STAFF PICKS: Friday Faves

Second Inversion hosts share a favorite selection from their weekly playlist. Tune in on Friday, January 12 to hear these pieces and plenty of other new and unusual music from all corners of the classical genre!

Angélica Negrón: La Isla Mágica (Innova Recordings)
Eleonore Oppenheim, double bass

Brimming with whimsy and wistful nostalgia, Angélica Negrón’s La Isla Mágica combines punchy, video game-worthy electronics with double bass, percussion, and ambient vocals. Performed here by Eleonore Oppenheim on her debut solo album Home, her bass swings, sways, and dances amid a swirl of technicolor electronics. At times it sounds almost as though she’s in the middle of a theme park, playing among the neon signs, the colorful carnival games, and the translucent stars above. – Maggie Molloy

Tune in to Second Inversion in the 1pm hour today to hear this piece.


Gabriela Lena Frank: Danza de los Saqsampillos (Naxos Records)
Alias Chamber Ensemble

I seriously can’t get enough of these works by Gabriela Lena Frank, with all their vibrant colors and stunning rhythmic character. Gabriela was born in the US to parents of Peruvian/Chinese and Lithuanian/Jewish ancestry, and much of her music is influenced by her heritage. Danza de los Saqsampillos is inspired by the Peruvian “saqsampillo,” a rambunctious jungle-dweller with a characteristic jumping two-person dance. This performance from the Alias Chamber Ensemble album Hilos is the version for two marimbas.
– Geoffrey Larson

Tune in to Second Inversion in the 3pm hour today to hear this piece.


David Bowie: “Ashes to Ashes” (arr. Bischoff)
Amanda Palmer and Jherek Bischoff

David Bowie once said that “Ashes to Ashes” represented his own feelings of inadequacy about his work not having much importance.  Until “Ashes to Ashes” was released in 1980, much of Bowie’s music was cloaked in concept and personas so the vulnerability and maturity of this song was, among other things, his way of closing that chapter and moving on. In this version, from an album recorded just two weeks following Bowie’s death in 2016, the harsh textures, edginess, and synthesized guitars of the original are replaced with softer melancholy strings and sultry nightclub vocals.  Bowie is celebrated here, not emulated, and that’s what makes this tribute shine.
 Rachele Hales

Tune in to Second Inversion in the 6pm hour today to hear this piece.


David Crowell: “Waiting in the Rain for Snow” (New Amsterdam Records)
NOW Ensemble

This is exactly what waiting in the rain for snow sounds like.

NOW Ensemble’s flute, clarinet, double bass, oboe, piano, and electric guitar combine the excitement and anticipation of dramatic, beautiful flakes drifting from the sky, with the anxious desire to stay dry while the undesirable in-between phase of sleet insistently pounds the pavement in front of you. – Brendan Howe

Tune in to Second Inversion in the 9pm hour today to hear this piece.

ALBUM REVIEW: Eleonore Oppenheim’s Home

by Maggie Molloy

In classical music, the double bass is one of those instruments you never really hear much about. In fact, you rarely even hear it very much at all—usually the bass is pushed to the back corner of the stage, largely reduced to providing rhythmic support, textural depth, and a lower pitch range for the rest of a larger ensemble.

But not anymore.

Eleonore Oppenheim

Bassist Eleonore Oppenheim recently released her debut solo album Home: a collection of five contemporary works which explore the vast and varied possibilities of the double bass as a modern solo instrument. To bring the vision to life, she enlisted the talents of five fearlessly innovative and experimental composers.

“We as bassists have a conundrum,” Oppenheim said. “As our technique evolves, and as we explore the ever-expanding possibilities of our instrument as a voice that can stand on its own, we need music to play that will grow and evolve with us. I am fortunate enough to have a number of talented and adventurous composer friends who all have an interest in pushing the limits not just of the instrument, but of preconceived ideas of genre and form.”

Among those friends are the likes of Angélica Negrón, Florent Ghys, Wil Smith, Jenny Olivia Johnson, and Lorna Dune—each of whom contributed a composition for the album.

Home

The album begins with composer Angélica Negrón’s contribution, “La Isla Mágica.” Brimming with whimsy and wistful nostalgia, the piece combines punchy, video game-worthy electronics with bowed bass, percussion, and even some ambient vocals. At times it almost sounds as though Oppenheim and her bass are in the middle of a theme park, playing among the neon signs, the colorful carnival games, and the translucent
stars above.

Florent Ghys’ “Crocodile” takes a decidedly more avant-garde turn: double the double basses. Composed for live bass, prerecorded bass, and audio samples, the piece layers two independent bass lines above excerpts from the 1996 French documentary La fabrique de l’homme occidental (The Fashioning of Western Man) by filmmaker Gérard Caillat and psychoanalyst Pierre Legendre. Broad bow strokes set the scene before shifting to funky pizzicato syncopations which showcase both Oppenheim’s technical skill as well as her musical finesse.

Percussion takes on a new meaning, though, in Wil Smith’s “Heavy Beating.” The piece features Oppenheim literally beating her bass in a series of dramatically percussive blows both on the wood and the strings. Glitchy electronics trickle in as she begins to bow, digging deep into the strings as her bass howls and growls in response.

The album’s title track, composed by Jenny Olivia Johnson, is a bit more patient in its intensity. Oppenheim slowly saws away at her lowest strings, each note buzzing, ringing, and echoing in the surrounding silence as the piece builds toward the shrill reaches of the instrument’s higher range, climaxing in a swirl of agitated bowings and electronics.

The album comes to a close with electropop remix of “Home” by composer Lorna Dune. Synthesized melodies and hypnotic drum machines dance above a slow and solemn bass line as the album slowly fades into silence.

And at just under 40 minutes, the album is over too soon—yet the musical terrain traversed over the course of just five pieces is astounding. Oppenheim drifts seemingly effortlessly from classical to noise rock, jazz to synth pop, and even toward the outer reaches of the avant-garde. In doing so, Oppenheim and her team of composers prove that 21st century bass is in very good hands indeed—and when it comes to center stage, the bass is right at Home.

Eleonore Oppenheim Photo