Innova
512
Dancing
Solo
Music
of Libby Larsen performed by Caroline Hartig and Friends
1.
Corker 6:41
Caroline
Hartig, clarinet; Robert Adney, percussion
Blue
Third Pieces
Caroline
Hartig, clarinet; Christopher Kachian, guitar
2. I. Deep
Blue 3:58
3. II. Salt
Peanuts 3:02
Dancing
Solo
Caroline
Hartig, clarinet
4. I.
With
Shadows 2:52
5. II.
Eight
to the Bar 2:52
6. III. In
Ten Slow Circles 2:46
7. IV.
Flat
Out 3:07
Black
Birds, Red Hills
Caroline
Hartig, clarinet; David Harding, viola;
Kevin
Purrone, piano
8. I.
Pedernal
Hills 3:34
9. II. Black
Rock 2:05
10. III. Red
Hills and Sky 2:14
11. IV. A Black
Bird with Snow-Covered Hills 2:15
Three
Pieces for Treble Wind and Guitar
Caroline
Hartig, clarinet; Christopher Kachian, guitar
12. I. Canti
Breve 2:54
13. II. Circular
Rondo 3:41
14. III. Presto
Digital 2:51
15.
Song Without Words 8:40
Caroline
Hartig, clarinet, Kevin Purrone, piano
55:10
A
dynamic musical idiom radiates from the United States in the works of Libby
Larsen. Her distinctive style draws equally
from the garage band pop culture, classic jazz and gritty Delta blues, a deeply
rooted visual impulse, the rhythmic nuances of American speech, and a
compositional technique refined in the university environment.
Larsen
did not consciously strive for this eclecticism. In fact, she readily avows the importance of classical
training. Revisiting two or more
decades of compositions, however, Larsen realizes that she has grown more
absorbed with musical content, habitually incorporating those styles that have
ÒstruggledÓ to emerge from American cultural experience. The six pieces on this recording
illustrate the fascinating and diverse musical communication resulting from her
classical vernacular stylistic amalgam.
A
native of Wilmington, Delaware, Libby Larsen (b. 1950) grew up in the Midwest
before beginning her formal musical studies. She earned threefold academic credentials (Bachelor of Arts,
Master of Music, and Doctor of Philosophy) from the University of Minnesota,
where her compositional mentors included Dominick Argento, Paul Fetler, and
Eric Stokes. In 1973, she
co-founded (with fellow composer Stephen Paulus) the Minnesota Composers Forum,
later renamed the American Composers Forum. She has served as composer-in-residence with the Minnesota
Orchestra and the Charlotte Symphony and is currently composer-in-residence
with the Colorado Symphony. Larsen
was named Minnesota Woman of the Year in the Arts in 1981, and, six years
later, she received the Outstanding Achievement Award from her alma mater.
Her
imaginative approach to composition has attracted both national and
international attention. Larsen
twice received National Endowment for the Arts Fellowships (1982 and 1984), and
has served as advisor to the NEA, ASCAP, and the American Symphony Orchestra
League. In 1984, she was honored
as American Express Woman to Watch.
LarsenÕs Sonnets from the Portuguese appeared on the Grammy Award-winning CD, The Art
of Arleen Auger (1994). Her music
also has appeared recently on Angel/EMI, CRI, Elektra/Nonesuch, and Koch
International, which has released the Missa Gaia and a recording of orchestral music featuring
the London Symphony.
Caroline Hartig has
received acclaim as a clarinet soloist and chamber musician throughout the
United States, Europe and Japan.
She has appeared with orchestras and contemporary music ensembles in
major concert halls including Carnegie Hall, Merkin Concert Hall,Symphony Hall
(Boston), and the Fritz Reiner Center for Contemporary Music. Widely recognized for her new-music
collaborations, Hartig has premiered and performed numerous solo and chamber
works. HartigÕs most recent CD Clarinet Brilliante was honored by the American Record Guide as a "CriticsÕ Choice". Her artistry has been described
as "dazzling, with prodigious technique", Hartig dazzles with numbing, blazing fluidity and rich,
luxuriant fervor...Ó coiled virtuosity. She is currently on the faculty at
Michigan State University.
