The Certain and Uncertain Symphony

 Molécule - Symphonie no. 1, "Quantique"

"This symphony is an imaginary and symbolic representation made up of probabilities, intuitions, certainties and uncertainties. It is an artistic adventure charged with encounters, openness, benevolence and learning; its cardinal point is love for sound and its vibrations."
- Romain De La Haye-Serafini, aka Molécule

"All the good music has already been written by people with wigs and stuff."
- Frank Zappa 

This fascinating new symphony by the electronic musician Molécule was made in remarkable way. The composer attended rehearsals of the Orchestre National de Lille over a period of two years, recording everything: 

"... the sliding of strings, harmony, the cracking of instruments, silences, melodies, musicians’ breaths, the inaudible frequencies of a double bass... I wasn’t looking for perfect notes, but for a collection of sounds that would give me enough material to start composing."

This gave Molécule his sound palette. He took those sounds, manipulated them, and then recombined them into the standard four-movement symphonic format we all know and love. After he had created his soundscape, it was transcribed by Sinan Asiyan into standard orchestral notation, and played by the 83 musicians of the orchestra, led by its conductor Alexandre Bloch.

Molécule's earlier works involved a more adventurous sound recording stage; he gathered sounds in Arctic Greenland, and at the legendary huge waves of Nazaré in Portugal. But as he says in this video, the project with the Lille orchestra had its own artistic risks:

Molécule's sound-gathering is the most interesting and innovative part of both his earlier work and the Symphonie project. It might be analogous to Bartok or Villa-Lobos's ethnomusical forays into the Hungarian countryside and the Amazon rainforest. Meanwhile, the classical sound collage has been a staple of post World War II avant garde music: Mauricio Kagel's Ludwig Van, from 1969, is a good example:

But as cool as the process is, the proof of this particular pudding is in the music itself. There are certainly some impressive moments in the finished works, and I was swept up in some peak passages throughout. The problem with this kind of pastiche is also its strength: the best-sounding bits are the least original. There are plenty of modernist clichés and avant garde clichés and movie soundtrack clichés in this work. But of course, the parts that sound the most like John Williams or Howard Shore also sound like those composers' (acknowledged) forebears: Gustav Holst and Richard Wagner and Richard Strauss. Though Molécule actually samples particular works - for example, Debussy's La Mer and Holst's The Planets in Mouvement II, No. 3: 335 398 400 - most of the source material has been massaged so that only echoes of the original music can be heard.

Symphonie no. 1, in the end, can stand on its own as a success of outstanding process and workmanlike structure. Listen for yourself:

A rich new Goldberg Variations

 Nevermind - Bach Goldberg Variations

If your idea of diversity in the Goldberg Variations universe is to occasionally swap out the 1955 and 1981 recordings of Glenn Gould, you might want to expand your horizons and listen to this new arrangement of Bach's perennial best-seller, by the talented young musicians of Nevermind: Anna Besson, transverse flute; Louis Creac'h, violin; Robin Pharo, viola da gamba; and Jean Rondeau, harpsichord and organ.

You'll find the sounds of Nevermind's four instruments, in various combinations, throughout Bach's works: his sonatas for violin, for viola da gamba, and for flute, and in passages from the Passions and Cantatas. The Paris Quartets of Telemann and Les Nations by François Couperin are among the other models used in this transcription.

The spell that the Goldberg Variations weaves seems to mess with one's internal clock. I can never believe that so much happens in the 38 minutes of Glenn Gould's first version, or that even his more measured 1981 recording is still only 51 minutes. To be sure, Gould isn't generous with repeats, but there is still a feeling of time standing still in many of the variations (and in the 1981 version, of the Aria itself). Here we have the opposite effect; instead of time slowing down, there seems to be a disconnect at the end of the Aria da Capo. Surely, that hasn't been 100 minutes (over two CDs, if you're still listening on physical media)! One is carried along by the internal engine of the music, its logic, and by the often dramatic, even operatic, effect of the instrumental timbres. In his notes to his 1955 recording, Gould called this "... music which observes neither end nor beginning, music with neither real climax nor real resolution." We may have ended up where we began (time being, as we learned from True Detective, a flat circle), but what a rich experience it was!

