Since its inception, the
Spektral Quartet http://spektralquartet.com
has become known for its forward-thinking ideas including the Mobile Miniatures
project, which drew together more than forty composers from across the US
including David Lang, Augusta Read Thomas, Nico Muhly and Shulamit Ran to write
ringtone-length pieces for download to mobile devices. In addition to finding
vehicles for bringing classical music into everyday life, the Spektral Quartet has
a preference for close-proximity seating and delivers the majority of its
Chicago concerts in vibrant, unconventional venues in order to maximise
inclusivity.
The Spektral Quartet whose members are Clara Lyon and Austin
Wulliman (violins), Doyle Armbrust (viola) and Russell Rolen (cello), are ardent
advocates for composers within their home city. The group recorded its debut
album, Chambers, in 2013 featuring
works by Hans Thomalla, Marcos Balter, LJ White, Chris Fisher-Lochhead, and Ben
Hjertmann.
That same season saw the release of the South American jazz
and tango-themed From This Point Forward
with bandoneon and accordion virtuoso Julien Labro and saxophone luminary Miguel
Zenón. Spektral Quartet appears on Swiss violin soloist Rachel Kolly d’Alba’s
2015 record, Fin de siècle, performing
Ernest Chausson’s Concerto for Violin,
Piano, and String Quartet.
January 2016 saw the release
of the group’s fourth full-length album, Serious
Business for Sono Luminus www.sonoluminus.com , an illumination of humour in classical
music including Josef Haydn’s The Joke
quartet and inventive new commissions from Dave Reminick, Sky Macklay, and Chris
Fisher-Lochhead.
CD and Blu-ray Audio disc DSL - 92198 |
New York-based composer and oboist, Sky Macklay www.skymacklay.com builds cadence on cadence in her
humorous work, Many Many Cadences (2014)
The Spektral Quartet open with a descending motif, incisively and
dramatically played and repeated, eventually interspersed with decorative ideas
that slowly change the overall nature of the cadences. She has created a
surprisingly engrossing and entertaining work, cleverly taking a simple, though
buoyant idea and finding much that is different, especially when a slow
drifting figuration is developed around the theme. The motif slowly falls and
rises, bringing a playful feel to the music, as if to say ‘look at all this,
see what the theme can be made to do.’ The
music later re-finds its faster more strident nature as the theme scrambles
ahead, repeating the descending motif, ever more over the top, before quietening
to scramble to the coda on pizzicato phrases.
This is a hugely entertaining work that would be extremely
popular in a recital.
David Reminick http://davidreminick.com is a composer and performer living in
Chicago who is singer and guitarist for the Chicago-based post-punk band Paper
Mice. The Ancestral Mousetrap (2014) is
described as ‘for singing string quartet.’ It features poems by the “godfather
of the prose poem in America,” Russell Edson (1935–2014) whose idiosyncratic
body of work is populated with strange and intriguing ideas.
Killing the Ape opens
on a slurred rising motif, right up to the higher register of the instruments
where it hovers before introducing fragmented ideas. The music moves through some
hard edged dissonant passages before slowing to a single repeated pizzicato
note. A voice adds words against hard edged string sounds bringing a bizarre,
humorous edge. The rising motif
re-appears at the end.
A group of voices bring the text for The Old Woman's Breakfast over a rhythmic expressive string theme
in this short bizarre movement.
For Oh My God I'll
Never Get Home staccato voices declaim the comic text against equally fast
moving strings that bring discordant sounds.
Pizzicato strings open Bringing
a Dead Man Back Into Life in a fragmented theme over a deep cello line, soon
finding a terrific, rhythmic nature. A voice enters with the text ‘It’s
beginning to smell…’ you need a well-developed sense of humour here. There is a
rhythmic string theme with rhythmic stamping of feet before the voices lead on
against an astringent theme. Later the strings of the quartet bring a quivering
almost like a shiver.
The Ancestral
Mousetrap opens with a hushed
string motif but soon rises up with unison voices that are accompanied by sliding
string phrases. There are some finely written string passages between vocal
contributions that themselves are more lyrical here. Again a sense of the
ludicrous is evident with the music creating a sentimental feel to point up the
odd text, before rising high up to disappear.
