STAFF PICKS: Friday Faves

Second Inversion hosts share a favorite selection from their playlist. Tune in during the indicated hours below on Friday, January 6 to hear these pieces. In the meantime, you’ll hear other great new and unusual music from all corners of the classical genre 24/7!

Sarah Kirkland Snider: Unremembered: VIII. The Witch (New Amsterdam)

unremembered_cover-300x300“The Witch” is the 8th vignette in a 13-piece song cycle titled Unremembered from fabulous composer Sarah Kirkland Snider. Aggressive strings and a militant orchestration set the scene for a spooky narrative that takes us into shadowy woods full of subtle horrors. Shara Nova’s growling vocals capture both the beauty and foreboding of this imagistic and vivid score. Snider’s “The Witch” is layered, grisly and intense from start to finish. Highly recommended for listeners of all ages, just maybe not before bedtime. – Rachele Hales

Tune in to Second Inversion in the 2pm hour today to hear this piece.

Aphex Twin: Mt. Saint Michel performed by Alarm Will Sound (Cantaloupe Music)

acoustica_300dpi_cmykStarting the new year swamped with work and already behind from the previous year is not ideal, but it is the situation many of us find ourselves in this January. Alarm Will Sound’s version of Aphex Twin’s Mt. Saint Michael is the perfect music for this situation. Perhaps embracing the chaos along with pursuit of self-care

is the way forward. – Seth Tompkins

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

Conlon Nancarrow (arr. Evan Ziporyn): Four Player Piano Studies performed by the Bang on a Can All-Stars (Cantaloupe Music)

55805527bd9c35da77388ee16ee84cb456d8fd53You could say the 20th century experimental composer and expatriate Conlon Nancarrow was a bit of an introvert. He lived most of his life in isolation, and for decades composed only for player pianos—working alone, by hand, to produce and perfect a massive library of swingin’ blues and boogie-woogie piano rolls, his famous 49 Studies for Player Piano among them.

Well, composer Evan Ziporyn decided to take a few of those piano roll etudes and put them into human hands—the hands of the Bang on a Can All-Stars. Ziporyn created a mixed ensemble arrangement that retains the visceral intensity and mechanical energy of Nancarrow’s original rolls, but reimagines them through the Technicolor timbral palette of Bang on a Can. It’s snazzy, jazzy, and full of color—proof that although player pianos have become largely obsolete, Nancarrow’s music is still very much alive. – Maggie Molloy

Tune in to Second Inversion in the 7pm hour today to hear this piece.

Lisa Bielawa: Synopsis No. 12 “What I Did Over Summer Vacation” Michael Norsworthy, clarinet (BMOP/Sound)

bmop1017sI have to confess that I was super biased to love this piece even before I heard it; as a clarinetist, I am a huge fan of the unaccompanied clarinet repertoire, and as a musician, I am huge fan of Lisa Bielawa. Incredible, bizarre, enigmatic works have been written for clarinet alone by composers like Igor Stravinsky, William Bolcom, and Shulamit Ran. As they require one single voice to command the listener’s attention, they are tremendously difficult to compose and perform. Luckily, the clarinet’s huge range provides ample opportunity to create a wide variety of colors and characters, and a bit of extended techniques can help as well. Bielawa’s work presents the performer with a number of different fragments and gives them free reign to decide the order in which they are played, and how many times they are used. The idea behind “What I Did Over Summer Vacation” and the other 14 Synopses (all with six-word titles) is tied to Hemingway’s six-word short story “For sale, baby shoes: never used.” Apparently, Bielawa’s musical fragments each represent a different vacation activity. BMOP’s clarinetist Michael Norsworthy does a lot of trilling and running around the register of the instrument – sounds like he had a busy summer vacation.

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

ALBUM REVIEW: Ispirare by Melia Watras

by Maggie Molloy

Think of the composers that have most inspired you. What is it about their music that makes your ears perk up, your heart soar, and your soul come alive? What is it about their music that makes you want to pick up an instrument and play something?

