Photo by Jaime Boddorff.
Trios, the new release by New York City-based piano trio Bearthoven is a masterclass in eclecticism. With this album, the trio, which consists of percussion (Matt Evans), piano (Karl Larson), and bass (Pat Swoboda), set out to create a collection that presents a sample of the more than 20 new works that Bearthoven has commissioned as well as to showcase music from composers with markedly different musical backgrounds. Trios more than achieves these goals; the blend of sharply contrasting aesthetics and exceptional musicianship here yields a fascinating and joyful product that fuses exuberant eclecticism with top-quality performance.
Although each of the six pieces on Trios comes from quite different musical places, there is an overarching structure. Broadly speaking, these selections fit into two groups: three of the six tracks are rhythm-forward, “post-minimalist” pieces, while the other three tend toward soundscape and abstraction. Trios begins with one of the post-minimal compositions, and alternates between the two categories, ending with Adrian Knight’s peaceful and contemplative “The Ringing World.”
While Bearthoven identifies as a “piano trio,” their instrumentation (percussion, piano, and bass) is decidedly unusual. This setup is common in other types of music (jazz, pop, etc.), but is largely unexplored as a vehicle for contemporary classical. One other notable group that shares this interesting space is the all-acoustic ensemble Dawn of Midi, similarly composed up of drums, piano, and bass, and also based in New York City. Both groups occupy similar inter-genre spaces. However, their divergent raisons d’être result in musical outputs that are complementary and non-duplicative: while Dawn of Midi focuses on self-composed and improvised groove-based music that is influenced by global traditions, Bearthoven is oriented around collaboration with a diverse range of composers whose music tends strongly toward contemporary classical.
That is not to say that Bearthoven has an aversion to grooves, however. In fact, the opening track, Brooks Frederickson’s “Undertoad,” and the second-to-last track, Brendon Randall-Myers’s “Simple Machine,” have collections of grooves that are both wantonly energetic and fascinating in their complex construction. Bearthoven executes both enjoyably and with great attention to detail, which is typical for tracks on this release.
The more atmospheric pieces on Trios also showcase Bearthoven’s remarkable energy and outstanding musicality. Especially in these tracks, the constant communication between the players is obvious. On Knight’s “The Ringing World” and Fjóla Evans’ “Shoaling” particularly, the unity with which the trio executes (sometimes quite subtle) shifts of volume, intensity, and time is a triumph. The responsiveness and individual mastery necessary to pull off that kind of seamless groupthink is rare and requires real dedication.
Diversity of repertoire, attention to detail, flexibility, and commitment to individual and ensemble excellence are Bearthoven’s strengths. With these assets, Bearthoven has achieved a consistent ensemble sound that is apparent even in the face of broad eclecticism. Based on Trios, Bearthoven is an ensemble that can be counted upon to deliver with poise, mastery, and style—and to produce new material that is both diverse and superlative.
Photo by Jaime Boddorff.
A survey of national anthems from nations all over the world confronted composer David Lang with a startling reality: the texts of these songs are generally quite violent. It seems that in the course of expressing national pride through song, we tend to reflect on the bloody struggle of war that gave us the freedoms we now enjoy.
Celebrated Japanese composer Toru Takemitsu breathes a meditative second life into the tale of Moby Dick with his three-section work, Toward the Sea. In the final section, entitled “Cape Cod,” Michael Partington’s guitar gently chops and forms the New England seascape while Paul Taub’s airy alto flute responds as Captain Ahab’s ship, the Pequod.
If you thought the theremin was only for corny sci-fi film soundtracks and intergalactic sound effects, think again. Carolina Eyck, one of the world’s foremost theremin virtuosi, has spent the past decade exploring and expanding the musical possibilities of this eerie electronic instrument.
Turns out you can replace a synthesizer and a clavinet with a few reed instruments and you still have a song that’s funky as hell. Threeds Oboe Trio’s cover of Stevie Wonder’s classic “Superstition” shows off impressive technical ability and a rebellious sense of humor. “Superstition” has a driving bassline provided by clarinet and, since it swings just as hard as the original, it will have you smiling and grooving and bebopping before the oboes even kick in. –
Missy Mazzoli’s “Orizzonte”—Italian for “horizon”—features gently undulating sine waves to create an audible landscape, over which pianist Lisa Moore plays a hypnotic line of understated landmarks.
Have you ever wondered what a wind quartet would sound like underwater? Richard Carrick did.
This Max Richter piece reminded me of the cravings for still, peace, and introspection which often seem to come as an involuntary reaction to prolonged stress and business. In this track, I hear both the defensive, convalescent retreat and the hopeful, rejuvenating centering that come with sleep, often in the same night. Taking in this small portion of the piece makes me want to investigate the larger (8 hours!) work, perhaps overnight. Perhaps I should “sleep on it.” –
Vibrant and jazzy, Allen Vizzutti’s Snow Scenes for Trumpet and Orchestra is another effortless performance by this master trumpeter. Vizzutti, who has performed on hundreds of motion picture soundtracks and TV shows (as well as with Sinatra, Streisand, Prince, and on and on…), is a bonafide savant when it comes to the trumpet. 
Here is a stunning work of music that cannot be ignored. Ellen Taafe Zwilich’s Memorial for the Victims of the Sandy Hook Massacre is scored for a regular SATB chorus that begins singing the Requiem aeternam text, and is then joined by a children’s choir with a heartbreaking task: reciting the names of the young victims of the school shooting. 
