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commissioned work by Missy Mazzoli, Sean Friar, and David Crowell.
Their sophomore offering, Awake, delivers a more-of-the-same compendium of new chamber works that intelligently builds on the scintillating (if not always immediately digestible) blend of what Time Out New York described as the 'formal elegance of chamber music with a pop-honed concision and rhythmic vitality.'
Don t be frightened by that mention of 'pop' music. And banish any suspicion that this might be a project whose ambition lies in the deadening doldrums of 'crossover' that most exposed of all refuges for contemporary classical musicians who lack the confidence to deal with the here and, fittingly enough, for this eight-piece ensemble, the now. Indeed, that two members of the octet are composers Judd Greenstein (who co-founded New Amsterdam Records) and Patrick Burke says much, and reassuringly so, about where the creative centre of gravity for the project lies.
It's Greenstein's Change that opens the program in elegantly ebullient mood, a solo flute's dancing clarion call refrain supported, taken up by, and joyfully elaborated upon by the ensemble with improvisatory vitality and wit.
Burke's atmospheric Awake gives the disc its title and concludes it in no less esoteric fashion. Javanese gamelan is the cuckoo in the nest here, but it sings with a beguiling beauty not usually associated with the avian interloper, albeit as momentum builds, it acquires a frenetically strident signature that is much more characteristic.
Sean Friar's Velvet Hammer makes much play with a notion that, on paper at least, might appall, by imagining the consequences of giving ensemble members access to the effects pedal much loved by electric guitarists. What results is an animated piece punctuated by moments of multi-hued repose.
Taking the concept underlying the album to its most extreme expression, Mizzy Mazzoli's Magic with Everyday Objects is a piece,
in the composer's words, 'on the verge of a nervous breakdown'. Dismantling even as it builds, it's a helter-skelter ride of sliding chords that tumble uncontrollably out of tune, and tangled, turbulent melodies that repeat themselves to the point of hopeless confusion, threaded together by an almost ridiculously sentimental piano line. It's by no means easy listening, but its edge-of-oblivion intensity burns with a dark, scorching flame.
There's something appropriately liquescent about David Crowell'sWaiting in the Rain for Snow. A meditation on the crystallization of rain or ice into snow, it's a hymnal to a hidden process, the sense of transformation etched and sculpted by intricate, repeated figures in guitar and piano overlaid and compounded by shifting, drifting patterns in woodwinds.
Completing the eclectic program is Mark Dancigers' Burst, which makes free use of electric guitar and idioms drawn from 'African popular music circular rhythms and pentatonic melodies' laced through conventional ensemble writing 'influenced by Mozart-esque counterpoint'. There's an obvious challenge in the music's mix of old, new and the exotic, and one that is rewarded by repeated listening as its interweaving of superficially contrary elements coalesce into something fresh and vibrant.
The same could be said of the NOW Ensemble's intelligently questing approach to programming, and to the articulate and committed performances of all involved. --TheClassicalReview.com, Michael Quinn, April 11, 2011
Top Customer Reviews
It is without a doubt the blistering edge of modern classical music. While challenging in places, the serious listener will be
greatly rewarded. Yes, there is an electric guitar, and its deployment will both astound you and force you to reinvent your
ideas about this instrument in particular. A phenomenal sophomore offering by the absolutely compelling Now Ensemble.
The six works composed for this ensemble for this CD vary greatly in the type of sound that comes out of the various combinations of instruments. The group feels comfortable including the gamelan and other exotic instruments to add ambience to the music they make. For this listener the most beautiful work on the CD is the final work 'Awake', an absolutely ethereal, otherworldly work. But the overall impression of all these six works composed by and for the group is one of excitement and discovery. They are a very important addition to the world of contemporary classical music. Grady Harp, November 11
Most Recent Customer Reviews
Maybe the first instance of contemporary classical that I enjoy. It manages to throw together instruments that aren't usually paired, have strange rhythms, evoke emotions, and is... Read morePublished 4 days ago by Amazon Customer
I enjoyed a few of the tracks, but this music is too discordant ant avant garde for my classical tastes. Read morePublished on February 15, 2013 by j.r.r. token
if you listen the first piece "Change" and right after the 1978 album "Incantations" by Mike Oldfield it's hard to find the difference....Published on September 14, 2012 by progressive
If you're at all interested in contemporary music that goes beyond disposable generic pop, then plunge headfirst into the fresh, bracing, luminous compositions on this CD. Read morePublished on January 29, 2012 by William Timothy Lukeman