Noah Creshevsky’s expansive 2012 sample-based composition The Four Seasons, which forms the basis of his latest CD release on Tzadik, is hardly without precedent. For starters, there’s Vivaldi, but also Haydn, Fanny Mendelssohn, Glazunov, John Cage, Wendy Carlos, Chen Yi, etc. However, it is one of the most meticulously crafted renderings of this much-traversed concept and is arguably the most elaborate of all of his musical creations thus far.
Although the president of Local 802 implied that “abandon[ing] an accessible repertoire … resulted in financial disaster” for New York City Opera, most NYCO premiere performances I have attended over the years were packed. In fact, every opera company in the United States would better serve American audiences by presenting more contemporary American operas.
I have had a somewhat ambiguous relationship to music education throughout my life. Early guitar lessons were more of a straitjacket than a path to musical creativity, and I ran away from the teacher during my sole piano lesson. I only studied composition formally for one semester and never did anything I was assigned to do. Yet I no longer brag about being self-taught, because many teachers have influenced me.
Dissolving Images is a great introduction to Mark Gustavson’s compositional aesthetic, one which seamlessly blends heady structural rigor with emotional intensity and humor. Although each of these five pieces—two solos and three chamber works—is strictly notated, some of the material hints at the musical vocabulary of improvisatory traditions ranging from early jazz to Middle Eastern maqam and other non-Western idioms.
Whatever genre of music he is engaging in, Derek Bermel is always mindful of its context. That mindfulness, coupled with an insatiable musical curiosity, manifests itself whether he is composing music for an orchestra, playing clarinet with various chamber ensembles, singing in his own R&B band, or jamming with traditional musicians from around the world.