Listening to the Goldberg Variations in a special performance on the piano or harpsichord can feel like a singular communication with the performer and the composer. This, though, is a more communal experience, not only with the four musicians, but with Bach's European network of performance practices and the traditions of music-making from the 18th century until today. For me, though, it was still a private experience that touched me deeply.

This is a journey well worth taking!

The cover photo is by Clement Vayssieres.

A vivid picture of a 15th century composer

 Alexander Agricola: Masses

Alexander Agricola was a Netherlandish Renaissance composer who lived and worked in France, Italy and the Low Countries from the 1470s until his death in 1506. This makes him a contemporary of Josquin des Prez, though his earliest music was written under the influence of Johannes Ockeghem, who was 30-40 years older than Agricola and Josquin.

Agricola's eccentric mixture of dense polyphony, "athletic" voice parts, rhythmic virtuosity and an often playful shifting of the musical norms of the day places him in the category of musical innovators/oddballs that includes De Lasso, Gesualdo, Biber, CPE Bach, Satie & Ives. At the same time, this is music of strange beauty and obvious religious feeling, written at a time when the religious stakes in Europe were very high indeed.

It also makes for a good match with Beauty Farm, the excellent group of six male singers who have presented, on the Fra Bernardo label, so many fine albums of Netherlandish and French Renaissance music: by Ockeghem, Gombert and Obrecht, among others. Agricola's masses on this album, the Missa Malheur me bat and the Missa in myne zyn, make for two well-filled CDs of music from a little-known master.

"Malheur me bat" is a three-part rondeau by an unknown composer; it's an example of the Phrygian mode, one of the eight church modes, which is known for its emotional character. Agricola was not the only composer to make use of this source material; there are works by Obrecht, Ockeghem and Josquin based on the same rondeau tune. But it's clear that Agricola has made a very personal work out of this common source.

Missa in myne zyn, Agricola's final mass, is based on a popular Dutch tune. I know this work from the 2010 recording on Ricecar with Capilla Flamenca under Dirk Snellings, which is also a wonderful recording. But Beauty Farm brings out a touch more character and individuality in their version, There's no holding back in the weird, and weirdly beautiful, Agnus Dei III.

There are many gaps in our knowledge of Agricola. We don't have a clear idea of when all of his major works were written, or even where he was in Europe at any given time. But the music on this disc speaks so eloquently we have a vivid facsimile of what kind of person he was. That's a tribute to both the artistry and the scholarship of Beauty Farm.

The wonderful cover image is by Muntean/Rosenblum, the collaborative artist duo of Markus Muntean and Adi Rosenblum. See more of their artwork here.

Let's Dance!

Unexpected America: music by Paul Schoenfield, William Bolcolm, Camargo Guarnieri, Aaron Copland, Mike Mower

Put on your dancing shoes for a well-chosen mix of South and North American music for violin and piano, from violinist Oscar Bohórquez and pianist Frank Braley.

The programme begins with a suite of Four Souvenirs for Violin and Piano, by the Detroit-born composer Paul Schoenfield, written in 1990. An opening Samba, with a slow interlude at its centre, is followed by a sultry Tango. As often happens at a dance, when a slow song comes up, things get steamy! The ghost of George Gershwin is then brought out for Tin Pan Alley. This is top rank pastiche; I definitely use that word in a positive sense! Schoenfield's finale is Square Dance, one of the most lively bits on this album. It's sad to learn that Schoenfield died just under a year ago, in April 2024, at 77 years of age. This wonderful performance makes for an elegy and remembrance of a fine composer.

William Bolcolm's lovely ragtime "Graceful Ghost" is a standout. Bolcolm really shows as well as tells; this is as graceful as any piece I've heard. The themes are so lovely, which is important in this form. With so many repetitions in a ragtime,  each of the tunes must be embraced on its return. Bolcolm's six minute piece never wears out its welcome; this is salon music of the highest level.

