Fall Music Preview - Modern Composition

A Closer Listen

The sweet sounds of modern composition are tailor-made for fall.  Solo piano scores the falling of leaves, while strings reflect the season’s bittersweet emotions. When orchestras bloom, they offer a sense of fullness; the heart can overflow even when the outer warmth is receding.  We suspect that some of the year’s finest albums will be found in this category.  There’s great power in this music, and richness of hue, enough to exude a warm autumn glow.

Our cover image is taken from Pinterest, but after a long net search we were not able to ascertain its origin.  If you know, please tell us so we can give proper credit where it is due!  Ironically, we found it while looking for “pumpkin piano.”  Close enough!

Rich’s Pick:  Rhian Sheehan ~ A Quiet Divide (Loop Recordings, October 5) Five years have passed since Stories from Elsewhere, although Rhian Sheehan has remained active in other ventures, releasing a live album and a film score and mentoring artists such as Levi Patel and Lauren King.  His return is a triumph.  A Quiet Divide bleeds elements of nearly every genre we cover, most notably ambient, electronic, experimental and post-rock, but its heart is modern composition. Hints of the old Sheehan remain, but he’s pushed his music further into the orchestral realm and in doing so has achieved a new transcendence.

We initially thought Mary Magdalene was Johann Johannsson‘s last work, but the honor actually goes to his score for the horror film Mandy.  While it’s not the happiest note to end on, any music from him is welcome (Lakeshore/Invada, September 14).  Iceland Airwaves made news this year by announcing a lineup that was 50% female.  The FatCat/130701 label also deserves credit for releasing four female-fronted albums in a row, the latest being the debut of Stockholm pianist Shida Shahabi.  Homes is tender, loving and calm, a respite from the troubles of the outside world (October 25).  But wait, there’s more!  Coinciding with a U.K. tour is the September 27 release of the compilation The Sea at the End of Her String, boasting all-new tracks from Shahabi, Resina and Emilie Levienaise-Farrouch, as well as a bonus piece by the founder of the label.   See the tour if you can; tickets are available here.

Those who have been enjoying the HBO series Sharp Objects are directed to Alexandra Stréliski‘s Inscape, which includes the show’s highlight piece Plus tôt.  But stay tuned for “Burnout Fugue;” not all is quiet here.  Gregor Schwellenbach‘s The Body as Archive is a score for the film of the same name, described as a “dance film essay.”  The piano is dominant, but light adornment arrives from multiple angles (Galerie, September 7).  Stefan Schultze Solo combines piano and prepared piano on System Tribe, garnishing the blend with a sprig of light treatments (WhyPlayJazz, September 7).  Dmitry Evgrafov returns to the solo piano on the obviously titled Return EP, which brings back memories of his earliest work; we’re proud to say we knew him when (Fatcat/130701, September 14).  Cristina Spinei presents three solo piano pieces and one for piano and cello on her Mechanical Angels EP, due September 14 along with a new video.  An additional twist is the invitation for other pianists to film their own renditions (September 14).  Piano meets string trio on Cameron Brooks‘ Vicissitude EP, set for release on September 21 via Subtempo.  And Craig Armstrong combines his piano with strings on Sun On You, performed with the Scottish Ensemble and preceded by the elegant single If You Should Fall. We’ve been enjoying Armstrong’s work for decades, and are glad to hear him sounding as good as ever (Decca, September 7).

Sam Slater‘s Wrong Airport Ghost sounds like the work of a small orchestra, thanks to layering and amplification; but it’s actually the sound of a single string (Bedroom Community, October 5).  Those who prefer string quartets will find a perfect match in Fiona Brice, whose 3-part String Quartet No.1 will be released on September 19 (Bigo & Twigetti).  12 Ensemble make their debut by performing the works of four composers on Resurrection (September 14).  The group should not be confused with Sylvain Chauveau’s ensemble 0, which sounds completely different despite the similar name.  plays eight compositions and it lasts 38:36 sees the ensemble trading instruments such as glockenspiel, vibraphone and chime, and would make a perfect mobile for a nursery (flau, October 5).  flau also presents a new album from Ulises Conti, formerly known for his piano works; Los efímeros (The ephemeral ones) features fuller instrumentation and is as lush as a greenhouse (September 21).

Less Bells is one of the fall’s freshest surprises, billed as an “ambient orchestral” project by Joshua Tree’s Julie Carpenter.  Solifuge mixes modern composition, ambience and drone in a manner that soothes and delights (Kranky, September 14).  Staccato Signals is still fresh, but Ben Chatwin has already released a follow-up: a reimagining of the album that saw him return to the studio for a fresh new take.  Drone Signals is an elaboration of themes, in which some aspects of the original album are brought to the fore, others smoothed out and still more added.  Both albums are superb; we’re hoping to see a special edition double-release (September 14).  Violin, viola and cello go through the mixing board on Michael Lind‘s Strings and Clusters, resulting in a lovely cloud of composed drone.  The cover crosses the ocean into winter, reflecting the name of the label (Polar Seas, September 21).

