Klarinet Archive - Posting 000569.txt from 1998/01

From: "James Fay" <n3hpz@-----.com>
Subj: Dreamtracks--a review
Date: Sun, 11 Jan 1998 18:50:38 -0500

Dreamtracks, review by James Fay, Klarinet

Dreamtracks-Music for Clarinet by Australian Composers
Floyd Williams, clarinet and bass clarinet
MD-3192 $27(Aus)
Move Records
10 Glen Drive
Eaglemont Victoria, 3084
Australia
Telephone: (03) 9497 3105
Fax: (03) 9497 4426
E-mail: move@-----.au
Web: http://www.home.aone.net.au/move

In their Australian Music series, Move Records, that country's
longest-running independent classical CD label, has presented Dreamtracks=
,
"-celebrating Australia's landscape, its spirit, its music and its
composers-."=20

Dreamtracks represents an outstanding showcase Australian Clarinet music,
some of which have assimilated elements of that nation.

The three-movement Sonata by Meta Overman (1956, 9' 40"), for clarinet an=
d
piano, is a lyrical and nicely syncopated, linear work. Its Allegro first
movement is rhapsodic, has a quasi-swing style, and achieves an effective
dialogue between clarinet and piano. The expressive Lento is texturally
intriguing and shows off the lyrical quality of the clarinet. The final
Theme and Variations with its broad phrases achieves an excellent balance
between the two instruments.

Stick Dance by Andrew Schultz, for clarinet, marimba and piano (6' 53") w=
as
written in 1987 for Floyd Williams and the Musica Nova Festival. It is a
dramatic work which features microtonality and breathy sub-tones for the
clarinet. In it there are extreme contrasts of dynamics and instrumental
range, as well as ostinati, and static, arhythmic effects reminiscent of
Olivier Messiaen. It is a highly effective, avant-garde work.

Peter Sculthorpe wrote Dreamtracks, for violin, clarinet and piano (14'
10") as part of a series of works inspired by Kakadu National Park, and=20
"-sets out to summon up the spirit of a northern Australian landscape." =
It
incorporates elements of folk songs, has a great breadth of feel with its
dissonant lyricism and gives one the impression of a tour through a
vision-walk.

Whirligig (1983, 3' 12") and Gorlywhorl (1984, 4' 52") written for solo B
flat and A clarinet respectively are thematically related and intended to
be performed as a pair. Gerald Glynn, after studies in Queensland and
Sydney, entered the composition class of Olivier Messiaen at the Paris
Conservatoire, subsequently worked in the electronic music studio of the
French radio, and currently resides in France. The two pieces are
brilliant, atonal, virtuoso works for the clarinet, featuring motivic set=
s.
Fluttertounging is used in a highly effective manner.

Towards the Still Point (1991, 10' 16") by Peter Rankine, whose title is
from T.S. Elliot's Four Quartets, is a major work whose first movement is
dynamic, rhythmic, and energetic. The middle movement for clarinet solo i=
s
inspired by birdsong and "-is free from the need to 'go' anywhere=97it si=
mply
'is' ('being', rather than 'becoming')." Its excellent final movement is
canonic and uses a Celtic clarinet theme polyrhythmically set against the
piano, unified by use of Fibonacci numbers.

Twist (1993, 2' 46") by Gerard Brophy is written for solo clarinet and is=
a
brilliant, sometimes driving motivic dialogue and uses staccato at every
possible dynamic level.

In the duet for english horn and bass clarinet, Gerard Brophy states
"biscous (6' 27") is slow, languorous, gorgeous and extremely
self-indulgent just as all kisses should be." The work features broad,
lyrical english horn melodies and uses the bass clarinet in a mostly
subordinate role.

Floyd Williams is to be lauded for his outstanding artistry. Williams
performs brilliantly in this recording, with an incredible level of
control, fluency and flexibility. He should also be lauded for his
contribution to the composition and performance of so many works by
Australian composers.

These works need to be seriously looked at by clarinetists outside
Australia as substantial contributions to the repertoire.

The recording quality is pure, uncolored and excellent.

-------------------------------

(Quotations courtesy of the composers and of Move Records)

--
James Fay
n3hpz@-----.com
http://www.nv.cc.va.us/~nvfayxj