CARTER: Horn Concerto; Mad Regales; Tintinnabulation; Wind Rose; Sound Fields; On Conversing with Paradise; Retracing I, II, III; Clarinet Quintet; Figment III, IV, V; La Musique; Due Duetti; Poems of Louis Zukofsky. Martin Owen, horn; BBC Symphony/Oliver Knussen; BBC Singers; New England Conservatory Percussion Ensemble/Frank Epstein; Leigh Melrose, baritone, Birmingham Conteporary Music Group/ Oliver Knussen; Peter Kolkay, bassoon; Charles Neidich, clarinet; Juilliard String Quartet; Simon Boyar, marimba; Lucy Shelton, soprano; Jon Nelson, trumpet; Rolf Schulte, violin; Fred Sherry, violoncello; Donald Palma, contrabass; Hsin-Yun Huang, viola; William Purvis, horn. Bridge 9314 A/B [2CD]. 103 minutes.
Anyone who has read my blog or my reviews here knows that Elliott Carter’s music means a lot to me. I’ve learned so much from his music it would be hard to list everything. Most important, though, is that I love how it sounds and its expressive depth. I’m not surprised then, when people ask me what pieces would be a good introduction.
With this new set of pieces, most of which were written between 2007 and 2009, I have my answer. This album includes virtually every kind of piece Carter has composed during his long career as well as a few that venture into what are, for him, very new areas.
The Horn Concerto and the Clarinet Quintet are major instrumental works, the kinds of piece Carter is best known for. The Concerto (like most of Carter’s concertos for solo instruments) explores and extends several aspects of the expressive nature of the instrument, in this case the horn’s lyrical and majestic sides in a series of short episodes with shifting orchestral accompaniment. Martin Owen’s performance of the solo part is expressive and assured.
The Quintet has a different formal approach, though one that Carter has used in the past. The piece is one continuous stream of music (14 minutes long) that is divided into five clearly recognizable movements. The majority of the piece is lyrical nature, but the occasional outburst, usually from the strings, provides the dramatic contrast that animates most of Carter’s music. Carter regulars Charles Neidich and the Juilliard Quartet play this piece with style and understanding.
Carter wrote a good deal of choral and vocal music in the early part of his career. As he developed his characteristic style he concentrated on instrumental music until returning to the voice in earnest in the 1970s. This program includes a piece for unaccompanied voice, a cycle of songs for voice and clarinet, a cycle of songs for voice and small orchestra, and piece for a choir of six voices. These pieces are settings of texts by Modern poets of a variety of backgrounds. On Conversing with Paradise, is a setting of excerpts of some of Ezra Pound’s Cantos and an excellent example of the composer’s dramatic settings, with its somewhat menacing percussion in contrast to the stark support of the strings and winds.
The three Figments and three Retracings are part of Carter’s tendency in recent years to write very short pieces for performance in solo recitals. The Retracings are reworkings of significant solo lines from larger compositions, like the trumpet solo that opens A Symphony of Three Orchestras, here given a vivid performance by Jon Nelson as Retracing III. In addition to providing solo instrumentalists with short, substantial pieces to play, these miniatures are demonstrations of the composer’s interest in and ability to write strong, if not exactly tuneful, melodies.
Due Duetti is a two-movement piece for violin and cello. In this performance by Carter veterans Rolf Schulte and Fred Sherry, Due Duetti comes across like a miniature (both in instrumentation and scale) version of one of Carter’s string quartets. The transparent texture and condensed scale are both characteristic of Carter’s recent music.
The revelations on this disc (as least for me) are three pieces for large, homogeneous ensembles, the first such pieces of his career. Tintinnabulation (percussion ensemble), Wind Rose (wind ensemble), and Sound Fields (string orchestra) are studies in color and texture. Tintinnabulation is restricted in its being made entirely of non-pitched percussion; its musical argument, then, is made almost entirely through changes of color. Wind Rose and Sound Fields make theirs through contrasts in thickness and subtle shifts in color. These pieces are reminiscent of middle period Morton Feldman in their insistence on finding musical expression in their limited resources.
Listeners with an interest in this composer will find something of value in this collection. The performances are outstanding and the sound is very good. Longtime Carter annotator Bayan Northcott’s notes are informative and insightful.
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