ABUSE FORM
Max E. Keller – Mondlandschaft (2003)
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d'Avignon
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Date :
22 Dec 2011 00:32:14
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Comments :
9
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Max E. Keller – Mondlandschaft (2003)
Classical/avant-garde | FLAC lossless | cuesheets+log | covers+booklet | 1h10m | 300mb
Label: MGB | cat. no. MGB CTS-M 84
| “ | The opening Mondlandschaft (Moon landscape) is an atmospheric work in which the winds of the Zurich Tonhalle Orchestra are excellently marshalled by David Zinman. Bold, block chordal gestures contrast with a variety of subtle quiet noises, sometimes unpitched, sometimes more melodic. The three movements are based on the same pattern of durations, although employing different tempi. The juxtaposition of contrasts makes for a strongly ordered composition, and yet the overall feel is almost impressionistic. The sense of dialogue that comes in Dialoguefelder (Dialogue fields) is generated more by the similarities and differences of the two instruments – double bass and percussion. Frequently the percussion is used in the subtlest ways, gentle brushes stroking a surface, while the double bass is treated almost aggressively in a percussionistic manner. This area of similarity and difference "shows that a dialogue starting from a point of contrast can become just as intensive an ensemble-passage as a dialogue using homogenous means" (Keller). Progressionen for three winds, three strings and piano is the oldest work on the disc and has an aspect of almost classical balance about it. Dating from 1981 it largely eschews extended techniques and makes greater use of traditional melodic structures. The cleanliness of the performance by the Gruppo Musica Insieme di Cremona is admirable, especially in the balance of wind, string and piano textures. As the piece forms contrasts of smooth melodic material and short spiky gestures there is a constant issue of background and foreground presentation, which is clearly resolved in this performance. Far more modern in impact is agieren und reagieren (action and reaction) although the compositional processes are strikingly similar. A juxtaposition of two contrasting tonal elements forms a synthesis of electronic and acoustic sounds that Keller then manipulates in varied ways. The electronics involved are a readily accessible (although powerful) synthesiser of a kind used by jazz and rock guitarists. Unfortunately the otherwise comprehensive booklet notes do not actually say what the instrument is. The idea behind the synthesiser is that the electronics are not a passive reaction to the piano sound, but an active duo partner. Once again structure is a driving and unifying force in the work. Six sections correspond to six types of electronic transformation and use a particular selection from six piano figures. Thus, although this work is nearly 15 minutes long, it does not, as so often, appear to ramble. Susanne Stelzenbach plays with controlled panache throughout and the recording, which can be a real challenge with both acoustic and amplified sounds present in a live situation, is clean and warm. Another recent work is Deformationen from 1998. Using texts by the composer and the subtle instrumentation of soprano, flute and guitar, this work is a relatively conservative song cycle in something approaching the traditional manner, put also showing elements of being a miniature opera. Functional harmony is employed, the flute is largely melodic and the vocal writing wisely avoids the "leap-randomly-about-and-add-screeching" school of text setting. The result is a work showing less of Keller’s interest in contrast, but more in a sense of unity of intention to powerfully convey meaning. From the idea of Deformation, Keller’s texts focus on the perversions of contemporary global ideas. As Keller puts it "freedom becomes boundless consumerism … schooling becomes an economised education market; Olympic Games become a means to hide social problems." The strongly theatrical aspect of the songs works particularly well in pointing out these uncomfortable features of our modern, somewhat smug, comfort. The Second String Quartet is almost entirely an exercise in rigorously structured composition. Five very different ideas form the material and these are subjected to a (not always apparent) process of variation. Each of the variations has a different ‘topic’; the first being essentially a deception, the second having to do with incompleteness, the third distortion, and the forth the fragmentary. The impression given to the listener is not necessarily one of apparent structural rigour, but of ensemble virtuosity. Although the four players act more independently that in a classical quartet, there are still areas of ensemble uniformity, but these remain essentially islands within a disparate musical seascape. The Schlesisches Streichquartett give a performance of considerable conviction and confidence and the recording (a live performance from 1996 recorded in the Studios Aga-Ton in Krakau, and the only recording on this disc not from DSR2) is admirable, even to the extremes of dynamic without distortion of the recording levels. Altogether this disc is varied and interesting. Not the usual run of burbling noises that lasts for too long doing the same thing, but intelligent and highly crafted music. Certainly this music demands something of the listener; it is not dinnertime background music – but the careful listener will certainly find something to think about on this disc. Peter Wells | ” |
Tracks:
01. Mondlandschaft part I [0:03:03.50]
02. Mondlandschaft part II [0:04:50.33]
03. Mondlandschaft part III [0:02:27.24]
04. Dialoguefelder [0:11:06.18]
05. Progressionen [0:08:14.69]
06. agieren und reagieren part I [0:02:17.65]
07. agieren und reagieren part II [0:03:16.49]
08. agieren und reagieren part III [0:02:30.63]
09. agieren und reagieren part IV [0:01:17.09]
10. agieren und reagieren part V [0:01:53.54]
11. agieren und reagieren part VI [0:03:22.15]
12. Deformationen part I [0:02:38.42]
13. Deformationen part II [0:03:42.09]
14. Deformationen part III [0:00:42.69]
15. Deformationen part IV [0:04:51.72]
16. Deformationen part V [0:02:18.49]
17. 2. Streichquartett [0:12:22.62]
Performers:
Tonhalle-Orchester Zürich – David Zinman (tr. 1-3)
Johannes Niedman, contrabass (tr. 2)
Victoria Ifrim – Percussion
Gruppo Musica Insieme di Cremona (tr. 5)
Suzanne Steizenbach – piano (tr. 6-11)
Ralf Hoyer – Electronics (tr. 6-11)
Eiko Morikawa – soprano (tr. 12-16)
Sarah Hornsby – flute (tr. 12-16)
Daniel Göritz – guitar (tr. 12-16)
Schlesiches Streichquartett (tr. 17)
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