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 R1003
Bernard Rands, a significant figure in contemporary music, is known for his ability to weave intricate textures and lyrical lines, as demonstrated in “…in the receding mist…,” completed in 1988. This piece, drawing inspiration from a Samuel Beckett poem, showcases Rands’ mastery of color and atmosphere. Scored for a sonorous combination of flute, harp, and string trio, the work unfolds in a series of transformations based on three thematic ’tiles’: a folk-like melody, a rhythmic dotted figure, and a mordent. The piece progresses from simplicity to complexity, culminating in an expansive flute cantilena that embodies a haunting beauty typical of Rands’ style.
The performance by the North/South Consonance Ensemble under Max Lifschitz exhibits a commendable balance between clarity and expressiveness. The ensemble’s articulation of the delicate motifs is particularly noteworthy; the harp’s ethereal glissandi complement the flute’s soaring lines, effectively creating a misty sonic landscape that resonates with the work’s title. The recording quality is superb, highlighting the nuanced interplay between the instruments while maintaining a rich ambiance that invites listeners into Rands’ evocative world.
Aurelio de la Vega’s Testimonial, with its poignant settings of poems by political prisoner Armando Valladares, serves as a stark contrast to Rands’ atmospheric work. The cycle’s emotional weight is palpable, particularly in the second movement, the Adagio, where a distant piano’s Cuban danza evokes nostalgia. Ketchum’s expressive voice captures the essence of Valladares’ themes of hope and resilience, particularly in the final song’s dramatic proclamation of liberty. The ensemble adeptly navigates the atonal landscape, providing a robust support that enhances Ketchum’s vocal lines without overshadowing them. The engineering captures the intimate nuances of this performance, allowing the listener to fully engage with the emotional depth of the music.
Roque Cordero’s Dodecaconcerto offers a vibrant departure from the preceding works. Scored for twelve instruments, it is a lively and colorful exploration of folk-dance rhythms and textures reminiscent of Revueltas. The ensemble’s precision in executing the nervous, crisp, and mildly dissonant lines demonstrates both technical proficiency and interpretive insight. The recording’s clarity allows the listener to appreciate the intricate dialogue between instruments, particularly in the sonata-allegro movement where the thematic material is developed with remarkable agility.
Bruce Saylor’s See You in the Morning rounds out the collection with its accessible yet profound settings of poems by African-American women. The cycle’s varied emotional palette—ranging from wistfulness to humor—benefits from Ketchum and Beavon’s committed performances. The final poem’s message of hope is delivered with a sincerity that resonates deeply, marking a fitting conclusion to this diverse program. The ensemble adeptly supports the vocal lines, and the engineering captures the warmth of the voices against the rich instrumental backdrop.
The recording as a whole demonstrates the strengths of the North/South Consonance Ensemble, showcasing a commitment to contemporary repertoire that is both artistically compelling and technically proficient. The sound quality enhances the listening experience, allowing the subtleties of each composer’s voice to emerge distinctly. This collection not only highlights the individual merits of each work but also serves as a testament to the vibrancy of contemporary classical music. The performances are engaging and insightful, making this recording a valuable addition to the repertoire of anyone interested in the voices of living composers.