Composers work hard at their craft, but few call it physical labor.  That is, save for Manu Delago and his ensemble, who hiked into the Alps along with a film crew to capture the recordings of Parasol Peak.  The movie is incredible, as is the cast’s determination to soldier on through all types of conditions.  Despite the harshness of the climate, the compositions burst with ebullience and stand as a metaphor for the temporary triumph of man and woman over nature (One Little Indian, September 7).  Luca D’Alberto returns with the lush orchestral sound of Exile, preceded by the single Consequences; the album drops October 5 on !K7, and the video draws pleasant comparison to “Wait for Me.”  And one of the most intriguing releases of the season comes from the Estonian duo Maarja Nuut and Ruum.  Their sound ranges from folk expression to electronic burst, from instrumental lushness to vocal lullaby, drawing pleasant comparison to Dead Can Dance.  Muunduja is out October 5 on Fatcat/130701, a label owning the genre this season.

Those who enjoy both classical music and modern composition will have reason to celebrate on October 19, when Deutsche Grammofon releases Peter Gregson‘s recomposed double disc Bach: The Cello Suites. The new interpretation follows other successful label ventures, most memorably Max Richter’s take on Vivaldi.  New Amsterdam Records seems to be having success with its subscription service, which allows members early access to its releases.  The next of these comes from Robbie Lee and Mary Halvorson, who team up on Seed Triangular for an album of semi-composed, semi-improvised music.  Much of the latter comes from the first contact of artist and instrument (September 7).  The label will chase this down with the exciting Blueprinting from Aizuri Quartet, performing the works of multiple American composers.  The title refers to a style of Japanese woodcutting (September 28).

Three Trapped Tigers’ Matt Calvert is now the leader of a small ensemble, who serve up a warm and welcoming sound on Typewritten.  Whenever the listener starts to relax, the avant garde slips in.  The album is set for release on Truant Records September 7, and the lead single can be heard below.  The jazzy 10-part Wayfaring Suite comes from the hard-to-pronounce Hochzeitskapelle and Kama Aina, but don’t let that stop you ~ like most of the music covered here, it’s wordless.  The album is described as “ten small islands, full of riches.”  The sounds of glockenspiel, trombone, banjo and toy piano keep it as light as the Kailua breeze (Morr Music, September 21).  A 16-piece orchestra is found on Engage and Share, from storied composer Lars Graugaard and Grup Instrumental de València.  The three quarter-hour pieces ebb and flow, creating the impression of a living organism (Kairos, September).

Coming tomorrow:  Fall Music Preview ~ Rock and Post-Rock!

A Closer Listen

Our Fall Music Preview continues with a walk through the woods of Modern Composition.  From solo piano to orchestral works, this genre seems as ripe as an orchard apple.  New, distinct flavors are found in this year’s crop as well, which includes hints of theremin, vibraphone and the subtle notes of cross-genre splices.

Photography courtesy of Holly Holdredge Bangert at Holdredge Images.

Rich’s Pick #1:  Rachel Grimes ~ The Way Forth (Temporary Residence, November 1) The Way Forth is an ambitious folk opera that weaves piano, strings, harp, narration, choir and folk melodies into a cross-generational history of Kentucky women.  By lifting the voices of these women into the spotlight, Rachel Grimes celebrates an oft-ignored part of Americana, and by extension, of women everywhere. We’re equally excited about the film and the score; this is an essential release.

Rich’s Pick #2:  Manu Delago ~ Circadian (One Little Indian, September 13) Parasol Peak was one of our favorite albums of 2018, leading to even higher expectations for Circadian. To our delight, Manu Delago and his ensemble now offer another masterpiece, this one inspired by the cycles of sleep.  One might believe that Max Richter had said all that could be said about the subject, but this album takes a different path.  The subject may be sleep, but the colorful timbres produce a desire to stay awake.

The season’s most meditative work is Time Is Local, an abbreviated edition of a twelve-hour museum installation.  We Like We & Jakob Kirkegaard were inspired by Roman deities, whose busts are visible in the video (Sonic Pieces, September 27).  Carolina Eyck is a real outlier, as one can tell from the title of her latest album, Elegies for Theremin and Voice.  Here’s a great performance video, although the cello is not included on the album.  These lyric-free excursions will appeal to those who enjoyed the recent Shards album on Erased Tapes (Butterscotch, September 27).

