June 10, 2016

• Intriguing Music for Cello and Harp

   

  Couloir: Maxwell/Muhly
  Ariel Barnes, cello. Heidi Krutzen, harp.
  Maryliz Smith, celeste.
  Ravello Records 7932
  Total Time:  56:01
  Recording:   ****/****
  Performance: ****/****

  The harp and cello duo, Couloir, makes an appearance here in three unique modern works for this unusual combination.  A piece by Nico Muhly is framed here by a unique work by James B. Maxwell, presented in two different settings of sorts.  The program is an exploration of the sounds and textures possible in this chamber music.

  Maxwell’s Serere opens the disc with very quiet and somewhat dissonant musical sounds until a higher cello note moves us into a very romantic-tinged moment of gorgeous writing.  These shifts between more tonal ideas and those with more dissonance and textural approaches helps provide a fascinating dramatic flow to the music.  The lyrical lines for cello work well with the piano-like harmonic support that the harp provides, though the instrument itself lends a more ethereal quality.  This is true even in some of the more dissonant moments of this very engaging work.

  Maxwell’s work was conceived as part of a ballet (Double Variations) which premiered in 2012.  The first presentation of Serere is a concert setting minus the electroacoustic effects that provide an additional layer of sound.  The ballet focused on issues of writing and calligraphy, as the composer points out in the notes here, and so some of the sounds associated with this are used to add extra texture to the score when it is combined with the harp and cello for the end track here.  The sounds do provide a different level of involvement but the combination of cello and harp help somehow soften some of the sparsity of the musical harmonic areas.  The sound of writing opens the work up and additional electronic sounds add an additional level of harmony to the music.  The harp is really used in many interesting ways here that help illustrate its contemporary possibilities.  Cello writing is also very virtuosic and written to move through the textures Maxwell creates.  The performance here is impeccable and instantly engaging.  Some performer “breathing” was picked up, which here lends an immediacy and intimacy to the performance.

  In between these two “versions” of Maxwell’s work is Clear Music (2003).  Nico Muhly adds an additional layer as well with a celeste.  The three registral opportunities for these instruments are then explored in a work that takes inspiration from a John Tavener (1490-1545) motet (Mater Christi Sanctissima).  The music features explorations of these peaks and valleys of the instrument exploring the treble register of the cello in combination with those of the other two instrumental lines.  The celeste’s bell tones also add a rather fascinating sound and moves the instrument away from its tendency to be a sugary, magical instrument.  There is certainly some of this, but it is the way the instrument’s bell like sounds combine with harp and cello that lends an almost percussive bell aspect in one spot, or perhaps a more keyboard-like accompaniment in another.  The lyrical cello line again helps pull these two things together.  Some splashes of harp and celeste ideas also help provide some truly engaging dialogue in this intriguing blend of sounds and instrumentation.

  This is one of those discs that you might fall upon quite accidentally.  Drawn by the uniqueness of the combination, one should still not be put off by the electroacoustic indication on the back label.  These are strong chamber pieces that should bear up very well to repeat listening.  Both are dramatic works featuring excellent performances.  The only real issue is that there is not more music available to enjoy.  As a study disc, it will be very instructive to see how adding additional electronic textures can enhance and change the other lines of music in a work.  Indeed, the way the sounds are integrated with cello ad harp will make you think you are hearing a completely different work.  It seems to certainly heighten the more lyrical and traditionally tonal sections of the work.  Packaging is a minimal cardboard sleeve style with a booklet that features just enough information to help set the tone for the music.  Recommended for fans of unique chamber music.  One can only hope there is more from Couloir to come.

   

  • 10:12 am
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