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Phillip SCHROEDER (b.1956)
Passage Through a Dream1 (2009) [12:28]
A Necessary Autumn2 (2007) [8:51]
Oceans of Green3 (2010) [10:03]
On Occasion4 (2010) [7:47]
Sky Blue Dreams5 (1985, rev. 1994 and 2010)
[11:17]
Erin Bridgeman (soprano5), Michael Henson (clarinet1,3,5,
bass clarinet5), Marty Walker (clarinet2, 4),
Jennifer Amox (flute5), Jamie Lipton (euphonium3),
Rick Dimond (accordion4, vibraphone4,5), Jane
Grothe (harp), Phillip Schroeder (piano5, multi-tracked
four-hand piano1-3, electric bass2, 4)
rec. March 2007 - January 2011, Harwood Recital Hall, Russell Fine
Arts Center, Henderson State University, Arkadelphia, Arkansas,
and Architecture, Los Angeles, California.
INNOVA 781 [50:26]
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I like to listen to this disc before I go to sleep. Not to
get drowsy – the opposite, I never fall asleep listening to
it. In this state of balancing between reality and dream, with
eyes closed, this music brings forth colorful visions and stirs
strange memories. Curious how such minimalistic (in every sense)
means can have such an almost hallucinogenic effect. This music
is structured, but does not have a standard “form” in a classical
sense, and its progress is not apparent. This is the music of
being in a state, not of becoming. It is far from a cheap “ambient”
production like the abundant “music for relaxation”. I feel
profound musicality here, which can affect the listener’s mood,
and operates at a deeper level than that of melody or even harmony.
Schroeder’s music does not feel mathematical. The sounds hang
in the clouds, turn slowly, drift as in a trance. The style
is very uniform over the disc, and the main difference between
the pieces is in the color. The entire disc is like
a slow passage through a rainbow.
The liner note - unfortunately, very minimalistic too - says:
“Among the important influences on his life and work are Taoism
and other mystical traditions, daily meditations, nature, stillness,
and the love and patience of friends”. This is quite illuminating
and explains well the character of the music. In all the works
on this disc, the composer employs the technique of digital
delay, when a sound is recorded and then played back, thus merging
with the original sound, but with delay. This effect creates
shimmering textures full of mysterious reflections.
The opening track is idyllic and static. It is strange how something
without a hint of a melody could bring to mind a song, but I
do feel a soul of a song here. The color is mauve and brown,
with yellow dots. The mood is relaxed and contented – but this
relaxation is focused and intense, like in yoga. A Necessary
Autumn is the only work on the disc which is not based
on separate notes, but on motifs. The colors are deep: blue,
purple and gray, with silvery splashes. The autumn is sad but
necessary, and so the mood is “blue”: it’s the acceptance
of sadness. Towards the end it becomes more positive and lit
by a hint of a smile, like in the meditative Gymnopedies
of Satie. This is really beautiful music.
You can guess the color of Oceans of Green. These oceans
are warm, sunlit and full of life. The music is widely spread
and slowly bubbles on a low flame. Long notes rise to the surface,
one after another, in absolute tranquility. The euphonium was
well chosen to create the warm foundation. In the bittersweet
On Occasion, serenity and melancholy mix into something
bigger. The music seems to caress the chakras. The voice of
the accordion brings fragility, vibrancy and sincerity.
The last track, Sky Blue Dreams, is 25 years older
than the rest. It employs the largest number of instruments
and, most importantly, adds words. These are placed one by one,
in a slow equal pace: love, give, hope, time, dream, blue
sky, sea, love… There is no text in the booklet and I can’t
make out each word, but it seems to me that they form sentences
only occasionally, like What’s life? in the beginning
- or maybe I just imagined it. All revolves around the word
love. The high notes of Allegri’s Miserere
come to mind: there is the same enthralling siren-like effect
here.
The voice of Erin Bridgeman has sharp edges and a certain strain,
which does not let the listener relax completely. This constant
tension over the course of eleven minutes is wearisome. The
voice is strong, and has a metallic shine; each note is like
an even, long plank floating over the harp-like arpeggios of
other instruments. This performance is intense and impressive,
yet I can’t help but think that a more “angelic” voice would
bring in magic and make this work unforgettable. But then, wouldn’t
it become more “standard”? Anyway, I believe the composer chose
this voice and singing manner on purpose, so I won’t dispute
his decision.
The music is accessible, memorable, and definitely worth writing
and listening to. It is euphonic and entrancing. I wouldn’t
mind passing through this dream over and over again.
Oleg Ledeniov
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