Following an appearance on THESIS and his EP Dance, pianist Garreth Brooke returns to 1631 Recordings for a romantic venture.  Healing is a peaceful series of pieces composed to accompany artwork by his wife Anna Salzmann, and will be performed live with projection. The healing theme is apparent in the soothing nature of the work (October 25).  Also on 1631 is the self-titled piano and electronics album from OUTER (September 20).  Benny Gebert of HAERTS transported three pianos to his Hudson Valley farmhouse to record Triptych, and decided to leave the windows open to capture the local ambience.  The album is out September 13 on Arts & Crafts, preceded by the singles “Weeping Willows” and Night Life. One glance at The Thief Bunny Society is all one needs to understand its playful nature.  Per Störby Jutbring suggests listeners turn off their phones and run into the forest for peak enjoyment (Hoob, October 19).

Ed Carlsen performs with a string quartet on Morning Hour, a gentle set of songs that start softly before they burst into bloom. Pianist Shida Shahabi adds cello to her lovely EP Shifts, out November 8 on Fatcat/130701.  After a “greatest hits,” pianist Bruno Bavota returns with the all-new Get Lost, whose title is more benign than it seems.  “San Junipero” is the highlight of this gorgeous album, appearing on Temporary Residence October 4.  Oliver Patrice Weder greatly expands his palette on ODW by adding multiple inflections to the soft sound of his stripped down studio session (SA Recordings, November 1).  Strings sometimes steal the attention from piano on Jim Perkins‘ Pools, but the ivories have the last word.  This emotional set is out October 3 on Bigo & Twigetti.

“Most of our songs have lyrics,” write acoustic bass/keys duo Bremer/McCoy, “even though they are instrumental.”  We like the sound of that!  The smiling jazz of Utopia betrays no clue that the duo was once a reggae act (Luaka Bop, October 18).  Laszlo Gardony adds jazz fragrances to the live solo piano of La Marseillaise (Sunnyside, October 25), while Mischa Blanos folds jazz and electronic influences into piano music on Indoors, due September 20 on InFiné.  The label will follow with Inland Versions, a collection of reworks from Vanessa Wagner‘s spring release, including contributions from GAS and Vladislav Delay (September 27).

We’re amused at the path Nils Frahm has taken to his upcoming album All Encores.  The composer began by releasing two EPs of music “that didn’t make the cut” of All Melody.  The first concentrated on piano, the second on ambience, and the upcoming third ~ Encores 3 ~ on percussion.  And now it’s going to be an album after all!  The third EP is due September 20, followed by the album on October 18, both released by Erased Tapes.  In between these releases, the label will highlight the cool Handfuls of Night, by Penguin Cafe.  We mean that word literally; the album is inspired by the arctic adventures of PC’s Arthur Jeffes, whose evocative compositions are meant to raise awareness of the endangered penguins he met while retracing Robert Scott’s famous expedition (October 4).  Switching poles, Christine Ott & Torsten Böttcher offer a new score to the classic film Nanook of the North.  Regular readers may recall a 2018 score on Denovali by a band sharing the name of the film; the inspiration may be the same, but the timbres are different (Gizeh, October 25).

Afenginn (Danish composer Kim Rafael Nyberg) has won multiple Album of the Year awards in his native land, and Klingra looks to continue the feat.  Half of the tracks are vocal, but a powerful string section elevates instrumentals such as “The Lighthouse” (Tutl / Cargo, October 11).  Rob Simonsen may have moved from film to audio, but he continues his cinematic association with a trio of enigmatic videos, beginning with Spectre.  Réveries is out September 6 on Sony Masterworks.  After a longer than usual absence, Slow Meadow returns with the heart-moving Happy Occident, continuing a perfect partnership with Hammock Music (October 18).  Berlin’s Lambert seems to have a gimmick ~ he performs in a Sardinian bull mask.  But given the popularity of TV show The Masked Singer, it may be more than that.  Vienna is inspired by lies, truth, post-truth, and the masks we wear (MKX, September 13).

Navona Records starts the season with two new releases.  Jeffrey Jacob‘s Dreamers was written after interviewing children of illegal immigrants, while Sirius Quartet‘s Playing on the Edge showcases pieces by composers Jennifer Castellano, Ian Erickson, Brian Field, Marga Richter, and Mari Tamaki (September 13).  Also forthcoming on Navona:  Mark John Mcencroe‘s Musical Images for Chamber Orchestra, a follow-up to his piano album of a similar name.  And clarinetist Andrea Cheeseman offers Somewhere, inspired by subjects as disparate as Odysseus and e.e. cummings (Ravello, September 27).

Violinist Haerim Elizabeth Lee is joined by Alex Brown on Gershwin’s piano for a tribute to the composer with works old, new, rearranged and improvised.  My Time Is Now is due September 27 on Innova Recordings.  Pauline Kim Harris reimagines works by Bach and Ockeghem on Heroine, folding electronic textures into violin bowls (Sono Luminus, September 27).  Violist Jessica Pavone returns with the J. Pavone String Ensemble for Brick and Mortar, adding a more dramatic tone than was possible alone (Birdwatcher Records, October 4). Michael Vincent Waller offers a series of short, minimalist pieces on Moments, a double LP that pairs piano and vibraphone (Unseen Worlds, October 4).  Synesthete Julian Loida displays his vibraphone skills on Wallflower; the rapid-fire movements of Silver Lacquer make an easy entry point (September 6).

