the opening, the sounds are those of the voices, captured in the large space of the church in which they were recorded, gradually joined by the string instruments. As the piece unfolds, electronic sounds become more prominent, adding texture and power as they make their dramatic entrance in To Fold & Remain Dormant and add a feeling of otherworldliness to The Low Drone. I would imagine that by now the more conservative among our readers have decided that they will take a pass on this one, the more adventurous are willing to give it a listen, and those in the middle are not quite sure just what to think. To this last group, I strongly encourage you to give Drone Mass an audition, at least if you have an interest in imaginative vocal music. (And hey, give it a try on a good set of headphones, preferably wired.)

Haydn 2032: No. 10 – Les Heures du Jour. Haydn: Symphony No. 6 in D Major “Le Matin”; No. 7 in C Major “Le Midi”; No. 8 “Le Soir”; Mozart: Serenade No. 6 in D Major, K.239 “Serenata Notturna”. Giovanni Antonini, Il Giardino Armonico. Alpha Classics ALPHA 686.

Lest any followers of Classical Candor get the idea that all I ever listen to or recommend is contemporary music such as that recommended above and below, allow me to present some evidence to the contrary. When it comes to honest-to-goodness true-blue through-and-through classical music, I must say in all candor that you really can’t beat good old Papa Haydn, and hey, Mozart’s not too shabby, either. This release is from a series that looks forward to the three hundredth anniversary of Haydn’s birth in 2032, a series with the ambitious goal of recording all 107 of the composer’s symphonies. Although as you can see from the heading that the three symphonies presented here are in numerical order, you can also see that this release is No. 10 in the series (and no, I have not auditioned any of the previous releases, although I plan to look into them). So what gives? How can recording number 10 of 107 symphonies comprise Symphonies Nos.6-8? And how did Mozart sneak in there? The answers can be found in the liner notes: “Seeing the music of Haydn as ’a kaleidoscope of human emotions’, Giovanni Antonini has decided to tackle the symphonies not in chronological order , but in thematically based programmes (‘La passione’, Il filosofo’, ‘Il distratto’, etc.). Moreover, the Italian conductor believes it is important to establish links between these works and pieces written by other composers contemporary with Haydn or is in some way connected with him.” The theme of this release is “the hours of the day,” as we have the three Haydn symphonies representing morning, noon, and evening, followed by the nocturnal serenade penned by Mozart. This is music that is colorful, sprightly, and at once both elegant and charming. The size and the sound of this Italian period-instrument chamber orchestra seem perfectly suited to this music, making for an utterly delightful release.

Thomas Larcher: Symphony No. 2.”Kenotaph.” Die Nacht der Verlorenen. Andre Schuen, baritone; Hannu Linto, Finnish Radio Symphony Orchestra. Ondine  ODE 1393-2.

Thomas Larcher (b. 1963) is an Austrian composer and pianist. Interestingly enough,  his name sounded vaguely familiar to me, so I did a little digging. Aha! I discovered that he had made some recordings on the ECM label as far back as 1999, when he released an album of piano music by Schubert and Schoenberg. Here, of course, he appears in his role as composer, this new Ondine release featuring two of his orchestral compositions. The first is his Symphony No. 2, “Kenotaph” (2015-2016). The liner notes explain that “a cenotaph, from the Greek, is a term used for a monument which is in the shape of a tomb but which is empty, serving as a memorial for deceased persons buried elsewhere. Cenotaphs have traditionally been erected to honour those who have died in combat and remained on the battlefield, but with Larcher’s work the subtitle was motivated by the painful awareness of the thousands of refugees who have drowned in the Mediterranean. The work can also be understood as a more general meditation on human tragedy and an exploration of profound existential issues.” The work is reminiscent in some ways of Mahler, but not in a nostalgic way. Larcher cuts his own path, making his own individual statement while revealing his roots in the Viennese tradition. The two outer movements are the most intense and “modern sounding,” while the two inner movements, marked II. Adagio and III. Scherzo, Molto Allegro, respectively, are comparatively more straightforward sounding but entertainingly imaginative in the style of Mahler, but yet with a more modern sonority. This is music that is utterly fascinating, music that will make you want to listen again and again. Some listeners might be put off by the brashness of the opening measures, but I would urge them to be patient and give the symphony a chance. Let the two inner movements work their magic; once they do, the outer movements may begin to have more meaning. The song cycle Die Nacht der Verlorenen (“The Night of the Lost”) from 2008 takes as its text poems by the Austrian author Ingeborg Bachmann (1926-1973). The music is generally on the slow side, but expressive and colorful. Schuen’s voice is quite gripping; if you read the text, you will understand why, as the poems are quite dark. As we have come to expect from Ondine, the sound quality is excellent, with plenty of impact. As an added bonus, the liner notes are helpful, offering useful insights into the music. This may not quite be a release for everyone, but if you are a fan of the music of Mahler, then Larcher is someone you really might want to check out.

