Julia Bruskin, cello; Winston Choi, piano;
Miranda Cuckson, violin; Scott Dixon, bass;
Christina Jennings, flute; Lura Johnson, piano;
Wendy Richman & Eliesha Nelson, viola;
Argento Chamber Ensemble (Michel Galante, conductor); Avalon Quartet;
National Gallery Chamber Players (Peter Wilson, conductor)
an expanding distance of multiple voices – I. Estatico e molto appassionato
Miranda Cuckson, violin
Streamed with permission
Jeffrey Mumford’s recent 2-CD album through a stillness brightening features a selection of imaginative, skillfully executed solo and chamber works to fire up the ears. The composer’s evocative titles, always written out in lower case à la e.e. cummings, set the stage for similarly poignant music, rife with dramatic gestures and unexpected twists such as languid, sustained timbres that transform on a pinpoint into scampering flurries of notes or edgy, restless sections of double-stops. Mumford studied primarily with Elliott Carter—the influence is audible—but Mumford’s music has a powerful style very much its own, to be heard in his use of rhythm and counterpoint, and in the way he conceives of musical space and time.
The list of musicians involved is a potential dream team for tackling the challenges inherent in this type of musical complexity. Miranda Cuckson’s performance of an expanding distance of multiple voices for solo violin is ravishing, as are the expertly wrought performances of wending by violist Wendy Richman, to find in the glimmering air…a buoyant continuity of layering blue by cellist Julia Bruskin, and two Elliott Carter tributes by pianist Winston Choi. Mumford’s sense of instruments in relationship to and in dialogue with one another is revealed in an evolving romance for flute and piano performed by Christina Jennings and Lura Johnson, as well as through the filtering dawn of spreading daylight for viola and bass by Eliesha Nelson and Scott Dixon, to be still more thoroughly elaborated upon in the Argento Chamber Ensemble’s performance of through a stillness brightening, echoing fields…spreading light by the National Gallery Chamber Players, and the Avalon Quartet’s in forests of evaporating dawns.
Many of the performances are live concert recordings, another testament to the excellent musicianship at hand. Sometimes I worry about double portrait CDs, in that music by the same composer doesn’t always hold interest for two solid hours, but that is not a concern with through a stillness brightening; this is an engaging and varied assortment of fine pieces, deserving of multiple listens and careful attention.