NMC Recordings offers three releases on September 27.  Thanks to Plus-Minus Ensemble, Joanna Bailie‘s Artificial Environments is dark and alluring, a open-ended invitation to her work.  David Sawer‘s Rumpelstiltskin veers wildly between moods, as expected from the source material, originally commissioned for ballet.  New Music Biennial 2019 features startling combinations, including Gazelle Twin & Max Wardener and Forest Swords & Immix Ensemble ~ you’ll have to hear it to believe it!  New Amsterdam‘s slate begins with Bang On a Can alumnus Ashley Bathgate, performing six cello works composed by Sleeping Giant.  ASH is out September 27, and is followed by Nathan Schram‘s aggressive Oak & the Ghost, in which the violinist moves beyond modern composition to tackle avant rock (November 15).  Even more experimental is Mary Halvorson & John Dieterich‘s a tangle of stars, which incorporates jazz, pop and peacocks (October 25).  And Mario Diaz de Leon‘s Irradiance is much more than a cello album, delving into dissonance, sub-bass, and even noise, with guest performances by ICE and other luminaries (Denovali, September 27).

Richard Allen

A Closer Listen

A Closer Listen

Concerts are back!  Solo performers, orchestras and small ensembles have been finding ways to take their music on the road, whether through outdoor venues or by proof of vaccination.  The modern composition scene has a slight advantage over others in that most observers are passive, even when the music is active.  Whether heard on an iPod or in pods of people six feet apart, this music deserves an audience.

Some artists seek to soothe, others to reflect, challenge or entertain, but all artists have been affected in some way by the events of the last year and a half.  Nearly every album appearing this fall was recorded during the pandemic and is colored by a mixture of anxiety, loss and hope.

Rich’s Pick:  Peter Gregson ~ Patina (Deutsche Grammophon, September 10) What happens when you remove a melody?  The answer to the composer’s question is simple:  other melodies emerge.  Gregson’s cello is in fine form, the ensemble around him is fantastic and the first two videos are sublime.  With Patina, Gregson solidifies his standing at the top of the field.

Piano-Centric

One of our favorite releases of fall is a reminder of the time before cellphones and the internet, when long-distance couples were only able to communicate by mail and phone.  Mirla reads from her grandmother’s letters, written during the Second World War to a man who might not have been alive on the other end.  This proclamation of hope forms the heart of Solitaire, but (spoiler alert) it does have a happy ending (September 3).  Sophie Hutchings follows spring’s intimate Love & Keep EP with the full-length Echoes in the Valley.  Recorded in the solitude of the mountains, the album vibrates with inner strength (Mercury KX, October 15).  Craig Armstrong‘s Nocturnes – Music for Two Pianos is exactly what it sounds like, a peaceful set recorded during the long pandemic nights (Modern Recordings, September 3).  Olivia Belli returns with the upbeat flavors of Sol Novo, which translates as “new sun” or “new day.”  The phrase may refer to the pianist’s favorite time to record, but it’s also encouraging to think of it referring to a new era for society. The album is preceded by a flurry of six singles, the latest of which is “Grembo” below (XXIM, September).

During the pandemic, Henning Schmiedt challenged himself to record one short piece each day on piano.  He’s chosen sixteen of the best to present as a Piano Diary (flau, September 17).  Tobias Svensson‘s pandemic project was to restore an old piano.  His labor of love is preserved on the Hopkinson 4 EP (sounds fragil, September 24).  Lockdown walks and observations, along with the experience of becoming a new mother, turn the black and white keys of Poppy Ackroyd‘s Pause into color.  When life was put on pause, this vibrant artist continued to press forward (One Little Independent, November 12). “Don’t forget to slow down,” urges the press release for Moving Backwards, a series of slow piano pieces from Rob Collier, meant to imitate the incremental pace of nature (Geology, September 3).  Writing from his mountain home during the pandemic, West Riding found inner peace in his surroundings and translated them into music.  Quiet Mountain is the result, introduced by the very autumnesque track Watching Joyful Leaves Dance to the Ground (CD Baby, September 22).  Scene veteran  Adam Wakeman yields little evidence of his progressive and heavy metal background on the pandemic-born A Handful of Memories, a lovely solo piano set led by The Winter Palace.