Elgar-Bridge: Cello Concertos. Elgar: Cello Concerto in E minor, Op. 85; Bridge: Oration (Concerto elegiaco). Gabriel Schwabe, cello; Christopher Ward, ORF Vienna Radio Symphony Orchestra. Naxos 8.574320.

I suspect that there are many classical music lovers who have more than one recording of the Elgar Cello Concerto in their collection. I suppose, then, I should just cut right to the chase and say that the folks at Naxos have released another one they might want to consider adding. First of all, Schwabe does a fine job. His account is swift and virtuosic, but he never seems to take things over the top. Likewise the orchestral accompaniment provided by Ward and his Vienna forces, who provide a nimble, clean, committed sound. All in all, this is a refreshingly straightforward performance. There are times when I might want to hear the heart-on-sleeve emotion of du Pré, but that is not the only way to play the Elgar. Another reason to pick up this release is the coupling, which is an unusual one, Frank Bridge’s Oration (Concerto elegiaco) from 1930. According to the liner notes, “the subtitle Concerto elegiaco was the score’s original title, but, according to Florence Hooton, the composer changed that to Oration in order to emphasize his conception of the work as a funeral address and an outcry against the futility of war, with the solo cello as orator.” Schwabe is able to make his cello play that role perfectly, making it sing out passionately with deeply felt emotion. Oration is a musically moving piece that deserves to be heard; kudos to Naxos for including it here. Off the top of my head I can think of three outstanding Elgar Cello Concerto recordings that are paired with performances of pieces/performances that deserve to be heard: The Jacqueline du Pre/Sir John Barbirolli Elgar paired with Janet Baker’s performance of Elgar’s Sea Pictures; the Inbal Segev/Marin Alsop Elgar paired with Segev’s performance of Anna Clyne’s Dance; and this one. I’m sure there are others, but I can personally attest to these three. Enjoy!

KWN

More New Releases (CD/SACD Mini-reviews)

By Karl W. Nehring

Alas, my favorite public library has been forced to close its doors again because of the coronavirus pandemic. Sadly, it was only open for a couple more days after I had finally been able to enter it at last and check out the new music releases that I commented on previously for Classical Candor. (https://classicalcandor.blogspot.com/2020/11/some-new-releases-cd-mini-reviews.html) Not to worry, though, because although its doors have been closed to the public except for that one brief interlude (or was that whole episode merely a dream?), the library has been functioning quite efficiently on a drive-through basis. Buoyed by my experience with discovering new releases on that one brief but magical venture through the library door, I decided to do some searching on their website to see what other new classical releases they might have obtained recently. I there found some interesting items, some of which I am still in the process of auditioning and digesting, others for which I am pleased to offer some brief but, let’s hope, helpful commentary on below. Enjoy and stay safe, my friends...

Johann Johannsson and Yair Elasar Glotman: Last and First Men. (Deutsche Grammophon 4837410)
The late Johann Johannsson composed some truly remarkable music during his relatively brief career. Among his notable achievements were several movie soundtracks that are enjoyable to hear even divorced from their films (e.g., his soundtrack to the film Arrival, a stimulating sci-fi film based on an ingenious short story by author Ted Chiang titled “The Story of Your Life”). The copy I obtained from the library includes both the CD of the soundtrack and a Blu-ray disc of the movie, which I have not yet watched but plan to presently. The music is haunting, moody, sometimes spooky, with acoustic instruments, voices, and synthesized sounds blended together to great effect. If you are already a fan of Johannsson, you’ll want to give this new release a listen. 

