I can’t think of another composer who manages, again and again, to create such an inverse relationship between the bald simplicity of the compositional plan and the crazy richness of the musical result. The more basic Lucier’s hypothesis—the more abstract the map—the more inexhaustible the experience.
One of the more endearingly paradoxical indications of compositional success is that interest gets piqued in music that even the composer had largely forgotten about. Unpublished works, unfinished works, juvenilia—when even that becomes fair game, you know you’ve (posthumously, usually) made it. The latest recordings from Florestan Recital Project pay that tribute to Samuel Barber (1910-1981).
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.
There is something invigorating about the diversity of Henry Brant’s career. But there is one corner of his catalog that doesn’t get mentioned much: his music for children. In the late 1940s and early 1950s, Brant wrote three original scores for records produced by Young People’s Records and its successor, the Children’s Record Guild—some of the hippest children’s records ever made.