Paul Edis‘ The Still Point of the Turning World lies midway between modern composition and jazz, exuding a sense of calm following a time of turmoil (Lateralize, September 10).  Likewise, William Campbell‘s solo effort All in Due Time practices what it preaches, beginning with the title track, recorded with only the left hand as the composer recovered from surgery.  Campbell offers a book of sheet music for those eager to tackle these works at home on five fingers or ten (September 10).  Simeon Walker begins a new EP series with Imprints, a quartet of solo piano pieces that in time will be collected into an album (October 29).  We’re not sure if our readers will be too impressed that Stephen Moccio has worked with Miley Cyrus, Celine Dion and The Weeknd, but his piano album Lionheart certainly falls in our purview (Decca, October 15).  Luke Howard Trio returns with the warm-hearted The Sanctuary, which was recorded in a more innocent time but will be released when most needed (September 10).

An interactive sound structure is the impetus for Iron Orchid, written by Ning Yu and David Bird for piano and electronics.  Curious timbres resonate from inside and outside the piano; metal tubes color the spaces between the notes (New Focus, September 3).  Reimagined is an expressive return to Henrik Lindstand‘s work, as the solo piano is often unmoored from its lodgings.  Alex Somers, Christina Vantzou, Manu Delago and more offer diverse takes on the music (One Little Independent, September 17).

Other Lead Instruments

Cellist Gaspar Claus follows summer’s Adrienne EP with the full-length Tancade, which imagines an undiscovered tribe on an imaginary island.  Delving into magical realism, the set is a dreamer’s paradise (InFiné, September 10).  An ambient gloss may coat Dokkaebi, but Ben Bertrand‘s bass clarinet shines through and nudges the album into the realm of modern composition.  Additional music is contributed by Christina Vantzou and Echo Collective (Les Albums Claus, October 1, cover art shown at top of page).  On Panoply, French horn player Richard Bissill sees his works adapted by the staff and students of Guildhall School of Music & Drama ~ a warm and personal accomplishment wrapped up one day before lockdown (Three Worlds, October 15).

Argentinian bandoneon player Leandro Ragusa demonstrates his diversity on the double release of Vol. 1 Electroacustica and Vol. 2 Camara (chamber), hoping to draw attention to the instrument’s tonal range (Espadrille Music, September 3).  We’re always appreciative when an album naming a season is released the same season.  17 Days in December is a series of harp improvisations from Jacqueline Kerrod, the last release on our calendar (Orenda, December 3).

The Lost Tribe Sound label offers more than modern composition, but as many of their releases are part of the Salt & Gravity series, we’re listing them all together.  The Arrowounds album was released in late August, and will be followed by Alapastel‘s dark and mysterious Ceremony, Tony Dupé‘s yearning and enigmatic Margaret Hammett Lived and µastroKristo‘s Ocean in October, the latter release the best exemplar of the series’ watery vibe.  November and December will feature new albums from sanr and t’Geruis.  But wait, there’s more!  In a bit of overlap, From the Mouth of the Sun (Aaron Martin and Dag Rosenqvist) enter the Fearful Void series on October 15 with the exquisite Light Caught the Edges, which ends with William Ryan Fritch‘s double opus Bult Upon a Fearful Void (November 19).

Orchestra and Small Ensemble

We’ve already reviewed Peter Knight & Australian Art Orchestra‘s Crossed & Recrossed, but the album release (like so many these days) was bumped to a new season.  Fortunately there’s not too long to wait.  The album is inspired by Calvino and Murnane, and the strong literary bent is apparent in the recordings.  With so many albums aspiring to be film scores, it’s wonderful to hear one that celebrates prose (Hospital Hill, September 10).  The very same Australian Art Orchestra also has a brand new release composed by Knight.  Hand to Earth showcases Yolgnu song cycles delivered by multi-national vocalists (AAO Recordings, October 8).

Josefin Runsteen last appeared here with Charles Spearin, and in 2021 each composer has a new solo release.  Spearin’s album appeared last month, and Runsteen’s is set for October 6.  Hana – Three Bodies is a blend of electronics and modern composition, composed for butoh choreography.  The theme of renewal is especially timely (Pacaya).  Avawaves‘ Chrysalis possesses a similarly positive timbre, decorated with both strings and synth.  With tracks such as “Awakening” and “Emerging Flight,” the duo maps a path to a happy future (One Little Independent, October 8).

Deutsche Grammophon follows the Peter Gregson release above with a gorgeous work by Hania Rani & Dobrawa Czocher.  On Inner Symphonies, piano and cello are joined by a range of other instruments to produce a lush, enveloping sound: Rani’s second triumph of the year following her solo release this spring (October 15).  Pêtr Aleksänder (Tom Hobden and Eliot James) join forces on Collage, an album whose cover is redolent of the music.  Piano, strings and synth form works of watercolor art (Moderna, September 17). Laura Cannell and Kate Ellis are more than midway through their series of monthly EPs, which to date have possessed a remarkable consistency of quality and variety of tone.  Based on the titles of earlier entries, we can expect the next four to be titled September Sounds, October Sounds, November Sounds and December Sounds, bringing us through the end of the year (Brawl Records).

