Customer Reviews

Masada Recital: Masada Anniversary Edition 4

5 star:		(1)
4 star:		(2)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

The most recent (and the last perhaps) of the Masada Anniversary series, "Masada Recital" is a chamber performance of Masada pieces by pianist Sylvie Courvoisier and violinist Mark Feldman operating in duet. The two musicians have developed a strong rapport that comes through on these records and the clever and delicate arrangements support a varied and abstract album.

Courvoisier is credited as arranger, and I'm guessing also selected the pieces-- she has largely taken a handful of Masada tunes that allow her to exhibit a sense of melancholy-- the recording bleeds a sort of neoclassical moodiness that belies its origins in the Masada project; the klezmer sound is extremely repressed on these. I actually find the feel of the recording closer instead to that of Beethoven's piano sonatas filtered through a minimalist arrangement and performed with a downtown sensibility. Space ends up being as important to the sound of the recording as any instrument is, and lines are unison, disjoint, and sometimes alternate between the two. Courvoisier limits herself not just to the keyboard, but the interior and body of the piano, strumming the strings, tapping them by hand, and even banging on the body of the instrument, whereas Feldman, so often obscured in presenting Masada pieces as part of the string trio, shows a dazzling array of both technique and patience-- the pieces come to him, he never forces the music.

Ten of the twelve pieces have previously been recorded (three from "Bar Kokhba", two from "The Circle Maker" and "Masada 3", and one each from Masada albums 1, 4, and 9) with two new ones-- the music works best as a collection, so I'm hesitent to describe individual moments on it, but I can't help but mention "Abidan", which is played primarily inside the piano and pizzicato and really well illustrates the power of Courvoisier and Feldman's use of space, and "Mahlah", which is really a good summation for the album-- a dark and moody rumination featuring sensitive playing and a deep understanding of both the material and each other from both musicians.

I stop at four stars because when I've seen them live, Courvoisier and Feldman reach a rapport that far outstrips this one, and in listening to this I largely evaluate it against the live performances, but its still a fine recording and well worth the investment. Recommended.

I agree that Courvoisier's ABATON is a terrific album too-- & addition of Friedlander definitely changes the mood & 'palette.' However, with the Klezmer links here, the duet
interplay is perhaps a bit more 'accessible' and, well, lovely. SC shows a melodic side often only sketchy on other recordings-- not that I don't love her percussive work
too (her recordings with 'Mephista' are wonderful that way).
This shows a different side-- & also interesting to hear both
players as interpreters of JZ's subtle Masada work. No question he has expanded the 'klezmer' tradition, & this another fascinating chapter-- but also I think perfectly listenable in its own right to anyone who likes chamber jazz, or duet chamber music in general.

. . . but you'd be better off getting Abaton by Sylvie Courvoisier, the pianist on this disc. The difference? Abaton contains one whole disc of Courvoisier's glorious compositions plus a disc of improvisations by her trio (Marc Feldman, who also plays here, and Erik Friedlander). Also, the inclusion of Friedlander on Abaton makes for a richer sonic palette. And you get two discs for the price of one and a half.

Make no mistake, this is wonderful music, for what it is. Courvoisier rolls out some serious piano chops, and Feldman plays with as much energy and sheer technique as I've ever heard from him. Some of the places these two get to are simply astounding.

But despite some jaw-dropping pyrotechnics, this music seems somewhat indulgent, more admirable than listenable, more virtuoso than friendly. Then again, maybe it's not meant to be listenable and friendly. Indeed, there's an admirable intractability--a kind of DEAL WITH IT irreducibility--about this music that I'm sure comes from its Jewishness and that in a sense renders it beyond analysis and critique. And I applaud the artists for going for and achieving this vibe.

In any case, this is music surely worth hearing. Four-and-a-half stars.