Category Archives: On record

On Record – Dan Michaelson: Colourfield (Village Green Recordings)

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reviewed by Ben Hogwood

What’s the story?

Dan Michaelson is known principally for his work as a respected Americana singer, with five albums to his name with the Coastguards, and two as a solo artist. More recently, however, his explorations have taken him towards descriptive instrumental music, with a soundtrack for the film Blowin’ Up in 2018, not to mention three seasons’ worth of music for the three series of underground TV hit Detectorists.

Working under a self-confessed influence from the music of John Adams, Steve Reich, Anna Thorvaldsdottir and Caroline Shaw, Michaelson started work on his own solo album of instrumental music, collaborating with violinist Galya Bisengalieva and Robert Ames, the violist who also conducts the London Contemporary Orchestra.

What’s the music like?

Very accomplished. Michaelson takes the name checked influences and works them really well, creating his own pictures that evolve slowly but very surely. The woodwind and piano colouring in Colourfield II is reminiscent – in a wholly good way – of Steve Reich’s work in his Variations for winds, strings and keyboards.

Coulourfield III has the most memorable theme, a suitably heroic horn line, while by contrast Colourfield IV has lovely dappled shades, with stately strings that gradually pick up more energy. Colourfield IV is atmospheric too, with shimmering harmonics and tremolo, a strong sense of the wood on these stringed instruments actually creaking.

Michaelson is equally at home in smaller and larger structures – and the second and fifth pieces extend beyond ten minutes with ease and control.

Does it all work?

Largely. Michaelson creates some vivid pictures but just on occasion the feeling persists that more melodic elements would raise the profile of the music. The textures are undeniably beautiful, as are the harmonic progressions, but it sometimes needs an extra line, such as a vocal or solo instrument, to elevate it to something truly memorable.

Is it recommended?

Yes. Even with the melodic reservation taken into account, there is some beautiful music here which really holds its own on repeated listening. Michaelson’s scoring is ideally weighted, and any of these numbers would be the ideal foil for visual material. It will be interesting to see where he goes from here.

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Switched On – Laurence Pike: Prophecy (The Leaf Label)

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reviewed by Ben Hogwood

What’s the story?

Laurence Pike is on the crest of a creative wave. After an impressive output as drummer with PVT, he has joined forces with Luke Abbott and Jack Wyllie of Portico Quartet as Szun Waves, releasing their self-titled debut in 2016. Since then he has reeled off three albums as a solo artist, and Prophecy, his latest, shows his love for instinctive working continues.

The record is his response to the deepening global climate emergency but in particular hones in on the destructive wildfires wreaking havoc across Australia. The cover art, Goldens by Australian artist Gemma Smith, reflects his concerns in a striking image.

What’s the music like?

Instinctive. Pike works a very effective blend of pre-prepared material and improvisation, striking a balance between the two that feels just right.

He has close attention to detail with the brushstrokes of his percussive work matching up to broader musical sequences. Death Of Science bubbles with tension, creating quite a foreboding atmosphere. Ember is evocative, with a slightly distorted vocal and a distant but reassuring piano. The title track has a nice ambient backdrop while percussion clicks and whirs around.

New Normal is eerie both musically and in the fact its title was coined before the Covid pandemic, and it features clicks and brushes with a soft but insistent harpsichord motif.
Nocturnal noises continue into Born Under Saturn but with a softly voiced backdrop, before the musical camera pans out further on Rapture, the higher pitches suggesting we have taken to the air.

Pike’s use of percussion is never less than interesting but frequently sets vivid nocturnal pictures. Arguably the best is saved for last, with Echoes Of Earth underpinned by a steady but very sonorous chime, creating a rather beautiful epilogue.

Does it all work?

Yes. Pike’s uses the army of percussion at his disposal with a painter’s touch, and his brush strokes are commendably subtle at times. The way he combines the percussion instruments with subtle melodic loops or atmospheres is very effective, and the album works well both on headphones and surround sound.

Is it recommended?

Very much so. Laurence Pike’s work goes from strength to strength, and this particular episode is both effective and deeply felt.

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Switched On – Rival Consoles: Articulation (Erased Tapes)

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reviewed by Ben Hogwood

What’s the story?

Articulation is the fifth album for Erased Tapes from Rival Consoles, the name under which Ryan Lee West releases much of his music. The inspiration for this album is György Ligeti, not in an explicitly musical sense but in the art of making music from a graphic score. The idea behind this was to get away from the computer and start with patterns, shapes or structures drawn by hand. This would generate musical solutions. Two of the initial scores sketched out by West are shown below:


Articulation


Sudden Awareness of Now

What’s the music like?

