Tag: Nomi Epstein

Categories
AMN Reviews

AMN Reviews: Marti Epstein – Nebraska Impromptu [New Focus Recordings fcr324]

Composer Marti Epstein’s Nebraska Impromptu is a collection of works highlighting her writing for small ensembles featuring clarinet, played here by Rane Moore. The pieces on the album span 2001-2017; although each has its own individual sound, all share a consistent aesthetic based on the unhurried deployment of mostly quiet, discretely bounded events made up of tightly aggregated instrumental colors.

Oil and Sugar (2016), for piano, clarinet, flute, and violin is exemplary. The piece’s basic elements consist of a series of brief motifs within a restricted range of harmonic movement; Epstein intertwines them among the four voices in a way that dramatizes to good effect the timbral differences of the similarly compassed winds and strings. By relying solely on clarinet, oboe, and violin, Komorebi (2017) displays this effect even further. The title track, 2012’s Nebraska Impromptu for piano and clarinet, plays with contrasts of range rather than color, as the clarinet takes the role of middle voice in between the piano’s upper and lower registers. Liquid, Fragile (2010) for clarinet, violin, viola, and cello is a broken-textured piece that uses long silences as structural supports dividing gently drifting sonic events. The earliest and longest work represented, the twenty-seven-and-a-half minute-long See Even Night from 2001, is a subtly subtractive piece for clarinet, viola, and piano that begins with a relatively dense polyphony of short, repeating, overlapping motifs and then gradually develops through a simplification of lines and opening up of overall textures.

Daniel Barbiero

Categories
AMN Reviews

AMN Reviews: Nomi Epstein – sounds [New Focus Recordings FCR260]

Composer/pianist Nomi Epstein’s music, as demonstrated on the portrait recording sounds, is made up of fine-grained distinctions between sounds and between sound and non-sound. This is evident particularly in the three compositions for solo piano: Till (2003), Solo for Piano (2007-19), and Layers for Piano (2015/18), all of them performed by Reinier van Houdt. Till, which opens the album, surrounds deliberately picked out, largely quiet individual notes and chords with silences to create differential effects of dynamics and register. The first part of the two-part Solo for Piano, appropriately titled Waves, features oscillating, closely-spaced tones that particularly in the lower registers merge into something like a massed, grey noise. The second part opposes Waves’ sonic blur with unhurried, precisely defined pitch groups. Layers for Piano, a three-part work, places delicate sonic fragments consisting of single notes and muffled dissonances within a range of quiet, subtly distinguishable dynamics. The other two compositions in the collection are for trios: of voice, bass flute and electronics, and for flute, bass clarinet, and piano. The first of these, for Collect/Project (2016-19), is a low-key drama of contrasts between the hollow tones of the bass flute (Shanna Gutierrez) and the abrasively dense interventions of the electronics (Francisco Castillo Trigueros). When Frauke Aulbert’s voice breaks through into a sonic clearing, the effect is bracing and revelatory. The 2016 sounds for Jeff and Eliza, for flutist Eliza Bangert and bass clarinetist Jeff Kimmel, who perform it here along with the composer on piano, builds harmonies from the wind instruments’ multiphonics superimposed on isolated notes and chords from the piano. The piece’s very slow harmonic rhythm lends it a sense of timelessness.

http://newfocusrecordings.com

Daniel Barbiero

Categories
AMN Reviews

AMN Reviews: Sivan Silver-Swartz – Untitled 6 [Editions Wandelweiser EWR 1920]; a•pe•ri•od•ic – for [New Focus Recordings fcr249]

Nearly seventy years have passed since John Cage composed 4’33,” his most famous—or notorious, as at the time it seemed—“silent” piece. Since then the questions 4’33” raised—regarding the limits and definition of music; the relationship between the work and the environment in which it is performed; the ontological different, or indeed indifference, between sound and silence; and above all, the degree of control or letting-go a score can or should exert over its product—have given rise to a significant lineage or tradition within new music. Two new releases of music for chamber ensembles fall within that lineage and serve to bring it forward.

The Chicago ensemble a•pe•ri•od•ic, founded by composer/pianist Nomi Epstein in 2010, fits firmly, and quite deliberately, within the lineage initiated by Cage’s work. The group, which on this recording is an octet of violin, cello, flute, bass clarinet/clarinet, bassoon/voice, French horn, piano, and voice, performs works biased toward various kinds of indeterminacy, whether of orchestration, sound material, or architecture. Silence also plays a major role in their music, whether as primary material or as a structural element.

The four compositions on for were commissioned by the group; three are by group members and the fourth is by composer Michael Pisaro.

Violinist Billie Howard’s Roll (2016) comprises a sequence of soloists playing a sustained tone ending with a freely-chosen upward or downward glissando, followed by a silence. What comes to the fore in this work is the unique timbral quality of each instrumental voice, with the lower-pitched bassoon and cello making an especially rich impression. Vocalist Kenn Kumpf contributes Triadic Expansions (2) of 2017, a piece of mutating harmonies built up from slowly ascending or descending scales of more or less arbitrary pitch content. The entrances and exits are staggered in a way that creates an out-of-synch effect that keeps the center of gravity for the entire sound mass in a constant state of motion. Combine, Juxtapose, Delayed Overlap (2013-2017) by Epstein, is a very quiet textural piece that seems to play with the ambiguous status—are they music? Are they noise? Are they just a strange crystallization of silence into sound?–of liminal audio events. Pisaro’s festhalten/loslassen (2013), in contrast to the austerity of Epstein’s piece, contains passages of almost lush bundles of sustained tones moving cloudlike across and through each other. The piece is broken into sections by long silences and is punctuated with passages for percussive pizzicato strings and a slowly ascending scale begun on piano and continued on horn.

One of the composers who studied under Pisaro is Sivan Silver-Swartz (b. 1993). Like many composers of his generation, Silver-Swartz works in eclectic forms ranging from composed new music to rock-derived song. His Untitled 6 is an hour-long work in just intonation for three or more violins, violas, cellos or other bowed instruments that can be detuned as called for by the score. On this recording, the piece is played by two violas, two cellos, and one violin. As with the compositions on for, Untitled 6 is an open-form work that leaves many performance decisions up to the players. The performers are divided into two groups, one of which is assigned a score arranged somewhat like a chessboard each of whose squares specifies a given sound gesture or a silence; this set of performers is given latitude, within some constraints, to choose the sequence of squares, and hence sounds or silences, they will play. The score for the second set of players is a linear table that specifies durations but allows for choices of dynamics and gestures. Like Kumpf’s Triadic Expansions (2) or Pisaro’s festhalten/loslassen, Untitled 6 unfolds in a set of slowly shifting harmonies, but here the harmonies are given a particular piquancy from the instruments’ tunings and from the limitation of melodic material to open strings and the first harmonic—overall, music cast in a somewhat darker shade of consonance.

https://newfocusrecordings.bandcamp.com/album/for-a-pe-ri-od-ic

https://www.wandelweiser.de/

Daniel Barbiero