Seven saxophones, seven basses and seven voices lend spiritual symbolism to Messe (You are where you need to be), an album that chronicles the deconstruction and reconstruction of faith.  The artist’s name ~ Calum Builder ~ makes the theme seem predestined (ILK Music, September 24). A wide range of instrumentation (trombone, vibraphone, glockenspiel, hammered dulcimer and more) colors Peter Zummo‘s score to Second Spring, a film about the currently incurable Fronto-Temporal-Degeneration disease (7K!, September 3).

NMC Recordings has announced three releases for September 24.  Ryan Latimer‘s Antiarkie is inspired by “juggling, cartoon soundtracks, Japanese poetry and Moby Dick, while Peter Wiegold commissioned 15 pieces to be played by Notes Inégales in celebration of the EFG Jazz Fest’s 25th anniversary, resulting in Expect the Unexpected and 7balcony plays classically-informed pieces on their synthesized self-titled debut on Birmingham Contemporary Records.  While James Daschow‘s Synchronies: Music for Small Ensembles is technically as described, it’s more experimental than one might expect after seeing the birds (Ravelo, September 10).  Jan Jarvlepp‘s High Voltage does not contain any AC/DC covers.  It does, however, contain some string quartets and quintets that may produce a similar level of excitement (Navona, September 24).

Richard Allen

A Closer Listen

The elegant hues of modern composition make the genre a perfect match for fall.  Orchestras bloom like full-spectrum trees; piano notes fall like individual leaves.  As ambassadors to the moss and dirt, these leaves nourish the next generation.  The songs and symphonies of centuries past continue to resound.

The harvest is rich this year.  For the past two years, composers have been putting pen to paper, hands to keys, hoping to introduce their works to the world; and now their time has come.  From solo artists to ensembles, these artists are dusting off their tuxes, waiting for the curtain to open.  We hope that you’ll enjoy this early taste of the season’s freshest crops, hand-selected for your listening pleasure!

Piano Plus

Moondog, Muhly, Glass and more are Mirrored by Vanessa Wagner on her album of exquisite piano pieces.  The new album continues the cover aesthetic of Study of the Invisible, featuring another sculpted piece by Laurent Pernot (InFiné, October 25).  In Our Softening sees Sophia Subbayya Vastek reclaiming a 1902 piano from the hall of a hate group, rescuing and repurposing it for kinder ends.  The album seems like a conversation between instrument and artist:  “What stories might your ivoriess tell?” (October 21).  Is the piano playing itself?  We Will Live On was recorded with Disklavier and digitally controlled by Deru.  The title is a hopeful answer to a slightly uncomfortable question; the music is a balm.  Fine art prints are also available (Friends of Friends, October 28).  Until now, the compositions on Peter Broderick‘s Piano Works Vol. 1 (Floating in Tucker’s Basement) were only available as sheet music; at long last, one may purchase the double album, available November 25 on Erased Tapes.

The Mullet Peninsula is the inspiration for Seamus O’Muineachain‘s Isthmus, which folds in recordings of the area and includes Akito Goto on cello.  To listen is to walk by the shore and to feel the sand beneath one’s feet (October 1).  Seldom does a debut album include so many collaborators, but Vince Joy has made a lot of friends over the years.  Together Apart features guest appearances by a dozen pianists, including Sophie Hutchings, Dmitry Evgrafov and Stefano Guzzetti, expanding on the artist’s work for TV and film (Manners McDade, October 7).  ‘Olafur Arnalds extends the success of some kind of peace with an album of piano reworks, inviting Dustin O’Halloran, Sophie Hutchings, Eydis Evensen and more along for the ride.  The first single “Woven Song” comes from Hania Rani (October 28).  It’s not all modern composition (some classical pieces are included), but Víkingur Ólafsson‘s From Afar connects past and present, grand piano and felt upright, classical and contemporary, and will be released on double disc October 7 (Deutsche Grammophon).

Henning Schmiedt offers an intimate suite of Piano Miniatures that take the artist back to his childhood; the musical confections resound with the joy of simple pleasures.  One piece (“Stille Nacht”) includes cello, while the rest are solo endeavors (flau, September 16).  Andert Tysma also invites a friend on the journey, as the tender piano tones of Children of Trinoom are joined on two tracks by pedal steel (Apollo, September 30).  On stilla sväva, Mats Persson and Kristine Scholz call new attention to the work of Kristofer Svensson. Square piano and clavichord, each tuned to just intonation, revive the spirit of instruments from the early 1800s (kuyin, October 28).  Widening the scope, Alberto Giurioli takes in the vastness of Life on a personal album that extends to the entire planet (September 16).  Chad Lawson‘s piano anchors a string quartet on this is what love is, the first single from breathe (Decca, September 23).

