chamber

by Maggie Stapleton

As a gigantic Arcade Fire fan, my heart grew 10 sizes when I found out about Richard Reed Parry’s Music for Heart and Breath, an album of original compositions. When I actually heard the music and learned about the inspiration for the pieces, I was knocked over like I haven’t been in the longest time.

The musical conceptualization of this album comes from the heart – literally. Each of the six pieces requires involuntarily moving organs of the body to dictate the tempi and rhythms. How, you may wonder, does one determine those speeds?

Paging Doctor Beat. We’ll need your stethoscopes.

Each musician is instructed to play with a stethoscope (and consequently, at a soft dynamic level) in order to be exactly in sync with his or her own heartbeat. The variety in ebb and flow between the players’ pulses creates a pointillistic effect – in many instances on the album is like that of a relaxing rainfall – that will undoubtedly never sound exactly the same in two different instances.

In fact, the nature of the performance situation can impart serious variation on the length of the piece. Rehearsals take significantly more time than performances. “Interruptions,” took 25 minutes to rehearse the first time, and only 19 minutes to perform. Thanks, adrenaline!

The album journeys between instrumentation varieties and sizes and features an all-star cast of musicians: yMusic, Kronos Quartet, Nico Muhly, Nadia Sirota, and Bryce & Aaron Dessner. The smallest group is a duet; the largest a 14-member chamber orchestra, with sizes in between to keep depth of sound and dynamic range at varying levels.

(music streaming for this album is no longer available)

While Parry doesn’t have formal training in classical music, he comes from a family of musicians and enjoys music from Machaut to Debussy to Ligety to Reich. Influences from all of those composers are hinted at here and there throughout the disc. Parry presents himself as an extremely well-rounded musician and a revolutionary way of conceiving time and imparting creative innovation into the realm of music performed on orchestral instruments.

I think Parry sums it up best with this lovely phrase, “I think there’s something quite beautiful about the idea of trying to literally play your heart out.”

You can purchase this album at Deutsche Grammaphon, Amazon, or iTunes.

by Maggie Stapleton

We’ve written about the Seattle-born/NYC-based brass quartet The Westerlies before in our first ever video premiere feature. Now we have a spotlight on their May release of Wayne Horvitz’ music – Wish the Children Would Come On Home, for which their Official CD Release Party is Friday, August 8 at the Royal Room.

So, why Wayne Horvitz? (Why NOT Wayne Horvitz is really a better question, but…) Andy, Willem, Zubin, and Riley are long acquainted with Wayne as a teacher, mentor, and friend from their growing up in Seattle, but Horvitz actually approached THEM about doing the album in early 2013. He recognizes all of the musicians as “technically excellent, theoretically sophisticated, mature beyond their years, astute, perceptive, and self-aware.”

Jazzy sonorities and harmonies combined with a composed structure give this album that quality of “it has a little something for everyone” – the Westerlies chose a broad range of Horvitz’ music to arrange and record, including jazz tunes, film music, and classical chamber pieces. Now, none of these pieces were originally composed for brass, so the Westerlies had the extra task of doing the arrangements. Horvitz praises the fact that “they sound like a band, not a brass ensemble” despite “the way they have manufactured a kind of limitation, simply by creating a quartet with 2 trumpets and 2 trombones. Within all the bounty of their collective backgrounds, they have created a band that is a real hassle! No rhythm sections, no chordal instruments, and music that is sometimes fiendishly difficult.” I couldn’t agree more. The textures and sounds created sound like much more than the sum of its parts (which are all great!).

The music on this album ranges from sultry (Please Keep That Train Away From My Door), lulling (Waltz from Woman of Tokyo), bombastic (The Band With Muddy), nostalgic (Triads totally has a Renaissance quality to my ears), goofy/playful (The Barbershop), free and experimental (Interludes), and smoky (The Store, The Campfire).

Keep an ear out for Andy, Willem, Zubin, and Riley’s voices on the Second Inversion stream! As we incorporate this disc into our programming, you’re likely to hear one of them introduce the tracks on this album. In the meantime, mark your calendar for the show nearest you on their WA, OR, and CA tour.

You can purchase Wish The Children Would Come On Home at The Westerlies’ Store.