This fine recording collects new and recent works for guitar by American composer Nils Vigeland (b. 1950) and composer Reiko Füting (1970), who was born in what was then East Germany and has since resided in America and South Korea. Vigeland, who studied with Lukas Foss and Morton Feldman, is also a pianist and appears here as such on the title track along with cellist John Popham. The guitarist on all pieces is Daniel Lippel, a major voice in interpreting contemporary composed music.
Vigeland’s Two Variations (1992) for solo guitar bookends the album—one to open and one to close. Vigeland wrote the piece with the intention of wringing as much resonance as possible from the acoustic nylon-string guitar, an instrument of relatively short sustain; he does that with an onrush of single notes and arpeggios overlapping in time. With a turn to a more lyrical sound, his Quodlibet (2011) for guitar and cello is a three-part suite that alludes, largely quite obliquely, to The Beatles’ Hey Jude and Good Day Sunshine. Little is recognizable of the songs outside of some phrases on guitar that seem to mimic the prosody of some of the lyrics, but the piece stands independently as song, once removed.
Vigeland’s major work here is the nearly twenty-two minute-long “…through which the past shines…” of 2017, named for a line from Nabokov’s novel Transparent Things. The piece, which alternates between pointillistic fragments and contrapuntal lines, seems to capture the irregular rhythms of the emotions that accompany recollection, in particular the cycles of agitation and reflection that supervene on the coalescence and dissolution of specific memories. The writing is especially effective in the color tensions it produces through the separation and combination of instrumental voices.
Füting’s three contributions include two original compositions for solo guitar—the energetic, perpetual motion of wand-uhr (2013/2016) and Red Wall (2006), along with his 2009 arrangement of the traditional Jewish hymn Hine ma Tov. Red Wall is the most intriguing of the three; it abandons linear development in favor of an irregular sequence of juxtaposed, non-contingent events which draw out a rich, if subtle, range of colors from the guitar. Lippel’s performance is particularly compelling as he makes explicit the timbral implications of Füting’s stable and unstable chords, harmonics, single note runs and trills, volatile dynamics, and leaps of register. Here as everywhere else on the recording, Lippel plays with a characteristically pristine tone and precise voicings.