Mozart Camargo Guarnieri's Violin Sonata no. 4 is a substantial work in a standard classical music form, but even here one feels the built-in rhythms of the choros, the urban popular music of Brazil. Written in 1956, while his (and every other Brazilian composers') master, Heitor Villa-Lobos, was still alive, Guarnieri's Sonata looks back to Villa's three violin sonatas of the early 1920s, which made such a stir at the Semana de Arte Moderna in Sao Paulo in 1922. The typically Brazilian version of nostalgia - saudade - is evident in the lovely Intimo slow movement, though Guarnieri really lets loose in the raucous Allegro appassionato finale, which has Villa's fingerprints all over it. By the way, Mozart was really Guarnieri's given name; his brothers were Bellini, Verdi and Rossine. A tough act to follow, on top of the Villa-Lobosian elephant in the room, but Guarnieri never seems to have lacked for self-confidence. His music always displays complete self-assurance and equanimity.

Aaron Copland's Nocturne, from 1926, is another slow dance in a modernist idiom. Perhaps it's the context of this programme, but this American music heard through a Parisian lens, with Nadia Boulanger's fingerprints this time, very much feels at home in South America as well. Copland made many personal and professional connections among Latin American musicians through his involvement in Nelson Rockefeller's Good Neighbor initiative of the WWII years, but that was still in the future.

The last work on the disc is the beguiling Bossa Merengova from the British composer Mike Mower's Sonata Latino, from 1994. This clever mix of the Brazilian bossa nova and the Cuban merengue shows the underlying connections between the various dance traditions of Latin America. Again with a wistful element to go with the sprightly rhythms, this is a wonderful way to end a wonderful programme.

Bohórquez plays a Guarneri del Gesù violin on which he produces a beautiful tone; his familiarity with the various musical traditions of Latin America results in completely idiomatic performances. He and pianist Frank Braley really swing this music when required; it's important to stress the folkloric component of this music, especially in a work like the Guarnieri Violin Sonata, with its erudite, academic, component.

The Right Stuff in 18th Century Music

 The Age of Extremes: Music by W.F. Bach, C.P.E. Bach & G. Benda

"We were exploring the frontiers, we were out at the edges of the flight envelope all the time, testing limits...."

- Neil Armstrong

The 18th century was a period of enormous change, with wild swings between reason and emotion, or, as Jane Austen had it, sense and sensibility. These swings are obvious in the music that came after the death of Johann Sebastian Bach in 1750 and George Frideric Handel nine years later. It was Bach's son Carl Philip Emmanuel (CPE) who perhaps best exemplifies the new Empfindsamkeit (take your pick of sensibility, sentimentality or sensitivity) in German music. But CPE didn't reject the craft of his father to explore new emotional opportunities in music; rather, he adapted established forms but tested their limits.

Harpsichordist and conductor Francesco Corti has put together a fascinating programme of music by CPE, his brother Wilhelm Friedemann, and their Bohemian colleague Georg Anton Benda, that shows musical and emotional envelopes being pushed. There are hair-raising moments in this music: the Allegro second movement of WF Bach's Sinfonia in D minor begins with a fugal passage that explodes with energy, especially since it follows a melting Adagio that's almost the definition of Empfindsamkeit, looking back at Corelli and ahead to Mozart. And in his Variations on Les Folies d'Espagne, CPE becomes a musical test pilot and breaks the supersonic barrier. Corti shows his virtuoso chops here! Georg Benda's Harpsichord Concerto in B minor has its own surprises amidst its many felicities. Even the pretty and proto-romantic slow Arioso movement is revolutionary in the way it wears its heart on its sleeve. And the flighty Allegro finale, which ends this programme, wraps everything up. Barriers are down, genres are busted. And a good time was had by all.

The orchestral playing on this album is exemplary, as one would expect from the wonderful group Il Pomo d'Oro, who I know from their new complete Mozart symphonies project with conductor Maxim Emelyanychev. Corti plays a harpsichord made in 2001 by Keith Hill in Manchester MI, after an anonymous German instrument from around 1700. It has a robust sound, and is well balanced, not too forward but much easier to hear than in the bad old days of wimpy Early Music recording. This is such an enjoyable release, and highly recommended.

Here is the repertoire on the disc:

The great photo of Corti on the cover is by Leonardo Casalini.