Liderman: Barcelonazo, Glimpses, Etc / Scatterday, Winstin, Castillo

LIDERMAN Barcelonazo. 1 Glimpses. 2 Refrains 3 • Mark Scatterday, cond; 1 Robert Ian Winstin, cond; 2 José Luis Castillo, cond; 3 Eastman Musica Nova; 1 Kiev PO; 2 Read more class="ARIAL12"> Camerata de las Américas 3 • BRIDGE 9241 (55:53)

A previous disc of music by the Buenos Aires composer Jorge Liderman (b. 1957) was reviewed by Robert Carl in Fanfare 28:3. Interesting that Liderman is a pupil of Ralph Shapey, over in Chicago—a twofer of Shapey’s music on New World held me fascinated back in Fanfare 31:3. On the surface at least, the music of Shapey and Liderman could hardly be more different, with Liderman leading in the populist stakes. There is obvious minimalism bookending Barcelonazo , the piece that gives this disc its title, and a use of orchestral color that seems to be drenched in brilliant sunlight. The use of parallel open intervals in the brass in this piece just after the four-minute mark against busy repeated figures vaguely conjures up the Janá?ek Sinfonietta. To close a piece such as this in a restrained manner is daring, but it is what Liderman has chosen to do, and it works perfectly, ending with a sort of nonchalant shrug of a gesture. The work’s title is due to the fact that the piece was written during a stay in Barcelona in 2003.

The excellent recording of Barcelonazo (tightly focused and allowing the music’s brightness full play) is produced by the composer. The recording took place at the Eastman School of Music’s Kilbourn Hall (as did Refrains ). Glimpses , however, was recorded in the National Radio Studio of Ukraine. It falls into 12 short, contrasting pieces and is a reworking of a 1994 piano piece, Tropes V , which was based on Lithuanian tropes used in the Jewish liturgy. One assumes that the title refers to the way in which the pieces imply greater things than their brevity can deliver. There are some interesting movements here, not least the implied Klangfarbenmeldie of the second or the exoticism of the ninth. The Kiev orchestra plays with great accuracy, seemingly fascinated by this collection of short pieces.

Finally, Refrains of 1995. There are several refrains, including one that is based on a quote from Xenakis’s Evryali . The idea is that, although the refrains are anchor points, they are themselves not immune to change—the important point is that they remain identifiable. The piece deliberately emerges as disjunct, although whether the composer’s intention that all is pulled together by the use of refrains succeeds is up for discussion.

A pity that the composer’s Web site URL given in the booklet led me to a page that was under construction. Perhaps that will be rectified before the disc is openly disseminated.

FANFARE: Colin Clarke

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1. Barcelonazo by Jorge Liderman

Conductor: Mark Scatterday
Orchestra/Ensemble: Eastman Musica Nova
Period: 20th Century
Length: 30 Minutes 56 Secs.

2. Glimpses by Jorge Liderman

Conductor: Robert Ian Winstin
Orchestra/Ensemble: Kiev Philharmonic Orchestra
Period: 20th Century
Written: USA
Length: 1 Minutes 59 Secs.

3. Refrains by Jorge Liderman

Performer: Alan Dourbek (Cello), Valeria Thierry (Double Bass), Gustavo Rosales (Trombone),
David Harris (Oboe), Asako Arai (Flute), Thomas Jones (Clarinet),
Alfredo Bringas (Percussion), Duane Cochran (Piano), Viktoria Horti (Violin),
John Urness (Trumpet)
Conductor: José Luis Castillo
Orchestra/Ensemble: Camerata de las Américas
Period: 20th Century
Length: 13 Minutes 13 Secs.

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Liderman: Barcelonazo, Glimpses, Etc / Scatterday, Winstin, Castillo

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