Say you start a group called the Society for New Music, commission composer-stars-in-the-making and do it for thirty years straight, you might expect your scrapbooks to be quite interesting. What you might not realize is that your efforts now constitute a major segment of the backbone of contemporary American concert music and you have premiered a boatload of chamber works by composers who have gone on to distinguished careers. Such is the case with Syracuse’s Society for New Music founded by Neva Pilgrim, who opened their treasure chest of commissioned works from 1972 – 2002 and has put them together as the 5-CD set entitled “American Masters for the 21st Century.”
This seventh and final installment of the Anthology of the Royal Concertgebouw Orchestra covers the years 2000 to 2010, a rich period in the orchestra's history largely characterized by the changing perspectives of a new century. Indeed, it was in 2004 that Riccardo Chailly relinquished his position as chief conductor, to be replaced by the Latvian maestro Mariss Jansons, who shifted the orchestra's focus more towards Tchaikovsky, Richard Strauss and Shostakovich. A generation of orchestral players retired and were succeeded by a group of outstanding young musicians, most of them hailing from outside the Netherlands, resulting in a growing internationalization of the Royal Concertgebouw Orchestra. Also in this period, the launch of the orchestra's own in-house record label, RCO Live, breathed new life into its rich recording tradition.
Nobuko Imai has been a leading viola player since the early 1990s. She studied at Tokyo's Toho Gakuen Music School before continuing her training in the United States at both Yale University and the Juilliard School. Following her graduation from Juilliard, she triumphantly vanquished all competitors to win the highest prizes at the Munich and Geneva international competitions. She is a former member of the prestigious Vermeer Quartet, known for sharp performances of the Mozart and Beethoven chamber repertoire. Since leaving this ensemble, she divides her time between performing as a soloist with the world's major orchestras, such as the English Chamber Orchestra, the London Symphony Orchestra, the London Philharmonic, and the Dallas Symphony Orchestra, and teaching in Europe and Japan. She returns regularly to her native land where she serves as artistic adviser of Casals Hall in Tokyo.
Despite rumors some months ago that the RCOA series might be discontinued (fortunately unfounded), here we have Volume III, a 14-CD set that contains much of interest, but surely—for this collector—doesn't live up to its potential. For me, ideally that would concist of some of the outstanding performances of great symphonic music played by this magnificent orchestra, recorded in the extraordinary acoustics of the Concertgebouw with the usual Radio Nederland sonic expertise. During the decade represented in this set (1960-1970) the Concertgebouw Orchestra's programming often emphasized contemporary music and that surely is reflected in this album. We have well over five hours of music by Martin, Varèse, Berg, Webern, Henze, Lutoslawski, Nono and Dallapiccola as well as Dutch composers Ketting, Escher, and Vermeulen, and Polish composer Grazyna Bacewicz's Music for Strings, Trumpets and Percussion, an 18-minute three-movement work of imagination and vivid scoring.
The latest CD from composer Jay Cloidt features the premiere studio recordings of two ambitious and diverse works for string quartet, Spectral Evidence and eleven windows, performed by the Cypress String Quartet. Spectral Evidence begins with a straightforward performance of the first two minutes of the Mozart quartet (No. 14 in G, K. 387).