by Betty Beath as published in the IAWM Journal, October 1995, pp. 36-37.
Ellen Taaffe Zwilich's Chamber Symphony, written in 1979, is distinguished by clear, flowing lines, sparse textures and a seamless weaving between instruments. The work is scored for flute doubling piccolo, clarinet, violin, viola, cello and piano, and develops over a single movement with a recorded duration of 14'59". This work was commissioned by the Boston Musica Viva and its director Richard Pitman and it is their performance, under Pitman, which is recorded on this CRI American Masters CD.
The production is exemplary and there is sensitive, at times virtuosic, performance from the ensemble. Ellen Taaffe Zwilich extends her performers; they each have opportunities to demonstrate and exploit the solo resources of their instrument. Contrasts are effective with the use of doublings and other devices which afford a variety of textures, building at times to an almost orchestral sound.
The work moves at an unhurried pace and has a reflective, contemplative quality. The various motives have more the quality of questions rather than statements. A sense of aloneness pervades this work but Zwilich concludes, with a resolution beautifully expressed in a short calm section, an epilogue perhaps, in which questions appear to have been answered. A final, single, lingering tone centers and ends the work.
Her String Quartet, written in 1974 and dedicated to Roger Sessions, is programmed immediately after the Chamber Symphony on this CD. It is a work of energy, vitality and vigor; thrusting motives dominate the first movement, which serves as a Prologue in which all instruments are engaged-enjoying energetic, exuberant exposition and exchange of musical materials. In the succeeding movements, Zwilich returns to these initial ideas and in the subsequent development and expansion which occurs, produces a work whose form evolves over four movements. Despite this formal arrangement, the work emerges as a tightly integrated evolution of music ideas concluding in a final Epilogue. The work is performed by the New York String Quartet: William Fitzpatrick and Paul Kanto, violins; Brian Dembow, viola, and Stephen Erdody, cello. It is a powerful, virtuosic performance. The music demands an intensity and an inner assimilation and conviction of its dramatic intent; the New York String Quartet realizes these intentions admirably.
Sonata in Three Movements for Violin and Piano, written in 1973-74 by Ellen Taaffe Zwilich has a recorded duration of 10'28". Excellent program notes prepared by the composer accompany this CD and I quote from these to give some background for this work. The Sonata was written "for my late husband, violinist Joseph Zwilich, to play on a recital tour of Europe. I wanted to use the things I most love about the violin-the kind of sonorities you can get out of this wonderful instrument of wood." Zwilich also explains that she wanted to write "music in my own language that would incorporate a concept of sonority characteristic of the classical period, and a concept of style you would find most clearly in romantic music." The three movements are: 1. Liberamente; 2. Lento e molto espressivo; 3. Allegro vivo e con brio. In this performance, recorded live in concert in New York City, we hear wonderfully expressive playing from Joseph Zwilich, violin, and James Gemmell, piano. There is a beautiful rapport between the two soloists who have internalized the music to the extent that it becomes an un-self-conscious outpouring of music, often lyrical and wide-ranging in pitch, clearly music with an individuality and style which reflect the intention of the composer to create a work "in my own language." The instruments are often independent of one another, yet the linking of mood and the quality of tone produced by both soloists serves to integrate the musical dialogue. The work moves to a brief final concluding movement-a statement full of energy and vitality.
Profiles, in three movements by Eleanor Cory, is scored for clarinet, cello, and piano. The work was written in 1986 and has a duration of 9'26". In her program notes, Eleanor Cory says that "the music in Profiles moves in and out of focus; obscure and mysterious passages evolve into clear and direct 'profiles,' with distinctive musical characters." This is an extremely apt description. Profiles is an intriguing work and just as Ellen Taaffe Zwilich sought and discovered her own musical language so the same might be said of Eleanor Cory. Happily there are very distinct contrasts in the "language" of each composer, and the contrasts are welcome and complementary on this CD. Three works by Eleanor Cory are featured on this CD. Performers Allen Blustine, clarinet, Chris Finckel, cello, and Aleck Karis, piano are more than convincing in this recording. The tonal qualities of the instruments are beautifully integrated and there is magic in the second movement when the clarinet and piano, in dialogue, present a profile which is rich and lush, and where harmonies and rhythms sometimes evoke a jazz influence.
Apertures for solo piano is performed by Aleck Karis. His performance was recorded at the Church of the Holy Trinity NYC, in June, 1986. Eleanor Cory wrote this substantial, 11'44" virtuoso piece in 1984. It is a work full of drive and energy. The composer explains that the title, Apertures "grew out of the discovery that the piece needed openings or breathing spaces to allow the high energy material to diffuse." The "apertures" not only allow breathing spaces, but they also mark the end of each of the three large sections which comprise the work. Eleanor Cory uses them very effectively, too, when she introduces moods of great contrast-moods which are reflective and meditative in quality.
The final offering on this CRI American Masters CD, which is a reissue made possible by a grant from the Virgil Thomson Foundation, is by Eleanor Cory and is titled Designs. Scored for viola, cello, and piano, it is performed by the Arioso Trio, whose members are Benjamin Hudson, violin, Judith Davidoff, cello, and Harold Lewin, piano. This work, with a performance time of 11'25" is designed, like Apertures, in three sections in each of which the respective instruments are introduced in solo capacity. These solos are expressive, simple, and contrast with the technical demands of the tutti passages. It is a work of unpredictability and complexity in which various influences rise, are noted, then finally merge in an ending which seeks reconciliation.
This CD features the work of two outstanding composers. It records works of significance and affords the opportunity to hear early chamber pieces by Ellen Taaffe Zwilich and highly individual pieces by Eleanor Cory. Historically, this CD must be viewed as an important musical statement. For this reason and for the fact that I have thoroughly enjoyed reviewing these works, I recommend the CD to Alliance members and to all lovers of contemporary music.
Betty Beath is an Australian composer, performer, and educator. As a composer she has produced much work in the fields of art song, chamber music, and music drama. Her works have been performed extensively by professionals and amateurs.