Articulation has less obviously musical content than its predecessor Persona. There are admirable and often striking sounds and textures achieved through this music, which often creates powerful pictures and atmospherics. Yet while the chord progressions are strong there is not so much of a melodic strength in depth.

Opening track Vibrations On A String is a study in tonal colour, moving between distortion and a more consonant sound until a forthright beat kicks in. There is a tension between the energy of the beats and the slow four-note progression of the string itself.

Forwardism and Articulation follow similar paths, with relatively minimal means. The former strips back to beats and jagged atmospherics, while the latter takes a more active broken beat and spins threads around it. Melodica is much warmer, the beats retreating and the music panning out a little, the approach allowing for more improvisation, while Still Here resembles an extended peal of mid-range electronic bells, delivered without beats.

Most impressive and enduring is the final Sudden Awareness of Now. With a dazzling array of textures applied to its central riff it crackles with energy, sending out trance-like pulses but surrounded by a warm haze of sound.

Does it all work?

Yes, in terms of conforming to West’s blueprint, but the shift away from computer towards drawings has not necessarily given the music more emotion. If anything, it sounds more processed, a collection of sounds rather than melodies. It is very effective for mood-setting and creating colours but does not always leave a lasting impression.

Is it recommended?

Articulation is an easy recommendation for Rival Consoles devotees, but it does not yet come across as his strongest album. Time will tell if it has the same staying power as other Erased Tapes releases, but for now Articulation is easier to admire than an album with which to form a strong emotional bond.

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On record: London Symphony Orchestra / François-Xavier Roth – Panufnik Legacies III (LSO Live)

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Panufnik Legacies III:
Ashby Desires (2016)
Campbell Frail Skies (2015)
Giguère Revealing (2015)
Horrocks-Hopayian A Dancing Place (Scherzo) (2010)
Lee Brixton Briefcase (2011)
Morgan-Williams Scoot (2015)
Roth Bone Palace Ballet (2014)
Sergeant but today we collect adds (2008)
Shin In this Valley of Dying Stars (2016)
Siem Ojos Del Cielo (2008)
Taplin Ebbing Tides (2014)
Whitter-Johnson Fairtrade? (2008)

London Symphony Orchestra / François-Xavier Roth

Producer Jonathan Stokes
Engineer Neil Hutchinson
Recorded 26-27 April 2019, LSO St Lukes, London

LSO Live LSO5092 [67’54”]

Reviewed by Richard Whitehouse

What’s the story?

Operating since 2005, the LSO Panufnik Composers Scheme (in memory of the Polish-born British composer) has enabled a generation of aspiring artists to be heard on an international platform, with results that are rarely less than diverting and sometimes not a little compelling.

What’s the music like?

Ayanna Witter-Johnson questions the ethicality of third-world production in the interests of Western consumerism via an eventful while (purposely?) inconclusive interplay of grinding rhythms and ominous harmonies. Ewan Campbell draws on meteorological conditions of the sky for this study of no mean textural and timbral finesse, though what is much the longest piece rather loses focus in its fraught closing stages. Cevanne Horrocks-Hopayian toys with concepts derived from Ancient Greek theatre, Classical concepts of democracy and the Marx Brothers in this scherzo whose gender-specific aspects go for little assessed purely as music. Donghoon Shin takes his cue from the nature of stars in a piece whose overtly impressionist elements do not preclude episodes of more purposeful activity, even scintillating virtuosity.

Alex Roth seeks to convey notions of human experience through a diverse orchestral palette – submerged within, an 1888 recording of Handel’s Israel in Egypt adds its intriguing temporal resonance. Matthew Sergeant draws on disparate objects displayed at a 1953 exhibition for a sequence of vignettes whose unforeseen interconnectedness results in unlikely yet engaging variations on the initial premise. Patrick Giguère seems intent on conveying that process of ‘revealing’ less as a reduction in musical layers as of accessing the essence of the composer, which proves worthwhile more in theory than in practice. Sasha Siem takes up the notion of ‘‘the eyes of a person who is absent or no longer there’’ for a piece where the struggle of a melody to break into the foreground creates palpable tension in the shortest of these pieces.

Bethan Morgan-Williams gives preference to clarinets in music whose sudden transformation from nonchalance to anxiety is achieved with appealing verve and an ultimately barbed irony. Michael Taplin has contributed a study in (as its title suggests) emergence and evanescence such as the orchestra is well equipped to convey, provided that the music does not outstay its welcome. Benjamin Ashby seeks to reconcile opposites – namely those of the flesh and of the spirit – in a process where understated antagonisms (inevitably?) seems rather more arresting than even their tentative reconciliation. Finally, Joanna Lee draws upon memories of cassette players (presumably those formerly referred to as ‘ghetto-blasters’) that frequently enlivened inner-city environs during the 1980s, albeit with greater visceral impact than is evident here.

