There’s a tension between the natural world songbirdsongs is meant to evoke and the artificial means of the evocation that gives the music an interesting texture. Lovely things happen in every movement of the piece, but in a way that is meant to feel accidental and found, rather than designed and anticipated.
I’ve long been a fan of Sergio Cervetti’s Guitar Music: The Bottom of the Iceberg but having only heard any of his music on compilations led to aesthetic experiences which were ultimately unfulfilling. Each of his compositions created such an evocative sonic universe, so I found it extremely frustrating every time I was jolted into another reality when someone else’s music appeared on a subsequent track. Therefore I was delighted when earlier this year Nazca and Other Works, an entire disc devoted to Cervetti’s music, was released on CD by Navona Records.
The Chicago-based ensemble Third Coast Percussion has released a new CD and separate surround sound DVD on Mode (available either individually or together) of six early percussion works that will perk up the ears (and eyes, if you choose to include the DVD) of anyone even remotely interested in percussion music performance and/or John Cage.
The mission of the 25-member a capella ensemble Volti is to think outside the box of choral music, and to continue expanding that landscape by commissioning new works and championing the music of living, breathing composers. In its latest CD House of Voices, Volti brings its exceptional musicality to the table once again.
If I’m completely candid, the two large dinosaurs dominating the cover were what first attracted my attention to Travel Diary, a CD of works for percussion duo composed by Tristan Perich, Nathan Davis, David Lang, and Paul Lansky. Was there any way this album could end without someone being eaten alive?
While there have been many composers who have explored combining Western musical forms and orchestrations with elements from the art music of China, Japan, Iran, India, and Indonesia, very few have attempted a similar rapprochement with the music of Thailand. But the music of a Thailand-born composer now based in Kansas City, Narong Prangcharoen, has perhaps been the most effective thus far in seamlessly weaving Thai and Western classical idioms.