Composer: Timothy Sullivan
Works: A Magic Casement, Two Pianos, A Soft and Golden Fire
Performers: Kathleen Brett (soprano), Linda Maguire (mezzo-soprano), Stephen Ralls (piano), Bruce Ubukata (piano), Duo Turgeon (Two Pianos), Robert Cram (flute), Sanya Eng (harp)
Recording: 22-23 June, 5-6 August 2000, Church of St Mary Magdalene, Toronto
Label: Class X Discs
Timothy Sullivan emerges as a distinctive voice in contemporary Canadian music, navigating the delicate balance between modernity and the more traditional elements of melody and tonality. His recent work, particularly in A Magic Casement, pays homage to the lyrical poetry of figures such as Yeats and Keats, intertwining their evocative texts with Sullivan’s own musical language. This collection features a lush interplay between voice and piano, where the sublime tonalities offer a refreshing counterpoint to the often dissonant landscape of contemporary composition. It is a testament to Sullivan’s craft that he chooses not only the poets but also the themes of yearning and ethereality, resonating deeply with listeners.
The performances by Kathleen Brett and Linda Maguire are noteworthy for their expressive depth and technical finesse. Their voices intertwine seamlessly, reminiscent of the rich vocal heritage established by Britten and his contemporaries. The piano duo, expertly handled by Stephen Ralls and Bruce Ubukata, serves as more than mere accompaniment; it acts as a dreamlike landscape, imbuing the vocal lines with a shimmering quality that reflects the imagery of the texts. For instance, the track “Bugles of Dreamland” encapsulates a haunting stillness, showcasing Sullivan’s mastery of atmosphere and lyrical continuity. The piano’s bell-like sonorities indeed evoke a sense of floating, enhancing the ethereal quality of the vocal performances.
Two Pianos, in contrast, presents a more complex and challenging listening experience. It emerges from a darker realm, characterized by hesitant textures and a more fragmented structure, which may initially appear less approachable than A Magic Casement. This work features dissonance and rhythmic complexity, particularly evident in Part VII, where Sullivan delves into a bold exploration of harmonic volatility. The subsequent sections, especially Part VIII’s rhythmic interplay, evoke a spirited dialogue that channels elements reminiscent of Michael Nyman and Constant Lambert. The ambitious scope of Two Pianos could be likened to the atmospheric depth found in Richard Rodney Bennett’s Third Symphony, offering a rich tapestry for the performers.
A Soft and Golden Fire returns to the ethereal realms explored in A Magic Casement, but with a more nuanced palette through the inclusion of flute and harp. The instrumental backdrop conjures a vivid Celtic atmosphere, aligning with the lyrical themes of love and mortality found in Joyce’s poetry. Notably, Linda Maguire’s voice, though often beautifully captured, occasionally suffers from engineering choices that obscure the strength of her projection, particularly in the phrase “My dove, my beautiful one.” This decision to soften the voice seems misplaced, as the inherent vigor of her performance deserves to resonate fully with the listener.
While the artistic merit of this recording is substantial, the presentation leaves something to be desired. The design of the disc insert, regrettably, undermines the accessibility of the music itself. The choice of fonts and colors creates a frustrating reading experience, detracting from the otherwise commendable effort to introduce listeners to Sullivan’s compelling oeuvre. Critical details like track listings and titles are obscured, which could alienate those unfamiliar with Sullivan’s work.
Sullivan’s music, particularly showcased in A Magic Casement and A Soft and Golden Fire, is a rich contribution to the contemporary canon, appealing to aficionados of Britten and Geoffrey Bush while inviting new listeners to explore the depths of his artistry. The performances are expertly rendered, with moments of striking beauty and insight. Despite minor recording challenges and presentation missteps, this collection stands as a testament to Sullivan’s talent, deserving of a cherished place in the repertoire of modern song settings.
