Composer: Bernard Rands
Works: “…in the receding mist…” (1988), Aurelio de la Vega: Testimonial (1990), Roque Cordero: Dodecaconcerto (1990), Bruce Saylor: See You in the Morning (1986)
Performers: Anne Marie Ketchum (soprano), Constance Beavon (mezzo-soprano), The North/South Consonance Ensemble, Max Lifschitz
Recording: Recital Hall of the University of Albany, June 1993
Label: North/South Recordings R 1003
The new release from North/South Recordings presents a compelling survey of contemporary works by four significant composers, with Bernard Rands’ “…in the receding mist…” serving as the cornerstone of this program. Rands, a British-born composer who has made his mark in the American landscape, draws inspiration from literary influences, specifically the poetry of Samuel Beckett. Completed in 1988, “…in the receding mist…” exemplifies Rands’ ability to weave a tapestry of atmospheric sound using a delicate ensemble of flute, harp, and strings, reminiscent of the impressionistic hues of Ravel.
The performance of Rands’ piece is executed with a sensitivity that highlights its lyrical qualities. The ensemble’s interpretation effectively captures the ethereal nature of the work, as the flute emerges as a principal voice, singing a long cantilena that beautifully encapsulates the essence of the title. The employment of three distinct musical ’tiles’—the folk-like melody, the dotted rhythmic motive, and the mordent figure—demonstrates Rands’ skill in thematic transformation. This approach allows for a palpable tension and release, making the concluding passages particularly poignant. The recording quality is pristine, allowing the subtleties of the harp and strings to shimmer through the texture, creating a vivid auditory impression that resonates with the listener.
Aurelio de la Vega’s Testimonial, completed in 1990, follows and shifts the emotional landscape to a more urgent and politically charged narrative. The work’s basis in the poetry of Armando Valladares, a voice of resistance during his incarceration, lends a gravitas that is both moving and unsettling. The soprano, Anne Marie Ketchum, brings a haunting quality to the text, particularly in the first song where the imagery of rain becomes a potent symbol of hope. The ensemble’s execution of the nervous Scherzo, “In Memoriam Alberto Ginastera,” is particularly notable, as it evokes the spirit of Ginastera’s own works while infusing it with de la Vega’s Cuban rhythmic vitality. The emotional apex of the piece arrives with the Adagio, where the distant piano interjects a Cuban danza—this moment is masterfully crafted, effectively bridging the cultural and emotional divides inherent in the music.
Roque Cordero’s Dodecaconcerto, a lively work scored for twelve players, presents a vibrant exploration of folk-dance rhythms and colorful textures. Cordero’s ability to blend traditional sonorities with modern dissonance creates a piece that is both accessible and engaging. The ensemble’s performance is crisp and energetic, evoking comparisons to the vibrant orchestral palette of Silvestre Revueltas. The recording captures the intricate interplay of instruments, ensuring that the lively contrasts within the sonata-allegro form are articulated with clarity and precision.
Bruce Saylor’s See You in the Morning rounds out the collection with a poignant song cycle based on the poetry of African-American women. Saylor’s lyrical writing and use of mixed ensemble support the diverse emotional tone of the texts. Ketchum’s nuanced interpretation brings forth the cycle’s wistfulness, humor, and ultimately, its message of hope. The engineering of the recording allows for a rich blend of voices and instruments, enhancing the overall impact of the cycle.
Each work in this collection not only showcases the individual strengths of these composers but also highlights the excellent musicianship of The North/South Consonance Ensemble under the direction of Max Lifschitz. The recording is a testament to the vibrancy of contemporary classical music and the necessity of platforms that champion living composers. This release is a commendable addition to the discography of modern classical repertoire, offering listeners a rich and varied experience that merits repeated engagement.
