Larry Bell’s The
Book of Moonlight Op.31 is,
according to the composer’s words, "a
set of nocturnes that refer to other
music, both popular and classical, that
centre round the theme of moonlight".
Incidentally, the title is taken from
a poem by Wallace Stevens ("The
book of moonlight is not written yet
nor half begun"). As is often the
case in Bell’s music, the composer draws
on various sources as basic material
for his own compositions. In this case,
a melody Carolina Moon (written
when the composer was fifteen), a song
by John Lennon (Mr. Moonlight)
as well as allusions to a piece by Sessions,
Beethoven’s Mondschein Sonata
and to "hoe-down fiddle music".
This fairly large-scale piece for violin
and piano actually consists of two large
outer sections separated by a short
interlude; and the whole, however, is
remarkably held together, for all the
basic material’s diversity. The first
section On Approaching Carolina
(in three shorter sections) thus quotes
Bell’s own tune as well as John Lennon’s
and Sessions’. The interlude Mondschein
appropriately alludes to Beethoven and
a fragment from the Mondschein
Sonata is woven into the accompaniment.
The third section On Leaving Carolina
(also in three shorter sections) revisits
what the composer describes as "hoe-down
fiddle music" followed by an Italian
serenade of some sort before a final
restatement of the opening tune.
In earlier reviews
of discs of Bell’s music, I mentioned
(I think) that he studied – among others
– with Roger Sessions. So, In
Memory of Roger Sessions Op.29
was written a few months after Sessions’
death. It is a short suite for solo
violin in three movements : Elegy
(a rhapsodic fantasy based on a theme
from Sessions’ opera Montezuma),
Parody (a scherzo of some sort
and a real compositional tour de
force quoting from nine works of
Sessions, and all over in less than
three minutes!) and Dialogue
(an imagined conversation between Sessions
and Bell, whose names are spelled as
musical themes, and one in which Sessions
has the last word!)
Just As I Am
Op.62 is a short piece for violin
and piano in two movements (Risoluto
and Scorevolle) based on an old
Southern hymn, a fragment of which is
stated Lontano to introduce the
first movement (this has a slightly
archaic tinge) and restated Lontano
as a short peaceful coda.
Four Pieces in
Familiar Style Op.41 is a short
suite of four duos for two violins (played
here by the same player) that may be
compared to Bartòk’s own Duos,
i.e. as didactic pieces for younger
players. I hope that they may be as
popular as Bartòk’s work.
Late Night Thoughts
on Listening to Mahler’s Ninth Symphony
Op.35 (to give it its full title)
is a piece for violin/narrator and piano
that may of course be performed (as
here) by a narrator, a violinist and
a pianist. (To some extent, I think
that it might be preferable this way.)
The text is drawn from the eponymous
essay by Lewis Thomas ruminating on
diverse subjects such as war, death
and music. The author comments on Mahler’s
Ninth Symphony, but also on Brahms and
Beethoven so that the music includes
a number of quotes from and allusions
to the music of these composers as well
as from a piece by Larry Bell (The
Idea of Order at Key West Op.13,
a concerto for soprano, violin and orchestra
composed in 1981). The music is based
on the opening measures of the final
movement of Mahler’s Ninth Symphony.
This intensely serious and honest piece,
however, does somewhat outstay its welcome
(i.e. as far as this writer is concerned)
because it deals with very serious concerns
that possibly should have deserved a
more in-depth treatment. Incidentally,
Bell’s also composed another piece including
a narrator (The Black Cat Op.28
– narrator, cello and piano) that may
ultimately be more satisfying just because
it simply tells a story. This is nevertheless
a quite substantial work, and one that
certainly tell us much about Bell’s
love of Mahler’s music (he did so again
later in his trio Mahler in Blue
Light Op.43 for alto saxophone,
cello and piano some time later).
This generously filled
release of Bell’s music for violin is
rounded off by the simple, straightforward
and delightful lullaby Sleep Song
Op.18.
As I have repeatedly
noted in earlier reviews, Larry Bell’s
music is superbly crafted, always well
written for the instruments, straightforward
and utterly communicative. All these
pieces fit that description, and the
disc as a whole is very enjoyable indeed,
especially when the music is played
with so much conviction and commitment
as here. The recording may be a bit
too close for some tastes, but nothing
serious enough to deter anyone from
enjoying it.
Hubert Culot
see also
Larry
BELL (born
1952) The
Black Cat Op.28 (1987)a Caprice
for Solo Cello Op.12 (1978)b
Fantasia on an Imaginary Hymn Op.17
(1983/4)c River of Ponds
Op.5 (1986)d 
Robert J. Lurtsema (narrator)a;
Sarah Clarke (viola)c; Eric
Bartlett (cello)abcd; Larry
Bell (piano)ad Recorded:
WGBH-FM Radio, Boston, April 1998 (The
Black Cat); Unitarian Church, Montclair,
NJ, May 1998 (Caprice, Fantasia);
SUNY Purchase Recital Hall, Purchase,
NJ, May 1998 (River of Ponds)
NORTH/SOUTH RECORDINGS R 1018 [69:20]
[HC]
Contemporary,
though very tuneful and warmly lyrical,
and very accessible. A very fine, enjoyable
release on all counts.... see Full
Review
MUSIC
FROM SIX CONTINENTS –
1992 SERIES - Paul
MORAVEC (born 1957) Spiritdance
(1989) - Ann
SILSBEE (born 1930) Sanctuary
(1991) - Jerré
TANNER (born 1939) Suite
from The Singing Snails (1986)
- Larry BELL
(born 1952) Sacred Symphonies Op.23
(1985)
Slovak Radio Symphony Orchestra of Bratislava/Szymon
Kawalla - Recorded: no date, published
1992
VIENNA MODERN MASTERS VMM 3016 [71:29]
[HC]
A
most enjoyable disc well worth investigating.
… see Full
Review
MUSIC
FROM SIX CONTINENTS – 1996
SERIES - Thomas
M. SLEEPER (born 1956) Concerto
for Bassoon and Orchestra (1992)a
- Margaret
Shelton MEIER (born 1936) The
Dawning (1994)b - Haydn
REEDER (born 1944) Lark 2
(1996) - Larry
BELL (born 1952) Piano Concerto
Op.33 (1989)c
Kathryn Sleeper (bassoon)a;
Bozhena Petrova (celesta)b;
Larry Bell (piano)c; The
Ruse Philharmonic Orchestra, Bulgaria;
Tsanko Delibozov, Thomas Sleeper - Recorded:
no information available, published
1996
VIENNA MODERN MASTERS VMM 3037 [64:39]
[HC]
An
interesting disc with two substantial,
if uneven works and two shorter, attractive
pieces, all in fine performances … see
Full
Review