MacMillan: Symphony No. 5 “Le grand Inconnu”; The Sun Danced. Mary Bevan, soprano; Harry Christophers, The Sixteen and the Genesis Sixteen, Britten Sinfonia. (CORO COR16179)
Sir James MacMillan (b. 1959) has given us here two large-scale works for chorus and orchestra that are based on religious themes. The Sun Danced (2016) was commissioned by the Shrine of Fatima in Portugal to mark the centennial of a religious miracle, while his Symphony No. 5, le grand Inconnu” (2019) is said by the composer to evoke the mystery of the Holy Spirit. MacMillan explains in the liner notes that the French phrase “Le grand Inconnu” refers to the mystery of the Holy Spirit in a way he cannot find in the English spiritual tradition. Musically, both pieces are expressive and colorful, showing the composer’s skill and imagination in powerful measure. A particularly gripping effect is the quiet breathing of the choir that opens the Symphony, a musical effect that brings to mind the idea of “the whisperings of the Spirit.” The soprano Mary Bevan really shines in The Sun Danced, with orchestra and chorus providing many moments of power and light. Both pieces have an exuberance that sweeps the listener away; indeed, one need not be religious to appreciate the power of MacMillan’s musical vision and the glory of the musicians who bring that vision gloriously to life.  

Mahler: Symphony No. 7. Osmo Vänskä, Minnesota Orchestra. (BIS 2386)
One of the highlights of my musical life was attending a concert performance of the Mahler Symphony No. 7 by the Chicago Symphony Orchestra under the baton of Claudio Abbado. Given that JJP has already posted a fine in-depth review of this BIS release (https://classicalcandor.blogspot.com/2020/08/mahler-symphony-no-7-sacd-review.html), I will simply second his opinion that this is a very fine recording indeed. It is an excellent performance featuring an especially adept interpretation of the final movement. In addition, the sound of the orchestra has been captured with superb engineering, making this release worthy of an enthusiastic recommendation to all Mahler fans.    

Prokofiev: Suites from The Gambler and The Tale of the Stone Flower. Dima Slobodeniouk, Lahti Symphony Orchestra. (BIS 2301)
This SACD of orchestral music by Prokofiev contains just what you would expect from orchestral suites by the Russian master: music that is colorful, expressive, energetic, and entertaining. Many music lovers are no doubt familiar with the colorful orchestral suites from his ballet, Romeo and Juliet. The first suite on this disc, Four Portraits and Denouement from “The Gambler” is derived from an opera rather than a ballet, but the other suite is based upon his ballet The Tale of the Stone Flower. Interestingly enough, I noted in my listening sessions that there was some music that seemed quite parallel to some music from Prokofiev’s ballet score for the star-crossed lovers, but it is certainly no scandal to hear a great composer stealing from his or her own catalog, especially when the end product is so rewardingly entertaining, as it is here. Sandwiched between these two suites is an earlier composition by Prokofiev, his brief but soberly expressive Autumnal Sketch. The engineering is first-rate, which is what we have come to expect from BIS, one of the few labels that still lists the equipment used in the production, a fun touch that brings to mind those heady audiophile days of the 70s and 80s.

Shostakovich: Symphonies Nos. 5 & 1. Gianandrea Noseda, London Symphony Orchestra (LSO Live LSO0802)
I thought it seemed a bit surprising to see the reverse numerical order of the symphonies in the title of this release. Perhaps the producers figured that the 5th is the more popular Shostakovich symphony of the two so they needed to list it first? Not a big deal, just a bit odd, so perhaps that was the point: christen it a bit oddly to draw some extra attention in a crowded marketplace. Whatever. A bigger surprise awaited me when I got home, opened the cover, and realized that there were two shiny toruses in the package, one for Symphony No. 5, the other for -- you guessed it -- Symphony No. 1. I had assumed both works would have fit on one SACD, but that might have been stretching it. There are no fillers included on either disc, but given that the package sells for a relatively modest price, value is not really an issue. Both symphonies are well done, recorded in live performance but engineered superbly. Symphony No. 1 is played with just a bit less playfulness than I would like to hear, but is still a delight. Similarly delightful is Noseda’s version of No. 5, an interpretation that seems to strike a balance between hope and despair. For the price, this 2-SACD set would be a great way for someone new to Shostakovich to be introduced to his symphonies.