While only two tracks and eight minutes long, Beneath the Sky is worth listing, as the EP is a collaboration between Moshimoss & Levi Patel.  These two make lovely sounds together, and we’re hoping for a longer project to surface down the line (September 23).  Slightly longer, but just as beautiful, is Dario Crisman‘s EP The Nature of Thoughts, which continues the hot streak from Bigo & Twigetti (September 9).  Jakob Lindhagen joins forces with CEEYS and Vargkvint on the tender album Memory Constructions, appropriately released on Piano and Coffee Records.  The album ends on a gorgeous trio titled “Resurfaced,” “Rewritten” and “Remembered” (September 23). Now signed to Decca, Elliott Jacqués is readying Finding Beauty for release in September.  Marika Takeuchi composed Dreamer in the Dark during her recent pregnancy; the album is filled with warmth and expectation (Bigo & Twigetti, September 2).

Few folks are inspired by textiles, but Monica Pearce is the exception, and on Textile Fantasies, she goes all in.  The heavily rhythmic album highlights piano and percussion, with guest appearances by harpsichord, dual toy piano and more Centrediscs, October 14).  Francesco Fusaro / Froz pays homage to ambient composers and electronic producers on the five-track Clavicentrico, exploring the timbres available to solo piano (September 16).  Ed Carlsen‘s Gravity completes a triptych on the theme of home.  On Eloquence is available now, the rest on September 30 (XXIM/Sony).

Strings & Things

Jessica Moss‘ Galaxy Heart is conceived as a companion to last year’s Phosphenes.  The violinist continues to explore the depths of isolation and the dark nights of the soul, but this time she’s not alone; guest starts from Dirty Three and GY!BE deepen the timbre (Constellation, October 7).  Lost Tribe Sound went on a short break earlier this year, and we’re glad they didn’t take too much time off!  The label returns with Aaron Martin‘s OST to The End of Medicine, a dramatic cello set that stands well on its own, while enhancing the documentary’s sense of foreboding over microscopic organisms become impervious to modern vaccines (September 23).

While some people may have forgotten that Nirvana employed a cellist, on High and Low, Lori Goldston will help people remember.  The album touches on multiple genres, including rock and drone (SofaBurn, October 7).  Alex Roth & Alice Purton‘s Inpouring EP is the inaugural release on the artist-led Zyla label.  The score for a dance performance by Kasia Witek is now an audio-visual event, complete with NFTs.  If the cello layers sound a bit dark, credit Purton’s earlier work with The Haxan Cloak and Mica Levi.

Benjin‘s ninth album, Music for Cello and Nykelharpa, melds folk songs and a Bach sonata to a series of original compositions (Canigou, September 30).  Cellist Claire Bryant debuts with Whole Heart, with guest appearances on viola and violin.  Seven composers are included, of special note Andrea Casarrubios, whose “Seven” honors the practice of hitting pots and pans at 7 p.m. during COVID as health care workers changed shifts (Bright Shiny Things, September 9).  Cellist Marina Hasselberg leads an ensemble on her debut album, Red, straddling genres through the work of four composers, blending improvisation and modern composition (Redshift Music, October 21).  Saxophone, cello, accordion, violin and oboe make Cuadernos de viaje Nº 2 a colorful affair; the ensemble’s name, Tortuga Alada, means “the winged turtle” (Dur et Doux, September 30).

Czech-Philippine guitarist, violinist and double-bassist Alex Velasco was born in Australia, moved to Berlin, and saved funds to record her new album by packing boxes at Amazon: an international story for modern times.  Imbued is filled with experience and emotion, and should broaden her base even wider (October 10).  Innerwoud‘s double bass sounds a lot like a cello, fooling the ears.  The layered, expansive Furie is released September 23 on Consouling Sounds.  Two tracks, two composers, four strings.  Violinist Maya Bennardo‘s delves into tone and interval while using silence as an equal partner (Kuyin, September 17).

Harpist Lara Somogvi has titled her new album !, the expressive punctuation possibly referring to the fact that all the sounds on the album ~ even those that sound electronic ~ stem from a single instrument.  Acceptances is the first single (Mercury KX, September).  The six-strong Copenhagen Clarinet Choir (CCC for short!) interweaves engaging melodies and counter-melodies on Organism, which curves like a mountain road, but finds its way to its destination without a single wrong turn (År & Dag, September 1).  Sea Island & Ferry will release As If on September 30, combining the two EPs of the As If project on one piece of vinyl.  The quartet is in fine form throughout, their music imitating the lilt and tides that accompany their name.

Tess Tyler‘s Fractals Vol. 1 and 2 is incredibly challenging to classify.  The first volume contains electronics and a touch of post-rock, while the second is reinterpreted by Spindle Ensemble in a chamber setting.  Whatever one might call the music, the listening experience is sublime (Manners McDade, September 9).  On a related imprint, Angus MacRae stretches from periods of solo piano to those of full ensemble on the luscious Vivarium (Nations of the Sea, September 30).