Does it all work?

Mostly, and not least because François-Xavier Roth draws playing of unstinting commitment from the London Symphony Orchestra. His support for the Panufnik Composers Scheme has been a primary factor in its success over the past 15 years and will doubtless continue to be so.

Is it recommended?

Yes, notwithstanding a relative lack of underlying rhythmic energy or cumulative momentum with almost all these pieces. Anyone interested in sampling what is on offer should head to the Shin, Sergeant or Siem pieces (though not necessarily in that order!) then proceed from there.

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For further information, audio clips and purchase information visit the LSO Live website

On record – Peter Dickinson: Chamber & Instrumental Music (Toccata Classics)

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Peter Dickinson
Violin Sonata (1961)
Air for solo violin (1959)
Metamorphosis for solo violin (1955, rev 1971)
String Quartet no. 1 (1958)
Fantasia for solo violin (1959)
Lullaby for violin and piano (1967)
String Quartet No. 2 (1976)
Quintet Melody for solo violin (1956)
Tranquillo for violin and piano (1986, rev. 2018)

*Peter Sheppard Skaerved (violin); **Roderick Chadwick (piano); ***Kreutzer Quartet [Peter Sheppard Skaerved, Mihailo Trandafilovski (violins), Clifton Harrison (viola), Neil Heyde (cello)]

Toccata Classics TOCC0538 [71’26”]

Producer Peter Sheppard Skaerved
Engineer Jonathan Haskell

Recorded 27 July & 29 November 2017, 16 January & 26 March 2019

Written by Richard Whitehouse

What’s the story?

Toccata Classics turns its attention to Peter Dickinson (b.1934), whose impeccably crafted and stylistically wide-ranging music has enhanced British music over almost seven decades – not least these chamber and instrumental works that are all recorded here for the first time.

What’s the music like?

Dickinson might consider the Violin Sonata to be among his more challenging works, but its serial technique is subtly embedded into outer Fast movements whose rhythmic tensility has an engagingly Bartókian impetus, while the central Slow movement alludes to Greensleeves near the start of its spare yet eloquent and at times impassioned course. At the other end of the scale, Lullaby is one of several warmly attractive and immediately accessible pieces derived from the abandoned opera The Unicorns, while Tranquillo is a recasting of part of the central section from the Violin Concerto (recorded on Heritage HTGCD276 along with concertos for organ and piano) Dickinson wrote as an In memoriam to Ralph Holmes – with whom he often gave recitals, not least of Beethoven’s Spring Sonata which makes a belated appearance here.

Dickinson’s output for solo violin is hardly less significant – whether with the folk-inflected plaintiveness of Air or the deftly accruing velocity of Metamorphosis (that both were initially conceived for flute makes this idiomatic new guise the more striking). More ambitious is the Fantasia with its grandly (but never wantonly) rhetorical gestures and vaunting passagework that aptly evokes the skyline of New York – in which city the composer studied during 1958-61, a time of considerable social and cultural upheaval. No less affecting despite (or perhaps because of?) its brevity, Quintet Melody is all that has survived from a quintet written when a Cambridge undergraduate. Dickinson has composed music for solo instruments throughout his composing career, of which those featured here constitute some of the most appealing.

Surprising that Dickinson’s string quartets have only now received their first recordings. The First Quartet opens with an intensively argued Allegro whose energy is the more palpable for its formal concentration, then the haunting ‘night music’ overtones of the central Lento – not least its quietly ecstatic solos and trenchant rhythmic ostinatos – carry over to a final Allegro whose ‘misterioso’ marking denotes its speculative progress to an eruptive climax and highly equivocal close. Unfolding as an eventful and often ingenious single movement, the Second Quartet evokes Ives in the way strings wend their leisurely yet methodical way to a rendition of the ‘rag’ that piano – heard on tape – has been sounding fragmentarily all the while. That this arrival is anything but decisive only makes the process of getting there more intriguing.

Does it all work?

It does, not least as Dickinson is a master of ‘less is more’. The longest of these pieces is little over 15 minutes in length, but this does not detract from the variety of incident and expression that the composer has invested into their content – not to mention their technical challenges.

Is it recommended?

It is, given the all-round excellence of the performances and the ideal ambience in which they have been recorded. A fluent author, Dickinson’s own observations on each piece are nothing if not apposite, and it is to be hoped that a follow-up disc might yet emerge from this source.

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You can discover more about this release at the Toccata Classics website, where you can also purchase the recording.

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You can read about Peter Dickinson at his website