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CONTENTSCONGRATULATIONS
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Chamber Players In Concert for Impact CD ReviewsHarrison
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Review
of CD
EXCHANGE LATIN AMERICA Carlos R. Carrillo, Como si fuera la primavera (1996); Miguel Chuqui, Casi Cueca (1997); Miguel del Aguila, Pacific Serenade (1998); Carlos Delgado, Polemics (1997); Milton Estevez, Cantos Vivos Y Cantos Rodados (1996-97); Orlando Jacinto Garcia, el sonido dulce de tu voz (1991); Jorge Mario Liderman, Notebook (1993); Carlos Sanchez-Guiteriez, Calacas y Palomas (1990); Awilda Villarini, Three Preludes (1985); Ricardo Zohn-Muldoon, Paramo (1999) Pacific Serenade Ensemble, Continuum (Cheryl Seltzer, Joel Sachs), The Furious Band, Florida International University Concert Choir (John Augenblick, cond), Awilda Villarini—piano, Divertimento Ensemble, Max Midroit—piano, others CRI CD 848 This compilation CD, consisting exclusively of solo or small chamber works by composers hailing from South-of-the-Border, shows a broad diversity of styles—not all of which demonstrate influence of music from their respective composers' birthplaces. Only one track here, the sentimental and triadic clarinet quintet Pacific Serenade (1998) by Miguel del Aguila does so unabashedly. Some, such as Ricardo Zohn-Muldoon’s Pierrot ensemble and percussion essay Paramo (1999) and the string quartet Casi Cueca (1997) by Miguel Chuaqui filch Latino melodic or rhythmic basis material and build Westernized edifices from them. Other selections merely hint at aspects of ethnic styles by subtly incorporating elements of this music’s scoring or gesture in otherwise thoroughly European late 20th century idioms; Awilda Villarini’s Three Preludes (1985) for piano and Milton Estevez’s Cantos Vivos Y Cantos Rodados (1996-97) for mixed ensemble and tape fall into this category. Notebook (1993) by Jorge Mario Liderman, another Pierrot and percussion piece, derives its source material from African Jewish, not Western Hemisphere based sources. Nearly half the pieces here concern themselves solely with recognizable au courant concert music approaches. Calacas Y Palomas (1990) for piano four-hands by Carlos Sanchez-Guiteriez and Orlando Jacinto Garcia's choral piece el sonido dulce de tu voz (1991) delight in personal reinterpretations of minimalist styles, respectively those of John Adams and Morton Feldman. A clever updating of Mario Davidovsky's Synchronisms series is encountered in Carlos Delgado's Polemics (1997), a work for piano and electronic sounds. And Carlos R. Carrillo's Como si fuera la primavera (1996) for mixed quartet shows influence of the colorist writing of two of his teachers, George Crumb and Joseph Schwantner. This reviewer responded most positively to the driving energy and able construction found in the Chuaqui, Delgado, Estevez, and Zohn-Muldoon tracks as well as the hushed color writing in the Garcia. Performances vary in quality from passable to excellent; the efforts of solo pianists Villarini and Max Midroit as well as the duo Continuum (Cheryl Seltzer and Joel Sachs) deserve special citation, as do the presentations by the Florida International University Concert Choir (John Augenblick, conductor) and The Furious Band (Paul Vaillancourt, director). Editing is excellent. Sound quality varies a bit from piece to piece though never falls below acceptable levels; demerits for audible extraneous noise (coughing and sneezing among them) in what appears not to be a live performance of the Liderman must be noted, however. By and large, this is an attractive release whose high points please notably. --David Cleary |