Peter Knight composes an elegy for a loved one on the meditative and mournful Shadow Phase.  The trumpet-based album draws equally from the fields of ambience and drone, with tape loops extending the melancholic mood (Room40, October 7).  The uncommon combination of trumpet and accordion turns out to instinctive on Two for the Road.  The compositions are sprinkled with a bit of jazz as Eric Vloeimans & Will Holshouser find their complementary timbres (V-Flow / Challenge Records, September 1).  Percussion and piano quartet Yarn/Wire tackles the complex music of Andrew McIntosh on Little Jimmy, incorporating field recordings as they investigate humanity’s relationship with nature (Kairos, September 9).

Paris’ Umlaut Records is prepping five extremely different records for early fall.  Experimental string trio Eponj produces Unbelievable Weather with viola, cello, double bass and voice (September 2).  Then there’s The Strange Adventures of Jesper Klint, the jazz trio Oùat bringing the compositions of Henrik Wallin to light (September 11).  Next up, the jazz quartet Die Hochstapler, makes a lovely racket on Beauty Lies and Within (September 15); and finally they will be joined by the drone-like cymbals and brushes of percussionist Hannes Linges on Nachthund (October 7).  The label crosses genres, but we felt it was only right to list these all in one place.

The original soundtrack for Surge highlights sound design along with plot movement.  Tujiko Nuriko & Paul Davies contribute tracks solo and in tandem, decorating the thriller with patches of drone and orchestral swirl (SN Variations, October 14).  The Discomfort of Evening is also a score, but this one accompanies a book rather than a film.  Sixteen acoustic instruments dance under the direction of Michiel de Malsche; the tone is somber, the resonance deep (September 19).

New Focus Recordings has announced its early autumn slate, which we’ll quote here:  new works by Sarah Bernstein for her creative improvisation string quartet Veer Quartet, September 2), chamber and electro-acoustic duos by Mikel Kuehn  (Entanglements, September 16), works for voice and ensemble by Michael Hersch (the script of storms, September 23), and works for flute, solo and with piano from Jennifer Grim (Through Broken Time, September 23).  A big thank you to New Focus for hyperlinking everything in advance!

Brian Harnetty‘s Words and Silences is another ambitious project, in the vein of Shawnee, Ohio.  This time the composer tackles the life of monk Thomas Merton, including field recordings and interviews from his archives, weaving the sounds into a radio play on two discs (one being the instrumental version) plus a chapbook (Winesap Records, October 7).  The St. Lawrence River is the subject of Flore Laurentienne‘s elegant Volume II.  Clarinet, synth and strings help to convey the flow of water, the tides and the beauty of the shores (RVNG, October 21). Nonsemble offers a tribute to giant prehistoric birds for string quartet and electronics.  Piano and drums increase the dramatic presentation.  Archaeopteryx is released on October 25.  Straddling modern composition and post-rock, La Chiesi de Fiore releases the Amorevolezza EP on October 2.  Eagle-eared listeners will intuit the link to Notre Dame de la Colline (Wild Bless You ! Records, October 2).

Fully Orchestrated

Christopher Tin‘s The Lost Birds is a perfect album to play while watching migrations and murmurations.  But it’s also an elegy for the species we’ve lost, which means it pairs well with Archaeopteryx above.  Joining forces with Voces8 and the Royal Philharmonic Orchestra, Tin pens a requiem for the ages (Decca Classics, 23 September).  Bekah Simms‘ Bestiaries is music of disquiet, written for large ensemble.  In the title piece, periods of crashing instability are matched by the purity of soprano.  Released three days before Halloween, the album is an intelligent alternative to the season’s traditional fare (Centrediscs, October 28, pictured left). Danny Mulhern teams with the London Contemporary Orchestra to record Singing Through Others, a vibrant set that is billed as a “meditation on relationships.”  With influences ranging from poetry to jazz, it’s certain to be one of the season’s highlights (September 16).

Aki Yli-Salomäki demonstrates his diversity on Valunta, combining works for wind and string quartet, ensemble and electronics, and orchestra.  The pieces were recorded in a two-day stretch at the Karjalohja Church in Finland, while the Lohja City Orchestra was conducted by Jukka Untamala (September 23). John Luther Adams scored the hour-long Sila: The Breath of the World for five ensembles of 16 musicians on strings, woodwinds, brass, percussion and voice, performed in any combination.  The soon-to-be-published rendition includes the JACK Quartet, chamber choir The Crossing, and musicians from the University of Michigan (Cantaloupe Music, September 23).  New music from Hildur Guðnadóttir can be heard on the soundtrack to TÁR, along with works from the classical canon.  The movie stars Cate Blanchett as composer-conductor Lydia Tár (Deutsche Grammophon, October 21).

Richard Allen