Mahler

by Maggie Molloy

The 19^th century Danish author Hans Christian Andersen famously said, “Where words fail, music speaks.” In today’s world, those words ring truer than ever.

yevgenykutik1_bycoreyhayes

In the 21^st century, we find ourselves constantly bombarded by words. Social media, street signs, mail, messages, magazines, billboards, books, promotional handouts—words are everywhere. And yet, often we find ourselves talking in circles.

Violinist Yevgeny Kutik seeks to break that cycle. His new album Words Fail features a collection of wordless works, past and present, which speak to the indescribable power of music. Featuring Romantic works by Mendelssohn, Mahler, and Tchaikovsky, modern works by Prokofiev and Messiaen, plus brand new works by Michael Gandolfi, Timo Andres, and Lera Auerbach, the album explores the role of music across history as an orator of the deepest and most profound human emotions. With piano accompaniment provided by John Novacek, Kutik’s violin sings and dreams across two centuries of classical music.

The album begins with three selections from Mendelssohn’s “Songs Without Words,” arranged for violin and piano by Friedrich Hermann. Kutik’s violin adds a voicelike timbre to this keyboard classic, singing gracefully through Mendelssohn’s long-breathed melodies above a gentle piano accompaniment.

Later on, Kutik lends his bow to Tchaikovsky’s wistful “Song Without Words” in a violin and piano arrangement by the legendary German violinist Fritz Kreisler. One of Kutik’s mother’s most cherished scores, the three-minute work speaks volumes about his family upbringing and early immigration to the United States from Russia.

The “Adagietto” from Mahler’s Symphony No. 5 showcases Kutik’s rich, dark tone in a rare violin and piano arrangement by Robert Wittinger. One of Mahler’s most famous pieces, the quietly rhapsodic work is said to have been written as a love note to his wife Alma. Instead of sending a letter, he sent her the “Adagietto” in manuscript script form—no words attached.

The two 20^th century works on the album are a bit more daring in nature. Kutik travels through a distinct cast of musical characters of Prokofiev’s “Five Melodies,” originally composed as a set of vocalises, but his violin truly soars for Messiaen’s “Theme and Variations,” a kaleidoscope of colors composed as a wedding gift to his first wife, Claire Delbos.

The album also features three brand new works by living composers, and among them is the title track. Commissioned specifically for this album, Michael Gandolfi’s somber, single-movement “Arioso Doloroso/Estatico” takes its inspiration from Bach’s famous solo violin partitas. Composed for unaccompanied violin, the work begins in a restricted vocal range, with vocal-quality contours, but quickly expands into an instrumental virtuosity—a song only a violin could sing.

The title track, Timo Andres’s “Words Fail,” was also commissioned specifically for this album. Performed here with Andres himself as the pianist, the piece capitalizes on the vividly expressive qualities of the violin, singing through a series of aching downward laments which gradually expand in register, complexity, and volume, intensified by overlapping canons in the piano. But halfway through, the violin changes its tune: a quiet, hopeful melody rises high above the piano, gradually climbing higher and higher until it is just a gentle whisper of harmonics.

The album closes with Lera Auerbach’s “T’Filah (Prayer)” for unaccompanied violin. Written as a reaction to the tragedy of the Holocaust, the piece explores the profound mystery of prayer and spirituality—those moments of greatest reflection, meditation, desperation, or despair when we feel the most at a loss for words. The melodic monologue unfolds across the full range of human emotion, Kutik’s somber tone and emotive phrasing capturing the profound intimacy of prayer.

Because when it comes to matters of love, loss, devotion, and devastation, these words don’t mean much—the music says much more.

kutik_wordsfail

by Brendan Howe

Inspired by his profound love for his new bride, Alma, Mahler saturated his Adagietto (the fourth movement of his Fifth Symphony) with his love of obsession and conflict. If you haven’t yet heard it performed by a world-class institution, I would recommend watching a clip of Leonard Bernstein and the Vienna Philharmonic perform the Adagietto so you get a sense of just how high the bar has been set with regard to the movement’s emotional capacity and execution.

For non-expert groups performing the masterpiece, walking the line between musical expression and self-indulgence often proves an impossible challenge. The Northwestern University Cello Ensemble, however, delivers a sublime performance that showcases both the work and the magnificent capacity of the cello to express the ineffable as the capstone track from their latest album, Shadow, Echo, Memory.

Shadow, Echo, Memory

The Adagietto rounds out the album’s emotional exhibition of the cello as well as its theme of capturing specific moments in larger contexts. Shadow, Echo, Memory was recorded by a total of 45 current students and 15 highly successful alums of Northwestern’s Bienen School of Music, under direction of the celebrated cellist and educator Hans Jørgen Jensen.

It is a collection of 19^th, 20^th, and 21^st century music written and arranged for cello ensemble. The well-established idea of the cello’s unique ability to match the range and timbre of the human voice plays a large role, as Fauré’s Après un Rêve, Rachmaninov’s Vocalise, Ligeti’s Lux Aeterna, and contemporary composer Zachary Wadsworth’s Three Lacquer Prints are all arrangements of vocal works. What makes this album stand out, however, is the Ensemble’s ability to combine technical excellence with poignant depth (Kernis’ Ballad, Mahler’s Adagietto) and conceptual clarity (Wadsworth’s Three Lacquer Prints, van der Sloot’s Shadow, Echo, Memory) in a moving and accessible fashion.

The opening track of the album orients the audience solidly on the conceptual end of the spectrum. The vocal group The Esoterics had commissioned Wadsworth for a piece to premiere in October 2012, and he began fleshing out an idea he’d been contemplating – while poetry and music are narrative forms of art that share the characteristic of changing over time, the relationship between visual art and poetry (and accordingly, music) is both far less tangible and underrepresented.

In order to rectify this oversight, Wadsworth found inspiration in a collection of Amy Lowell’s verse poems on Japanese Ukiyo-e woodblock prints, written between 1913 and 1919 (the three pertinent poems are reproduced in the album booklet). Wadsworth was struck by the elegance with which Lowell captured single moments through the inferred context of her words while ultimately respecting their static nature.

Wadsworth took this string of artistic influence one step further by writing one vocal vignette each using the Lowell poems Temple Ceremony, A Year Passes, and A Burnt Offering. The pieces mold and elongate Lowell’s lyrics to lend valuable time and perspective to the motionless, print-inspired experience.

Adding a fourth artistic interpretation to the woodblock-poem-chorus dynasty already in play, the NU Cello Ensemble recorded arrangements of Wadsworth’s Three Lacquer Prints, removing the restrictions of language in favor of the familiar, interpretive qualities of cello music.

NU Cello Ensemble

Roland Pidoux arranged Fauré’s Après un Rêve with similarly emancipatory results, achieving a surreal dreamscape with eight cellos that would be unattainable with piano accompaniment. Van der Sloot’s titular track, Shadow, Echo, Memory, goes the furthest back into human history of all the pieces, drawing inspiration from Ice Age cave paintings. It opens with a spectral, water-droplet percussive quality, which feeds into the wide range of the unknowable creativity of the ancient mind – anxious slides, centered resolutions, fitful exclamations, and intense darkness.

As the album continues onward from the Rachmaninov through the Mahler, it becomes clear that the Ensemble has achieved their purported goal of using the cello to express textures of dark and light, bring to life sounds and images from another time, and finally to aid listeners in revisiting their own histories. It does indeed provide a fascinating, haunting individual experience to those who are up for a little soul-searching.