Voice of Hope: Camille Thomas, cello; Stephane Deneve (tracks 4-6), Mathieu Herzog (tracks 1-3, 7-13). Brussels Philharmonic. (Deutsche Grammophon 4838564)
What looks to be at first glance just another collection of arrangements for cello of some traditional favorites turns out to be something more complex, more focused, and more satisfying than that. The centerpiece of this collection is not a traditional favorite; rather, it is a new composition  by Turkish composer Fazil Say (b. 1970) titled Concerto for Cello and Orchestra “Never Give Up,” a quite listenable and rewarding piece of contemporary music that fits right in with the other selections in this release, which include impassioned performances of notable compositions such as Ravel’s Kaddish (if you ever get the opportunity, check out the Pittsburgh Symphony Orchestra’s “Tree of Life: A Concert for Peace and Unity,” a moving memorial concert for the victims of the tragic 2918 Pittsburgh synagogue shooting, which among other heartfelt performances included a version of Kaddish with a clarinet taking the lead), Bruch’s Kol Nidrei, and John Williams’s Theme from Schindler’s List. Voice of Hope is a truly remarkable release, much more than a random collection of arrangements for cello. Brava, Ms. Thomas!

Vasks: Viola Concerto; String Symphony “Voices.” Maxim Rysanov, viola and conductor, Sinfonietta Riga. (BIS 2443)
Music lovers who have not yet discovered the entrancing music of Latvian composer Peteris Vasks (b. 1946) will find this new BIS release an excellent gateway into his musical universe. The CD opens with the more recent of the two works on the program, his Concerto for Viola and String Orchestra (2014-2015). Those fearful of contemporary music need not be afraid, this is music to delight rather than assault the ear. The opening movement in particular is breathtakingly beautiful, so listeners are likely to be hooked from the outset (shades of the old strategy of starting off a rock or pop album with a hit song sure to draw listeners in). Rest assured, though, the rest of the music on the disc is up to the same high standard of quality. The second composition is one of the first pieces by Vasks that got me interested in his music back in the early 1990s. His Symphony for Strings, “Voices” (1991) is more inward-focused than the Concerto, more allusive than effusive. Again, it is a good place to start with the music of Vasks, as it employs many of the musical devices that he will use in subsequent works. It truly draws the listener in, giving the mind something to turn over while enjoying the compelling sonorities. It is one of those pieces that upon hearing, you will immediately want to hear again. All in all, this is an excellent release, highly recommended.

Avishai Cohen: Big Vicious. Avishai Cohen, trumpet/effects/synthesizer; Uri Ramirez, guitar; Yonatan Albalak, guitar/bass; Aviv Cohen, drums; Ziv Ravitz, drums/live sampling. (ECM 2680)
It is certainly not an original thought to say that jazz is America’s classical music, but I’ll throw it out there quickly along with another thought that certainly did not originate with me, that jazz musicians in general tend to have a deeper understanding of and ability to implement music theory than do classical musicians. And if you read biographies of and interviews with prominent jazz musicians, you might well be surprised to find out how many are fans of classical music. In any event, Big Vicious is a delight: tuneful, imaginative, and bold in both conception and execution. “Big Vicious” is the name of both Cohen’s band and the album, which contains 11 compositions: nine originals credited to Cohen or the band plus two covers, one an arrangement of the song “Teardrop” by Massive Attack, the other an arrangement of a movement of Beethoven’s “Moonlight” Sonata. (“Hey hey, my my, clas-sic-al will never die...”)

Bonus Recommendation: Self-Portrait with Russian Piano. Wolf Wondratscheck, author; Marshall Yarbrough, translator. Farrar, Straus and Giroux, First American Edition, 2020. ISBN 978-0-374-28049-1. It turns out that the library not only carries CDs, but they also carry books that they are more than happy to have their patrons check out to read. How cool is that?! Music lovers with a literary bent might enjoy this somewhat dreamlike novel by the German author, Wolf Wondratscheck. It tells the tale of a writer who encounters an aging Russian pianist, Suvorin, although as the novel moves along, it can become hard to separate the fictional author from the fictional pianist as their stories intertwine. Along the way, we are regaled with anecdotes and observations about actual musicians such as Clara Haskil (“Did she speak Russian? Did she speak at all?  Did her hands get cold before every appearance, too cold for Mozart, who would then warm them for her?”), Sviatislov Richter (“Any interest in success, in seeking admiration for his capabilities as a pianist, was completely alien to Richter. Success was fining the trail of a discovery, the hope of finding it. Richter would probably most preferred it if his name didn’t appear next to the composer’s on the playbill at all.”). Glenn Gould (“Gould was right to quit early. The guy was just thirty-two! But he had had enough and he threw in the towel. Good kid, and he had a sense of humor, too. That he did, you have to hand it to him.”), and Heinrich Schiff (“The worst ones, says Schiff, are the conqueror types, who turn each game into a tournament, each concert into a struggle—the killjoys at the conductor’s stand who wave the queue around like a baton. How little feeling, how little sensitivity they have.”). This novel is not the easiest to read, but it does tend to suck the reader in, weaving quite a psychological spell throughout its relatively brief 204 pages.  

