Vistas Furtivas, a collection of work by composer Juan Campoverde, is the third album from the Fonema Consort, a Chicago new music ensemble specializing in performing the work of Latin American composers. Campoverde, an Ecuadorian native living in nearby Evanston, Illinois, has developed a long-running collaborative relationship with the consort, having written for them since 2013. The rapport they’ve built is evident in these deft and assured performances of Campoverde’s dramatic and often delicately constructed work.
Campoverde’s compositions here are mostly driven by forceful vocal lines but for all of that, they turn on nuances of sound color alone and in combinations. The composer masterfully brings forward and updates the kind of spacious, unconventionally orchestrated chamber music pioneered by composers like George Crumb in the 1960s and 1970s. And, as could be expected by a composer mentored by Roger Reynolds, whose imagE-imAge series of solo works meticulously capture the timbral ranges of the instruments for which they were written, Campoverde pays close attention to what might be thought of as timbral harmonies and dissonances,
The album contains four works for small chamber ensemble built around the unusual but compelling combination of guitar, flute, and soprano voice, as well as two for solo guitar. Campoverde’s inspired choice of instrumental colors, which he artfully arranges against a stark canvas of silence, makes for a music of startling fusions and contrasts of timbre in an uncluttered environment.
Umbrales I and II (2013 and 2019, respectively) for two sopranos, flute, and guitar, offer two different perspectives on the same texts by Ecuadorian poet Efraín Jara Idrovo. Both iterations rely on extended vocal and instrumental techniques and scordatura to draw out the color possibilities of guitar, flute, and voice. Typical of Campoverde’s work on the album, the pieces are constructed as decentered bursts of sound. Here the main contrast is between the sustained tones of flute and voice on the one side, and the staccato attack of plucked strings on the other. The guitar’s microtonal dissonances are an essential component of the overall sound, which is dominated by the asymmetrical phrasings of sopranos Nina Dante and Nathalie Colas
Basalto (2014) strips the ensemble down to Dante and flutist Dalia Chin, here on alto flute, supplemented by prerecorded, electronically manipulated whale song. A highly expressive work, its urgency is underscored by a collision of extended vocal technique and the flutter tongue and plosive air notes from the flute.
The two works for solo guitar, Topografias (1996) and Muna II (2012), demonstrate Campoverde’s ability to elicit a wide range of color from a single instrument. Both make extensive use of microtones and tone-altering gestures up to and including turning the gears to detune the instrument. The resulting episodes of sheer sonic materiality give one the feeling of being on the inside of the intimate process of playing. Guitarist Samuel Rowe’s performances realize these difficult pieces with clarity and precision.
Los Lugares del Deseo of 2017, the four-part suite that closes the album, brings together flute, bass clarinet (played by Emily Beisel), both sopranos, guitar and percussion (Ryan Packard) in combinations ranging from solo soprano to the full sextet. In its unhurried juxtapositions of exactly delineated timbres the suite captures in microcosm the sound of the album in all its sharply etched fullness. It’s a bracingly beautiful collection of music.