Violist Melia Watras asks all of those questions in her new album, “Ispirare”—but she also asks one more: what is the music that most inspired the composers themselves?

“‘Ispirare’ consists of contemporary music for viola and the pieces that inspired their creation,” Watras said. “I wanted to build a program around works that were not only engaging to perform and listen to, but also provided a creative spark for other composers.”

Watras has commissioned and performed numerous works by living composers throughout her career as a soloist, chamber musician, and recording artist—establishing herself as a very versatile violist in the contemporary classical music scene.

So who made it on Watras’s list of most inspiring contemporary composers? The album features works by George Rochberg, Atar Arad, Luciano Berio, and Shulamit Ran.

“Ispirare” begins with George Rochberg’s 1979 Sonata for Viola and Piano. Written late in his career, the piece is a lush tapestry of gorgeous melodies with clear ties to earlier composers. The first movement makes heavy use of chromaticism, extended tonality, and a unique harmonic language at times reminiscent of Bartók, while the dramatic, sweeping piano figures pay tribute to Richard Strauss. The soaring melodies and poignant lyricism of the second movement glide above jazz-infused harmonies, and the third movement ties the piece together with a neoromantic fantasia, an epilogue of sorts borrowing bits and pieces from the first two movements.

The piece that follows, “Caprice Four (George),” was inspired by Rochberg’s sonata, and even quotes part of it. Composed in 2003 by Watras’s former viola professor, Atar Arad, the piece is part of a set of viola caprices which Arad intended as “thank you notes to composers who graced us with great viola pieces.” With the exception of the opening phrase, the caprice is played entirely on the G string of the viola, with the instrument’s rich tone ringing and echoing unaccompanied. Intimate and exposed, the piece showcases the viola’s immense power and force as an instrument—and likewise Watras’s intensity and expressivity as a soloist.

In another cross-musical connection, Atar Arad’s daughter, singer Galia Arad, appears on the album’s next track: Luciano Berio’s “Black is the Color…” from his 1964 song cycle, “Folk Songs.” Composed for mezzo-soprano and small chamber group, the piece borrows from American, Armenian, Azerbaijani, and Italian folk traditions. Wistful viola motives and modal harmonies accompany Galia Arad’s gentle, daydreaming voice as she drifts through the sweet, simple, and sincere vocal melodies.

The song is so achingly beautiful, it’s no wonder it was the inspiration behind the next piece on the album, Shulamit Ran’s 2010 “Perfect Storm.” Watras commissioned Ran to compose a piece that made use of an existing work of her choice, and Ran chose to expand upon the viola motif in Berio’s song. The result is an unaccompanied viola solo which travels through a series of diverse musical landscapes: at times rocky, jagged, and intense, but at other moments sweet, shy, longing, and lyrical. It is (as the title suggests) the perfect storm: wind, rain, and rhythmic turmoil envelop the listener before the clouds clear, the pizzicato pitter-patter fades away, and they are left with a beautiful, airy silence.

The final and most experimental piece on the album is Berio’s 1985 “Naturale (Su Melodie Siciliane),” written for viola, percussion, and the recorded voice of a Sicilian folk singer. Recorded by the composer in Palermo, the voice belongs to Celano, whom Berio described as “perhaps the last true Sicilian storyteller.” The piece highlights the contrast between the highly refined classical transcription of folk songs with the raw and organic voice of a true folk singer. It’s the perfect ending to the album, as it juxtaposes, quite plainly, the musical inspiration itself with the music that it inspired.

And like all of the pieces on the album, “Naturale” illustrates the way musicians both inside and outside of the classical music sphere can teach one another, learn from one another, engage with one another, and ultimately, inspire one another.

PS, If you missed Melia’s edition of “The Takeover” with her husband Michael Jinsoo Lim, listen below!IMG_5874-Edit-Edit-Edit+copy