Richard BARRETT (b. 1959)
Negatives: Ne songe plus à fuir [11:15]; Earth [12:05]; Another
Heavenly Day [7:39]; Negatives [39:35], Codex 1 [13:09]
ELISION
rec. March 1992- May 1993, Allan Eaton Studios, Melbourne, Australia 22 Sept
2007, Frederic Chopin Academy of Music, Warsaw [Codex]. DDD
NMC D143 [79:24]
This is a reissue of an Etcetera disc, recorded by the Australian contemporary
music ensemble, ELISION. Barrett is a Welsh composer, born in 1959. He was
a student of Peter Wiegold and is known for his complex compositions which
were influenced by Ferneyhough in the 1980s.
Ne songe plus à fuir (dream no more of fleeing) is a work for
solo cello, taking its title from a painting by Roberto Matta, a Chilean surrealist.
The atmosphere of this work is dark and at times disturbing. There are resonances
of Xenakis, Ferneyhough and others in the writing, and the piece is an extreme
virtuoso challenge for the performer. Barrett explores the instrument in many
non-traditional ways, creating a fascinating sound-world which both challenges
and excites.
Earth is a duo for trombone and percussion, an enticing work with a
sense of tribal energy. The rhythmic interplay between the parts helps the
ear through Barrett’s music, providing a valuable frame of reference.
Although these instruments are perhaps an unlikely combination, the effect
works well, and the timbral varieties of the trombone are particularly enjoyable.
Next comes the trio for E flat clarinet, electric guitar and double bass, Another
heavenly day. Taking its name from Beckett’s play, Happy Days, there
is a distinct irony in the title. The first work Barrett wrote for the ELISION
ensemble, this is an interesting work which fuses another unusual combination
of instrumental sounds to good effect. The music possesses an internal energy
which develops through the work, as the individual parts come in and out of
synchronisation with each other.
The title track of the disc, Negatives is a set of five pieces for chamber
ensemble. The opening is percussive, with a range of fascinating instrumental
sounds contributing to the overall texture. Each movement has a slightly different
feel, with changing sonorities and altering moods, but retains a link with
the previous one, sometimes overlapping. Various instruments feature as soloists
and the overall effect is of an evolving musical landscape which is full of
detail and intrigue.
The final track on the disc is Codex I, another ensemble work, which
has a bright feel and a highly successful instrumental combination of clarinet,
bass clarinet, oboe, trumpet, trombone and electric guitar. The electric guitar
is particularly effective, as are the range of brass sounds created through
the use of various mutes. This is an improvised piece, with the structure provided
by the composer, and this live 2007 recording is an addition to the previous
release of this disc. Of all the tracks on the disc I enjoyed this one most;
it seemed to have a sense of fresh energy which is testament both to Barrett’s
concept for the work and also to the committed playing and mature musicianship
of the members of ELISION.
Barrett’s music is imaginative and often challenging; his style is not
immediately accessible but has much to offer the listener who is willing to
explore his musical language. Multiple hearings reveal further detail and allow
a deeper understanding of the music. The playing here from ELISION is constantly
excellent; they play with a sense of commitment and understanding, and the
end result is highly effective.
Carla Rees