Composer: Errollyn Wallen
Works: Dervish for cello and piano; Five Simple Songs for soprano and string quartet; Louis’ Loops for toy piano; Horseplay for ensemble; In Our Lifetime for baritone and tape; The Girl in My Alphabet for two pianos
Performers: Matthew Sharp (cello), Dominic Harlan (piano) (Dervish); Patricia Rosario (soprano), David le Page (violin), Kirsty Staines (violin), David Aspin (viola), Joseph Spooner (cello), Philip Headlam (conductor) (Five Simple Songs); Margaret Leng Tan (two toy pianos) (Louis’ Loops); Continuum Ensemble/Philip Headlam (Horseplay); Mike Henry (baritone) (In Our Lifetime); Douglas Finch, Errollyn Wallen (pianos) (The Girl in My Alphabet)
Recording: Cowell Theatre, Fort Mason Centre, San Francisco, USA (Louis’ Loops), March 1990; Wallen Music Centre, London (In Our Lifetime), 8-9 October 2001; Potton Hall, Suffolk, England, 25 March 1999
Label: AVIE AV 0006
Errollyn Wallen emerges as a singular voice in contemporary classical music, blending influences with an effortless fluidity that defies categorization. Her oeuvre, as showcased in this compilation, traverses a spectrum from the deeply introspective to the exuberantly playful, reflecting both her Caribbean heritage and her avant-garde sensibilities. Each work on this disc unveils a distinct facet of her compositional palette, underlining her ethos that barriers in music are merely illusions to be transcended.
“Dervish,” performed by Matthew Sharp and Dominic Harlan, opens the recording with a rhapsodic exploration that oscillates between the serene and the tempestuous. Wallen’s writing here evokes a rich tapestry of influences, from Schoenberg’s expressive dissonance to Bloch’s lyrical poignancy. The duo navigates the piece’s emotional landscape with sensitivity; Harlan’s piano provides a resonant yet agile foundation while Sharp’s cello dances between melancholy and fervor, particularly in the work’s central passage that recalls the haunting introspection found in Shostakovich’s Viola Sonata. The recording captures a clear, balanced sound, allowing the intricate dialogue between the cello and piano to bloom.
The “Five Simple Songs,” sung by Patricia Rosario and accompanied by a string quartet, emerges as a strikingly direct response to the human experience, interweaving threads of spirituals, blues, and classical motifs. Each song is imbued with an unmistakable warmth, as Rosario’s voice soars with an authenticity that is both operatic and conversational. The ensemble’s playing complements her vocal line with precision, notably in the second song, where the strings create a lush backdrop that enhances the emotional weight of the text. The engineering here is commendably transparent, allowing the nuanced inflections of the singers and instrumentalists to resonate clearly.
Margaret Leng Tan’s performance of “Louis’ Loops” on two toy pianos exemplifies Wallen’s playful yet sophisticated approach to sound. The work, a delightful juxtaposition of childhood whimsy and intricate counterpoint, evokes the chiming timbres of the harpsichord and celesta. The sonic textures produced are rich and engaging, showcasing Tan’s dexterity. The recording effectively captures the distinct sonorities of the toy pianos, though one might yearn for a touch more reverberation to enhance the ethereal quality of the music.
In “Horseplay,” Wallen’s collaboration with the Continuum Ensemble reveals her adeptness at writing for dance. The work encapsulates the varied facets of equine motion with rhythmic vitality. The ensemble responds with an infectious energy, particularly in the sections that evoke galloping rhythms, while Wallen’s orchestration reflects a keen understanding of timbral contrasts; the layering of textures recalls the vibrant spirit of Stravinsky’s ballet scores. The clarity of the recording allows each instrumental voice to shine, enriching the listener’s experience of this vivid musical tableau.
“In Our Lifetime,” a poignant tribute to Nelson Mandela, employs the ANC anthem “Nkosi Sikelel’ iAfrika” as a thematic anchor. Mike Henry’s baritone, enhanced by the tape’s multi-tracked layering, creates a striking choral effect that underscores the piece’s call for unity and resilience. The integration of spoken word and song is masterfully executed, drawing parallels to Tippett’s own explorations of political and social themes in music. The engineering here is particularly effective, providing depth to the vocal treatment without overshadowing the underlying orchestration.
“The Girl in My Alphabet” rounds off the disc with a spirited piano duo that marries elements of jazz with classical rigor. Wallen’s stylistic hybridity is on full display as she channels influences from Stravinsky to Nancarrow, culminating in a frenetic climax that is both exhilarating and disarming. The interplay between the two pianists is lively, with moments of intricate syncopation that evoke the vibrant pulse of urban life. The recording captures the exuberance of the performance, though a slight imbalance in dynamics at times obscures the subtleties inherent in Wallen’s writing.
This collection of Errollyn Wallen’s works is a testament to her unique voice in the contemporary classical landscape. The performances are uniformly compelling, showcasing the versatility of both the musicians and Wallen’s imaginative compositions. Each piece invites the listener into a world where musical boundaries dissolve, revealing a landscape rich with emotional depth and expressive vigor. For those willing to explore the innovative spirit of modern composition, this disc is a rewarding journey through the creative mind of one of today’s most vital composers.
