It has to be said right up front: the music on After the End, which presents three new and recent vocal chamber works by the three contemporary composers Jesse Jones (b. 1978), Ricardo Zohn-Muldoon (b. 1962) and Carlos Sanchez-Gutierrez (b. 1964), is of a refined beauty.
All three compositions are performed by small groups drawn from the faculty of the soundSCAPE summer Festival of Contemporary Music, an institution to which the three composers have been connected in various capacities in recent years. Given this history, it isn’t surprising that the performers—soprano Tony Arnold; flutist Lisa Cella; violinist Mark Fewer; percussionist Aiyun Huang; and pianist Thomas Rosenkranz—seem to have an especially good rapport with the work. Their realization of this sometimes rarefied, open-textured music is delicately balanced and austerely sensuous.
Jesse Jones’ After the End (2017), which was commissioned by soundSCAPE, sets a text by Jonathan Brent Butler to music for soprano, percussion and piano. Jones describes the text as pessimistic—it’s after the end of the world, after all—but at the same time holding out the promise of renewal. The vocal line is haunting but not despairing, proceeding at a measured pace intercut with rests. The accompaniment shimmers in slightly discordant, downward cascades of piano and vibes.
Flores de Viento III (1990, revised 2013), is a work in seven parts by Guadalajara-born Ricardo Zohn-Muldoon. The composition is scored for soprano, violin, flute/piccolo, and percussion, and sets a series of poems, most of them by the composer’s sister Laura Zohn-Muldoon, based on the Mesoamerican myth of the feathered serpent Quetzalcóatl. Zohn-Muldoon constructs the music from concise, atonal melodic motifs that he varies and orchestrates as distinct splashes of instrumental color. By breaking the ensemble out into constantly shifting groupings of solo, duo, trio and quartet voices, he exploits the group’s timbral potential to its fullest. And the sheer variety of percussion instruments he employs—vibes, marimba, crotales, gong, congas, maracas and more—contributes significantly to the richness of the piece’s textures.
Mexican native Carlos Sanchez-Gutierrez’s Kikai no Mori/Chance Forest Interludes (2015) was given its premiere at the 2015 soundSCAPE festival. The work is a fusion of two separate pieces, Chance Forest Interludes for solo soprano, and Kikai no Mori for piano and percussion. When presented together, the interludes are inserted in between movements of Kikai no Mori. The interludes are virtuoso pieces that provide a relatively quiet tonic to the fragmented melodies and suspenseful, rhythmic intensity of Kikai no Mori. The percussion part encompasses pitched and unpitched instruments and even the piano itself, through various extended techniques—tone clusters, playing directly on the strings, holding the strings while striking the keys—is turned into something of a multi-voiced percussion ensemble of its own.