Three pieces choreographed by Martha Graham. These are all ancient tales set in Schuman's advanced Americana style with tall chord harmony and Schoenberg-inspired lines.
Lei Liang (b1972) was born in China then in the grip of the Cultural Revolution, but left to study in the US and has remained there ever since, taking citizenship in 2006. The alto saxophone concerto Xiaoxiang was composed shortly
afterwards (2009, though based on an earlier piece for saxophone and electronics); it is given here in its 2014 revision. A concentrated (ten-and-a half minute) concerto-cum-tone poem, its single span was derived from an
Chinese-born composer Lei Liang brings to us a completely lucid sensibility and a most articulate and evocative syntax. The Boston Modern Orchestra Project album of three recent works shows us glowingly the vitality of his invention. A Thousand Mountains, A Million Streams (BMOP Sound 1061) gives us the title work recently (2017)
commissioned by BMOP, plus his "Xiaoxiang, Concerto for Alto Saxophone and Orchestra" (2009, rev. 2014), and "Five Seasons" (2010, rev. 2014).
Lei LIang (b. 1972) seeks to "create music as if painted with a sonic brush." Painting seems to be among Mr. Liang's dominant interests. These works consist of abstract strokes of shape and color, inspired by his Chinese heritage. Growing up as his musicologist mother was shipped out as a farmer in the midst of the Cultural Revolution, he eventually settled in America, where he became involved with Chou-Wen Chung. He later earned his PhD at Harvard and now teaches at University of California-San Diego (a hotbed of America avant-gardeism.)
American composer Leon Kirchner was a student of Arnold Schoenberg, though he did not use the 12-tone system or other strict organizational methods, and favored a generally dissonant and free atonal style with ambiguous tonal inflections. As a result, his music more closely resembles the flexible approach of Alban Berg, and the orchestral music on this 2018 release from the Boston Modern Orchestra Project bears this out.
When a new release arrives from the auspices of the Boston Modern Orchestra Project, I generally perk up. It is because I know that whatever they are up to is a good thing, really. So a few weeks ago the anthology of Leon Kirchner (1919-2009) Music for Orchestra (BMOP 1060) was in my mailbox and I was intrigued. I had found years ago
At the end of last September, BMOP/sound, the “house label” for the Boston Modern Orchestra Project (BMOP), celebrated its 60th release with an album consisting entirely of orchestra music by Leon Kirchner. Prepared by conductor Gil Rose, the “program” of the album consists of five of Kirchner’s orchestral compositions presented in
Leon Kirchner (1919 - 2009) was totally American, a major figure for a half century. He was a respected teacher and won a number of awards for his music. A prolific composer, Kirchner wrote primarily chamber music, much of which has been recorded. His orchestral works will be new to most listeners, although they have been championed by major conductors.
Another BMOP SACD offers unusual works by virtually unknown composer, Chen Yi. Born in 1953, she was a violinist and focused on composing music for string instruments. She met conductor Gil Rose when they were members of the Board of Advisors of the American Music Center. Rose, intrigued by Yi's music, suggested they make these recordings. The major work is Yi's Violin Concerto No. 2 called Springtime in Dresden, written in 2005 for Mira Wang, soloist on this recording.
The orchestral and chamber music of Chinese composer Chen Yi is atmospheric and extravagantly colorful, full of delicate percussion showers, swooping glissandos, and shivery bent notes. Much of it is chant-like, some of it is songful, and sometimes it is relentless and brutal. It is full of adventure, eschewing the Yellow River Concerto cliches that bedevil a fair amount of contemporary Chines music.