Corker (1989) – an early-twentieth-century
colloquialism used to describe Òsomeone or something of astonishing or
excellent qualityÓ (Random House Dictionary) – explores the interplay and
opposition of rhythmic and melodic elements. The clarinet initially assumes the role of jazz soloist,
firing off quasi improvised, lyrical phrases. Beneath, the percussion simulates the crisp, driving
sixteenth notes of swing-era drummer.
When the percussionist swaps non-pitched percussion for the marimba or
vibraphone, this rhythmic function gives way to a harmonic orientation. Larsen explains: ÒMy inspiration for
the work is drawn from the 1940Õs popular musical language, which I love,
because the performers were spectacular musicians and because the music speaks
the rhythms and harmonic language of contemporary American English.Ó Robert Spring, Professor of Clarinet at
Arizona State University, commissioned Corker, which received its first performance at the
International Clarinet Society Convention in July, 1991.
Larsen
chose an idiomatic ensemble and pitch language for Blue Third Pieces (1996).
The guitar remains the quintessential blues instrument, aside from the
voice, whose breath-filled phrases are assigned in this work to the treble
wind. ÒDeep BlueÓ takes the
characteristic blues interval, the minor third and its sliding resolution to
the major third, as a point of departure.
Freedom
of phrasing and meter, one characteristic of authentic improvised old-time
blues, results in this movement from the uneven 5-8 time signature. ÒSalt PeanutsÓ – taking its name
from a stereotypical jazz pattern (long-SHORT-long) – is heard throughout
the movement. Stylistic references
become even more specific halfway through the movement, when the guitar begins
a repetitive ÒcompingÓ pattern (known to all blues and rock guitarists) which
the composer identifies with Ray Charles, Òone of my musical heroes.Ó Blue Third Pieces were commissioned and premiered by flutist Susan
De Jong and guitarist Jeffrey Van.
Instrumental
virtuosity paralleling the kinetic movements of the human body—an
experience Larsen described as Òimprovising with the shadows, the air, on an
inner beat, upon a fleeting feelingÓ – inspired Dancing Solo (1994).
The four movements emphasize different motor impulses played out in
musical space. ÒWith ShadowsÓ
moves gracefully in balletic gestures.
The clarinet first soars upward, like a ballerina rising to pointe, then
gently floats downward. Larsen
creates a musical analogy to this dance shape in two-part, high-low
counterpoint. Widely spaced trills
toward the end relate this movement to ÒA Black Bird with Snow Covered Red
HillsÓ in Black Birds, Red Hills. Laid-back swing rhythms dominate the
second piece, ÒEight to the Bar.Ó
The swing influence appears as triplet subdivisions of the quarter note
and pulsations of a sustained tone.
Occasionally, quarter notes subdivide into two, providing a type of
rhythmic counterpoint.
ÒIn
Ten Slow CirclesÓ contains ten long phrases requiring circular breathing. The pitch content arises from a
ten-note row with the added pitch G serving as a tonal linchpin. A loose three-part form results from
different treatments of the row:
the first two and last two phrases indulge in more high-low
counterpoint, while the middle six phrases (three long, three short) spin out
arching lines. ÒFlat OutÓ adopts
the blues Òtrain rhythmÓ an almost minimalistic effect comparable to the sound
a rock makes when caught in a car tire.
Though the tire at times seems to loosen its grip, the rock soon resumes
its monotonous clicking. In this
movement, the Black Birds, Red Hills trills return, and there are motivic references to Corker as well.
Caroline Hartig commissioned Dancing Solo and gave its debut performance on March 11,
1994, at Carnegie Hall, New York.
Black
Birds, Red Hills (1987; revised
1996) captures the curious dichotomy of six paintings by Georgia OÕKeeffe,
whose visual representations of the New Mexico landscape are simultaneously
intimate and expansive. Larsen
originally scored this piece for soprano voice, clarinet, and piano for a
multimedia presentation with slides of OÕKeeffe paintings and narration based
on the painterÕs own written thoughts.
OÕKeeffe was fascinated by Òthe idea that music could be translated into
something for the eye,Ó and Larsen returned the favor by reflecting the visual
in something for the ear. The
composer later revised this work (the version heard on this recording),
replacing the soprano with viola. Black
Birds, Red Hills was
commissioned by the University of Alabama for Thea Engelson and Scott Bridges.
ÒPedernal
HillsÓ (based on Pedernal and Red Hills, 1936) evokes the
mysterious sense of infinity lying just over the horizon line, a boundlessness
reflected in its transparent musical textures and malleable rhythms. The viola retains the narrative quality
of the vocal original. OÕKeeffe
once described the New Mexico hills as V shaped – a pair of arms reaching
outward to embrace the sky, Òlike an abstract cradleÓ according to the
composer. ÒBlack RockÓ (based on Black
Rock with Blue Sky and White Clouds,
1972) conveys timeÕs
transformative power its capacity to change rough, dingy rocks into sparking
gemstones.
ÒRed
Hills and SkyÓ (based on Red and Orange Hills, 1938, and Red Hills and Sky, 1945) languishes rhythmically amid the
sweltering midday heat. The final
movement plus epilogue, ÒA Black Bird with Snow-Covered Red HillsÓ (based on A
Black Bird with Snow-Covered Red Hills,
1946 and Black Bird Series [In the Patio IX], 1950), employs more literal musical
representation of the black bird, Larsen again took a clue from her visual
source: ÒOÕKeeffe covered the red hills with snow and focused on the bird as a
metaphor of time, always there and always moving away.Ó
Three
Pieces for Treble Wind and Guitar
(1973-74) began as a single work – ÒCircular RondoÓ written for Jeffrey
Van, guitar instructor at the University of Minnesota. The following year, Larsen composed
ÒCanti BreveÓ as a wedding gift for her friend, Lynne Aspnes, then a harp
student at the university. She
rounded out the set with the effervescent ÔPresto Digital,Ó a piece with
motivic links to ÒCanti Breve.Ó
Song
Without Words (1986) served as a
musical epitaph for Richard Lamberton, a beloved friend and Ògentle, deeply
kind man who loved music and had a particular love of the clarinet.Ó The composer had known the Lamberton
family for more than two decades, and came to admire father RichardÕs inquiring
mind and courageous and optimistic spirit. Alternately meditative and rejuvenating, Song Without
Words celebrates life instead of
mourning its loss. Larsen –
whose own father is a clarinetist – consciously alludes to the famous
opening clarinet ÒwailÓ from GershwinÕs Rhapsody in BlueÓ. Three- and four-note melodic fragments toll in the low bass and high
treble registers throughout as a kind of cantus-firmus invocation of Richard
Lamberton.
©Todd E. Sullivan
1997
Kevin Purrone –
piano
Kevin Purrone has won
acclaim for his solo and chamber music performances in the United States and
abroad. He is an active composer
and improviser, teaches at Ball State University, and has interests in
art-integrated education and creativity.
Robert Adney –
percussion
Robert Adney freelances
with both the Minnesota and Saint Paul Chamber Orchestras. He has toured and recorded with both
groups, with over 14 albums to his credit. Currently he teaches at the MacPhail Center for the Arts.
David Harding –
viola
David Harding is a
two-time prize winner of the Lionel Tertis International Viola Competition and
is a recipient of the Sir John Barbirolli Award. He has served as assistant principal viola of the Canadian
Opera Company and has been a member of the Toronto Symphony and an active
chamber musician. He is currently
violist of the acclaimed Chester String Quartet.
Christopher Kachian
– guitar
Christopher Kachian has
given over 500 performances in the UK, Ireland, Austria, Italy, Germany,
Luxembourg, France, Russia, Africa, the U.S. and South America. He has commissioned and premiered many
works, including five concerti, and is the author of A ComposerÕs Desk
Reference for the Classic Guitar. He directs the largest guitar program
in the Midwest at the University of Saint Thomas.
Recorded at the Janet Wallace
Fine Arts Center, Macalester College, St. Paul, Minnesota, 1997
Recording Engineer: Russ
Borud
Design: Philip Blackburn
Special Thanks to: Jeff
Nearpass, Harriet McCleary, Leslie Mick, Mindy Cloeter, Wynne Reece, Oberlin
Conservatory and Ball State University
To obtain scores for Blue
Third Pieces, Dancing Solo, Black Birds, Red Hills, and Three Pieces for Treble Wind and Guitar, contact Oxford University Press, Inc., New
York, USA 1-800-344-4249
To obtain scores for Corker
and Song Without Words, contact ECS Music, Boston, MA, USA
1-800-777-1919
Innova is supported by
an endowment from the McKnight Foundation.