It takes 28 days, they say, to make or break a habit. Lucky for those of us who observe Lent, we have 40 days to make good habits, like listening to classical and contemporary classical music literally in the hands of world-class artists and composers. Here are a few recommendations from Bridge Records.
Bernard Rands–Piano Music (1960-2010) provides a view of the artists’ technique as well as expressing Rands’ skill as a composer beginning, with a 1960 Tre Espressioni, with Ursula Oppens on piano. These feel to me more like Tre Questioni, as post-Modern explorations of some of the existential questions of the time. Next is the 1964 Espressione IV for two pianos, featuring Oppens again, a noted champion throughout her life of new music, joined by Robert Levin. These share a common language. Memo Five, from 1975, begins a transition, though there are still elements of the earlier works, in Oppens’ interpretation. Then the post-millennial works, the 2007 Preludes for Piano and 2010 Impromptu, both played by Robert Levin, herald something different for Rands: less conversation, more contemplation, as well as very different energy.
Arlene Sierra, Volume Two, “Game of Attrition,” is her latest release and combines very recent works like the CD-leading “Moler,” from 2012, with works dating back to 2001. “Moler” is an orchestral urban concoction that shows the maturation of Sierra’s orchestral style. Going “back” in time, the next piece is her piano concerto, “Art of War.” Responding to germinating thoughts she’d been having about diverse subjects, like the United States reaction to the attacks of September 11, the Iraqi invasion, and crystallized by rereading Sun Tzu’s work, she began to see musical connections. This makes for interesting listening, Western thought through an Eastern sensibility. “Game of Attrition” was given a premiere by the New York Philharmonic in 2009. Included in the kick-off of NYPhil’s Contact! new music series, it has a jungle wall of sound, where the different instruments are denizens, who are competing, as they play music in concert and contest with one another. The final piece, “Aquilo,” hearkens back to ancient terminology–in this case “Aquilo” means “northeast wind.” There is sparseness to the music that makes it seem protean and new, questing for something that may not yet have evolved. The music could almost be imagined as the peregrinations of the northeast wind, as it touches events, people, places, animals, locations, and buildings, on its journey from hither to yon. There’s almost an apian sense to it, flying with a purpose, as a honeybee might head directly back to the hive with full pollen sacks, only to find the hive has perhaps come to mischief. There’s a sense that something is happening, though exactly “what” is in the ear of the “bee-holder.” Happy spring!
Look for these albums wherever fine classical music is sold. Get more information at www.bridgerecords.com.