Modern Tonality in Music

Moondog - Instrumental Music by Louis Hardin (1978) {LP - Musical Heritage Society MHS3803} (Released on VINYL but not CD)
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© 1978 Musical Heritage Society | MHS 3803
Classical / Jazz / Avant-Garde / Modern Classical / Minimal / Experimental / Third Stream

LOUIS T. HARDIN (MOONDOG). In the beginning was tonality. Then came atonality which was revolutionary. Tonality continued in folk music and popular music, in spite of atonality, but in the case of serious composers, it was taboo to even think of writing tonal on pain of being ignored and unperformed. I persisted in writing tonal music, and by opposing the atonal revolutionaries, I became a counter-revolutionary. I maintained the tonal tradition, unaware that the founder of atonality himself had repudiated the 12-tone System, which he had conceived. But that was not the end of atonality, for even though its founder gave it up, his pupils did not, and so, for the time being, at least, it survives. As it was in the beginning, is now, and ever shall be, Tonality!

Charles Fussell (b. 1938) - Cymbeline - Boston Modern Orchestra Project, Gil Rose (2018) {BMOP/sound 1059}
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© 2018 BMOP/sound | 1059
Classical / Contemporary Classical

A veteran composer, Charles Fussell has served as an important figure in the musical lives of Boston and New York for over 20 years. As evidenced in this recording, Cymbeline, Fussell writes for the voice comfortably and idiomatically. He has an authentic gift for text setting and his vocal lines are unabashedly lyrical and expressive. After writing thoroughly chromatic music in his Eurydice (1973) and Etudes and Portraits (1977), Fussell wanted to bring something fresh to tonality in Cymbeline.

Norwegian folk musician Sinikka Langeland, singer and player of the kantele (the Finnish table harp) is a distinctly non-traditional traditionalist, redefining "folk" in successive projects. 'Maria's Song' finds her in the company of two distinguished classical musicians - organist Kare Nordstoga and "giant of the Nordic viola" Lars Anders Tomter - and on a mission to restore Marian texts to sacred music, weaving folk melodies in between the timeless strains of J S Bach. Langeland made a lot of friends with her sparkling ECM debut Starflowers: "There are jewels everywhere on this arresting example of ego-free music-making. One of the albums of this or any other year" raved the Irish Times. Where Starflowers brought Langeland into the orbit of jazz improvisers, Maria's Song is a meeting and cross referencing of folk and 'classical' energies, and also a righting of historical 'injustice': Religious folk songs are amongst the most distinctive elements of the Norwegian folk tradition, yet the Virgin Mary rarely appears in them.