Finally, allow me to be so bold as to recommend another jazz recording, this one also by trumpeter Avishai Cohen. His quintet recording Into the Silence (ECM 2482) is much different in sound and mood from Big Vicious. It is acoustic, moody, Cohen at times muting his trumpet and exploring some deeply introspective spaces both musically and emotionally. It is a simmeringly powerful release that is beautifully recorded and produced.

KWN

Jöhann Jöhannsson: 12 Conversations with Thilo Heinzmann (CD Review)

Echo Collective (Margaret Hermant, violin; Sophie Bayet, violin; Neil Leiter, viola; Thomas Engelen, cello).  Deutsche Grammophon 0289 483 7218 8.

By Karl W. Nehring

The late Icelandic composer Jöhann Jöhannsson (1969-2018) is perhaps best known for his film scores such as those for the movies Sicario and Arrival. His compoaitions often combined elements of classical, electronic, and ambient music to great effect. Among his other attributes, the composer had a remarkable gift for writing music conveying an atmosphere of sadness that is deep, moving, but somehow neither morose nor depressing. On this posthumous release of music that was unfinished at his death but brought to life by the Brussels-based ensemble Echo Collective (more on that process below), his music for string quartet spurs the listener to reflect, perhaps even to grieve, but not to despair; to contemplate darkness, but not to be engulfed by it; to remember the disappointments life brings, but not to succumb to bitterness; to confront the inevitability of death while simultaneously savoring the transient but immediately embracing wonder of life.

These dimensions of Jöhannsson’s music take on a special poignancy in light of his tragically short life. He died at 48 in Berlin, the German autopsy report indicating that the likely cause of death was a fatal conjunction of cocaine and flu medication. On the surface, that might strike some readers as an indication of a character flaw or another case of some high-flying celebrity being brought down by wretched excess, but it is highly plausible that the story is deeper and more tragic than it might first appear, involving the pressure of composing music for high-profile film studios. But that is speculation to which it is best not to take too far, lest we ourselves succumb to our own dark and very possibly untrue thoughts. Let us instead turn to the music at hand on this release.

Echo Collective

The musicians of Echo Collective had worked with Jöhannsson to realize some performances of his music that combined elements of classical and electronic approaches. According to the Echo Collective on their website and in the liner notes for this CD (which once again are nearly impossible to read because of small print plus very little contrast in color between the background and the lettering – what was the design team thinking?!), in the wake of their collaboration:

“Jöhann approached us to work with him on his project. He intended for Echo Collective to help him finish the composition of the Quartet.  The score Echo received after Jöhann’s death was uncommonly sparse in the sort of markings classical composers typically include to convey their wishes in terms of dynamics, phrasing, and articulation.

As musical interpreters, we have an almost visceral need to perfect a music's intended tone, and to connect its audience to an authentic emotional experience. While a score lacking detailed direction can sometimes frustrate that goal, Echo Collective's musicians found a freedom in Jöhann's music which allowed them to create without feeling constrained by reference standards or critical comparisons. When Jöhann died, it became Echo Collective’s responsibility to determine how the music should sound and what emotions it should convey. Our previous work with him on Orphée, and the many discussions and time spent together, provided us with the tools needed to honour his request to the highest possible standard. Inspired and informed by the memory of the composer’s energy and masterful command of timing, tension and silence, Echo Collective was able to articulate a musical journey such that every listener could individually experience something meaningful and personal. We have followed through on what we fully believe were Jöhann’s intentions for these Quartets.”

The end result comprises twelve tracks of music for string quartet. The music is serious in tone, personal and reflective. It is for the most part somber, but not maudlin. Although not in the format of a typical string quartet, it is clearly music for string quartet, very musical and very moving. The musicians of Echo Collective have done a remarkable job of completing Jöhannsson’s composition and producing this remarkable recording. The only complaint some might have is the length of this CD, which clocks in at less than 42 minutes. Still, it is a truly moving musical experience – one can only wonder what other treasures Jöhannsson might have gone on to compose had his life not been cut short.

KWN

To listen to a brief excerpt from this album, click here: