daan vandewalle:   pianist

PRESS


Charles Ives

"Concord" Sonata

  • Second Piano Sonata "Concord, Mass., 1840-60"
  • Studies 9 "The Anti-abolitionist Riots," 21 "Some Southpaw Pitching," 22, 23

Daan Vandewalle, piano
Paul Klinck, violin
Bert Jacobs, flute
Rene Gailly 87078 - 65 minutes

As his Essays Before a Sonata makes clear, Ives regarded music as, to paraphrase Clauswitz, philosophy carried on by other means - not just any philosophy either, but the discursive style practiced by Emerson, Thoreau, and Carlyle. Ives apparently inherited many notions from Transcendentalism, chief among them, the imminence of God in Nature. In his late writings especially, Thoreau felt that the more accurately you could describe natural phenomena, the closer you came to writing theology because you would then reveal celestial design. To me, this impels Ives the composer as well. Most of his technical innovations (simultaneous clashes of different meters and keys, odd rhythms and syncopations, "synthetic chords," and microtones) stem from the desire to reproduce more directly natural sonic events (and thus arouse the listener to the thoughts of the composer) than from an interest in gadgets for their own sake. Even Ives's use of quotation serves extra-musical ends. In some cases, it helps describe the scene or milieu Ives wants to evoke. In many cases, however, the quote becomes symbolic, iconographic, as when the song "Down East" slips in and out of "Nearer, My God, to Thee." He both describes the immediate scene and evokes the strength of faith, the nobility of his region's character.

In the Essays, the musician most often referred to is Beethoven. In the sonata, the opening motive of the Fifth Symphony is the musical icon given the most prominence. It carries from movement to movement and, according to the composer, calls to mind nothing less than "the Soul of humanity knocking at the door of the Divine mysteries, radiant in the faith that it will be opened - and the human become the Divine!" In Ives's mind, Beethoven and the Transcendentalists join company as spiritual pilgrims. Ives himself wonders whether music can supply everything he wants from it, but significantly "purely musical" considerations rank rather low. A composer who writes a "Universe" Symphony or a tone poem on the "Perennial Question of Existence" probably has little interest (unlike Haydn and Dvořák) in neatening sonata form. Most composers sing or dance. Ives and his sonata talk. The rhythm is characteristically the rhythm of prose, and Emerson's prose at that. The performer gets very few structural "lighthouses" to mark the overall shape of the piece. Ives's music, like transcendentalist prose, typically works for the revelation in the moment rather than for the cumulative power of argument over the long span. Consequently, more than for most composers, the player and the listener both must constantly be "with" Ives. The danger for the music is that it will go by as just so many notes.

Several noteworthy recordings of the sonata have appeared from such artists as John Kirkpatrick, Easley Blackwood, Gilbert Kalish, and Alan Mandel. Leo Smit I know has recorded at least "The Alcotts" movement. However, I consider Vandewalle's account at the front of the line. I admit to reading the Essays Before a Sonata while listening to Ives's "Concord," and Vandewalle reconciles notes and words like no other. In the first movement, "Emerson," he hurls out lightning bolts of prophecy. The Fifth Symphony quote sounds out here more often than in any other movement, and Vandewalle manages to give each occurrence a different character: stormy, dreamy, frenzied, and hymn-like, by turns. To some extent, the score itself implies these differences, but Vandewalle realizes them better than anyone else I've heard. He even manages to bring out the motive in inner, subsidiary voices. He also manages to delineate a fragmented version of Old Hundredth in the quieter passages, a new revelation for me with this piece.

"Hawthorne," the second-movement scherzo, is a phantasmogoria intended by Ives to depict the relentless of guilt, the elves in the forest, the Puritan past, and Hawthorne as the great national recorder of 19th-century American life. For Ives, the last is the most important, and out of the whirlwind of ragtime and bustle comes the Fifth Symphony motive. A beautiful hymn passage follows, which leads to a version of Ives's "Circus Band" march, more ragtime, "Columbia, the Gem of the Ocean," and "The Battle Cry of Freedom." In some ways, the movement shows a kinship with the finale to Ives's Second Symphony, as "one damn thing follows another." That Vandewalle manages to give the movement shape amazes me. It's not a shape in the sense of a static structure - you'd have a tough road trying to find one in Ives - but he helps you find the turns in Ives's musical thought, so that you turn with him. Furthermore, he plays the "sound-mass" as clearly as I believe it can be played. In his hands, the movement comes across not as a ferocious haze (unfortunately, the norm), but almost as competing strands, all jostling for attention.

"The Alcotts" (Bronson and Louisa May) - the shortest, the easiest technically and interpretively, and the most-often excerpted - has its own dangers nevertheless. The Victorian sentimental streak in Ives is uppermost here. Of course, Ives has his own view of the matter: modern America could use some of it. Sentiment is also tenderness, the guardian and shaper of our national sturdiness and the parlor-mirror reflection of divine immensities. In the "Epilogue" to the Essays, Ives speaks of " Aunt Sarah,' who scrubbed her life away for her brother's ten orphans, the fervency with which this woman, after a fourteen-hour work day on the farm, would hitch up and drive five miles, through the mud and rain to prayer meetin' - her one articulate outlet for the fullness of her unselfish soul." For Ives (and not only for him), this approaches the divine as closely as anything human. Significantly, it is in "The Alcotts" that Beethoven's quote begins as a parlor song and ends with a grand, full statement in ringing C major. The trick for the interpreter is, of course, to get from one to the other convincingly. I don't believe Vandewalle quite escapes a tone of condescension, but he does better than everyone else except Kirkpatrick. It's a New England thing, I suppose.

Vandewalle's "Thoreau" satisfies the most of the four movements, and I believe it the hardest movement to bring off. There are fewer eccentricities here, as well as fewer interpretive discoveries. A notable one is the striking similarity between the music roughly 2-6 minutes in and Aaron Copland's Americana "simplicity" of the 1930s and 1940s. Throughout, Ives hints at the Beethoven quote, and Vandewalle is sharp enough to catch the hints each time. The flute passage is very well done, with the Beethoven quote sounding in full form for the only time in the movement. Why the flute in a piano sonata? Why not? As Ives said, "Is it the composer's fault that man has only ten fingers?" Beyond that, however, the flute represents Thoreau himself (who played the instrument). It's a touching, beautiful section and a great close to what I consider a particularly American musical monument. There's no excess here. Indeed, "plain speaking" is what the movement is about. Vandewalle plays absolutely in service of the composer, eloquently and without affectation, coming as close to Ives's ideal of a music of "pure substance" as it may be possible to get.

The Studies, whether they are or not, seem preparations for the sonata. I particularly love #23, with Ives's hyper-ragtime go at "Hello, Ma Baby!" Vandewalle - a Belgian, by the way - has the idiom down cold. In fact, he puts many American classical musicians to shame.

The sound is quite fine, with the acoustics emulating a room rather than a hall. If you've never made your way into the "Concord" Sonata, this disc provides undoubtedly the best introduction.

Copyright © 1996, Steve Schwartz.


Alvin Curran

Inner Cities

" Equal parts porno mag and Bible, this 4-CD set may very well be the perfect desert island album. Each note of Alvin Curran's sprawling masterpiece is pregnant with possibilities, most of which the composer spontaneously explores while coaxing the listener to peek over his shoulder and guess which note he's going to write down next. This is music for cat lovers who understand and appreciate the allure of feline aloofness. Exponentially more addictive than any soap opera known to mankind, Curran's music may actually grow tired of you listening before you even get a chance to become sick of it hanging around. Beautifully performed by Belgian powerhouse Daan Vandewalle, the beginning of Inner Cities 10 is an utterly moving statement, a heavenly undulation akin to the nature of the tides, and growing tidal wave brewing into a full-blown tsunami. Nearly 50 minutes go by until one begins to fathom the magnitude of this unfolding musical orgy. Then, Vandewalle delivers the money shot in the form of a colossal orgasm that sonically encompasses the entire history of Western music. I'm not kidding. It's two minutes of sheer heaven-not to discount the remaining four hours of kick-ass music on this stellar release."
Randy Nordschow http://www.newmusicbox.net/eartrack.nmbx?id=2945

"Thankfully, there are signs that music, sans mathématiques, is thriving deep inside the trenches of contemporary music. Look no further than the newly released recording of Alvin Curran's Inner Cities piano cycle. This is music that was created with a blatant disregard for math, balance, and symmetry, but everything sounds utterly right. Notes and chords follow one another without any obligation to an underlying grand scheme-it's music in a constant state of pure self-realization. And shouldn't music reflect this sort of personal reality, rather than a set of numbers and calculations? Hmm, maybe I'm just jaded..."
Randy Nordschow http://www.newmusicbox.org/chatter/chatter.nmbx?id=4425

"Alvin Curran's massive piano piece, INNER CITIES, was another surprise. Performed by Daan Vandewalle, this monumental work combines long and short solo piano pieces in various styles. Deeply intriguing and wonderfully engrossing. It takes a couple of sittings to get thru it all, but it's very rewarding. Like a great 1000 page novel."
Richard Friedman (on board of Directos of Other Minds, and does a weekly radio program on KALW called Music From Other Minds)
http://rchrd.com/weblog/pivot/entry.php?id=202

"I've been meaning for a while to sing the praises of Curran's monumental piano cycle Inner Cities. Daan Vandewalle's staggering performance on a Long Distance recording is now available in the US."
Alex Ross http://www.therestisnoise.com/blog_fallwinter_05/index.html


Gordon Mumma

MUSIC FOR SOLO PIANO 1960 - 2001

Those of you who know Gordon Mumma only for his pioneering 1960s work with electronics - from the earwax-melting Dresden Interleaf 13 February 1945 and Megaton For Wm. Burroughs to the raw cybersonics of Hornpipe - ought to know that, prior to his groundbreaking work with the Sonic Arts Union he did in fact study "traditional" composition and performance in the 1950s with Ross Lee Finney in Ann Arbor and George Exon at Interlochen. A talented pianist, he's well versed not only in the contemporary repertoire - performing much of it in a duo with Robert Ashley back in the 60s - but also in Bach, Scarlatti, Haydn, Schoenberg, Webern and Bartok. This fine twofer from New World, beautifully produced and complete as ever with informative liner notes, may be entitled Music For Solo Piano 1960 - 2001, but only two of the works it contains date from the early 60s - the Suite for Piano (1960) and Large Size Mograph (1962) - even if seeds of the later piano music, notably 1997's Jardin, were planted back in the composer's formative years. The music is intimate, introspective and condensed - which could, once more, come as something as a surprise to those who only know of Mumma's work from the period of the ONCE Festival and the Sonic Arts Union - and reveals a remarkable ear for pitch and fondness for time-honoured contrapuntal techniques. But this is no exercise in neoclassical nostalgia: Mumma's take on serialism is as fresh in the Eleven Note Pieces & Decimal Passacaglia (1978) as it is in the thorny Suite, and when he chooses an extant work as a model - the Minuet from Haydn's Symphony No. 47 in the second piece of 1996's Threesome - there's not an inkling of postmodern irony. There's enough set theory in the Sushihorizontals (1986 - 96) to keep a graduate class busy for several months, and, best of all, you can really hear how it works. Dean Vandewalle's performances are terrific, at one and the same time meticulous in their exploration of dynamics and timbre and touchingly lyrical. Now there are two words I bet you never thought of using to describe the music of Gordon Mumma.. get yourself a copy of this posthaste and think again.

(Dan Warburton, Paris Transatlantic Magazine 2008 Nov 11)

Two more reviews on this CD from fanfare magazin by:
Art Lange
Robert Carl.
Furthermore one at Squidsear
Brian Olewnick
and one from Circuit (in French)
Circuit

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