There are no texts provided in the booklet but this is a
very bizarre and often hilarious work for those with a suitable sense of
humour.
Joseph Haydn (1732-1809)
was not the first serious composer to bring humour to his music but is
certainly the most famous. His set of six string quartets that make up Op.33
were completed in 1781. In the Allegro
moderato of the String Quartet in E
flat, Op.33 No. 2 ‘The Joke’ there is a
sprightly opening with the Spektral Quartet raising a smile in this finely
shaped performance, alive to Haydn’s every dynamic and rhythmic change,
bringing a brightly lit buoyancy. These
players bring a really infectious, playfulness to the Scherzo: Allegro. The trio section is really quite hilarious in the
way the slurs are shaped and handled as well as the momentary rests. There is a
beautifully done Largo e sostenuto
with this quartet not digging too deep, keeping a sense of overall proportion,
an overall lightness of mood. The Presto moves
ahead with a lightly phrased, rhythmic joyousness. The Spektral Quartet’s timing
in the false endings is perfect, leaving one never quite sure when the end will
arrive. Their light touch and timing in this work is wonderfully spot on.
Chicago based composer and performer Chris Fisher-Lochhead’s http://cflmusic.com focuses on collaboration, humour,
experimentation and tradition. His work for string quartet, Hack (2015) is built around the comic
cadences and delivery of a number of comedians – not all will be universally
known. In four sets, Set. 1 opens
with Lenny Bruce in a strangely off
beat, sliding motif with pauses and sudden forward rushes. Sarah Silverman brings a slightly gentler theme with strange little
phrases over a held note before the lively pizzicato phrases over sudden
fragmented bowed ideas bring Dave
Chappelle along with creaking string sounds and a sudden repeated pizzicato
idea.
George Carlin
opens Set. 2 with sudden dynamic
surges along with strident chords.
Robin Williams 1 brings
a slightly melancholy yet bizarrely fragmented theme as well as sudden manic
rushes forward. Strange melancholy slides again feature in Dick Gregory a less driven section with a rather wistful nature
before the music moves almost seamlessly into Professor Irwin Corey with melancholy, slightly out of tune
dissonant melody.
Rodney Dangerfield 1/2
leaps in with a scramble of ideas to introduce Set. 3 before
the gritty textures of Sam
Kinison appear, punctuated by bounced bows and slides. There is a brief
quizzical motif to Rodney Dangerfield 3
before we roll into Redd Foxx with a
sudden series of strident phrases leading to a more flowing idea before the almost
machine gun delivery from the strings. Rodney
Dangerfield 4/5 brings another brief sudden outburst before the fragmented,
pizzicato points of sound of Kumail Nanjiani
before increasing in intensity.
Another sudden outburst and series of little surges takes
care of Rodney Dangerfield 6/7 to
make way for the delicate, dissonant phrases of Mort Sahl that slowly find their way forward. Rodney Dangerfield 8 brings the briefest of little flourishes before
Susie Essman reveals a rather sad
little idea, slowly developing and bringing faster, more dynamic phrases. This
set concludes with the sudden darting phrases of Rodney Dangerfield 9.
Set. 4 opens with Richard
Pryor, a dissonant melodic theme with a quizzical little idea on higher
strings. It develops some lovely moments, melancholy and with little slurs. Robin Williams 2 has forward rushes to
little peaks or climaxes, punch lines perhaps, sometimes astringent and manic. Ms. Pat is a riot of overlaid lines with
a pizzicato cello line before we move to the final piece Tig Notaro with gentle little phrases, ephemeral in nature and
gently using sudden little surges creating a strange quality that just fades.
This wonderfully inventive work is cleverly put together and
stands well as a whole. And just when
you think the disc is over there is a very brief glimpse of the conclusion of Haydn’s
quartet – which makes you wonder if it’s actually finished yet.
This new release will not be for everyone. You need a
certain kind of humour, sometimes black humour. But why shouldn’t classical
music raise a smile even a resounding laugh?
The Spektral Quartet wear their musicianship lightly, bringing just the
right touch to these works.
The talented Spektral Quartet are brilliantly recorded in
HiRes sound made at Sono Luminus Studios, Boyce, Virginia, USA on CD and
Blu-Ray.
Notes on the music are equally laid back and humorous.
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