MUSIC REVIEW: New CDs feature music by Virko Baley (02/18/96)

MUSIC REVIEW: New CDs feature music by Virko Baley

by Oles Kuzyszyn

Virko Baley, composer, conductor, pianist and educator, has been a compelling and singular force in American contemporary music for more than three decades. Under his baton, the Nevada Symphony Orchestra, of which Mr. Baley is the conductor and music director, has become a vibrant vessel for an eclectic mix of new music. The same is true of the adventuresome programming of the Las Vegas Chamber Players, also under the direction of Mr. Baley.

Although more visible as a conductor (Mr. Baley has guest conducted the St. Petersburg Philharmonic, Moscow Philharmonic, Kyiv Philharmonic, Lviv Philharmonic, Orquesta Filarmonica de la UNAM of Mexico City and the Cleveland Chamber Orchestra) and especially well regarded as a champion of contemporary Ukrainian music, all along, Mr. Baley's composer's kettle has been brewing vigorously, resulting in what is now a rich menu of evocative orchestral and chamber music. In 1995, two compact discs of this music were released on the small but prestigious Cambria label headquartered in Lomita, Calif.

The first of these, titled "Jurassic Bird: Chamber Music of Virko Baley" (CD 1077), features works written between 1970 and 1988, specifically, Nocturnals Nos. 5 and 6 for piano solo, Partita No. 1 for three trombones and three pianos, and "Sculptured Birds" for clarinet and piano. Performers include pianists Laura Spitzer (Nocturnal No. 5), Elissa Stutz (Nocturnal No. 6), world-renowned trombonist Miles Anderson and clarinetist William Powell, the latter two accompanied by the composer himself at the piano.

The two piano works, although of one genre ("night music") are almost diametrically opposed as to construction. The earlier Nocturnal No. 5, based on Akutagawa Ryunosuke's story "In a Grove," is a musical representation of four "characters" describing, at times in a conflicting fashion, the same "central event." Over time, the four separate musical lines (i.e. the "characters") take on each other's characteristics and merge. Through shading and contrast, Ms. Spitzer exquisitely clarifies this dynamic relationship between the four musical lines. Nocturnal No. 6, on the other hand, evolves from a single monodic line, constantly varied and permutated by the composer. Hints of Ukrainian folk motives creep in and out, and are themselves transformed and fused with other motives.

Ms. Stutz's playing impresses for its sheer beauty and richness of tone, especially when playing pianissimo. Her flexible handling of meter lends an elegant, improvisatory quality to the performance, at times resulting in a sense of suspended animation.

The Partita No. 1 for three trombones and three pianos is marked by tightly organized, starkly contrasting episodes, requiring great agility, versatility and muscle power on the part of the trombone soloists. Mr. Anderson, truly one of the world's foremost trombonists, plays with rapid-fire precision in the athletic "duel" portion of the Intrada, with sinewy fluidity in the Variations, a jazzy "bop"-like abandon in the Dances, and quite soulfully and melodiously in the final Duma movement.

No less is demanded of Mr. Powell in the suite for clarinet and piano titled "Sculptured Birds." Here the composer harkens back, at least visually, to the dinosaur age, evoking images of extensive rock formations, fossils of prehistoric birds, all metaphorically intimating at the idea of "flight." Mr. Powell alternates between an airy, expansive tone and hauntingly subdued passages, fleshing out an aural kaleidoscope marvelously well suited to this "musical mural." Although the work stands firmly on its own merits, a creative and perceptive film director would not err in considering the "Jurassic Bird" movement, for example, for a soundtrack to a film dealing with the dinosaur age.

The second Cambria CD (CD 1087) featuring Mr. Baley's music is titled "Orpheus Singing: Chamber Music of Virko Baley, Vol. 2," and contains two of the composer's most recent works: "Dreamtime" Suite No. 1 for clarinet, violin and piano, and "Orpheus Singing" for oboe and string quartet. The inspired Concerto No. 1 for violin, recorded here in its chamber orchestra version, and Duo Concertante for cello and piano round out the selections included on this disc.

The Concerto No. 1, written in 1987 and subtitled "quasi una fantasia," may well be this composer's most visceral and sublimely emotional work. Modeled after the structure of a requiem mass, the work seems to reflect the rush of emotions one might experience when losing a loved one. The sorrowful, folk-inspired opening theme of the Lacrymosa is immediately captivating, the Dies Irae - disarmingly furious and arresting. In the Lux Aeterna, a bittersweet violin passage, played in thirds against a solemn, slowly moving orchestral backdrop, produces a surreal, Fellini-like effect. The final movement, Agon, represents an ancient "tryzna" - the ultimate collision of two disparate emotions, represented here by wild, dance- like themes superimposed over slow, grief-filled passages. The concerto is played superbly by the New Juilliard Ensemble, conducted by Joel Sachs. The violin soloist, Tom Teh Chiu, is outstanding in all respects.

Joel Sachs (piano), Renee Jolles (violin) and David Gresham (clarinet), all members of the world-renowned Continuum ensemble, join forces for Mr. Baley's "Dreamtime" Suite No. 1. The interplay between Ms. Jolles and Mr. Gresham in the Adam's Apple movement is well thought out and balanced. Mr. Gresham produces a succulent tone in the lyrical Manao Tupapao movement. Mr. Sachs plays with admirable rhythmic precision throughout, and in the final movement (Hour of the Wolf) produces a wonderfully dark and murky effect while executing a long series of quasi-minimalist" choral accompaniment patterns.

"Orpheus Singing," as the title suggests, is another of Mr. Baley's more lyrical works, performed here by oboist Stephen Caplan and a string quartet drawn once again from the Continuum ensemble. The Recitative and Aria movements are joyously songful, the latter ending with a "tip of the hat" to that legendary master of American song, George Gershwin. In the final movement, Kolomyika, the composer quotes generously from the traditional Ukrainian round dance, but spins the familiar melodies through some rather unconventional modulation schemes.

The disc concludes with Duo Concertante, three paraphrases for cello and piano in a compelling performance by Ukrainian cellist Natalia Khoma and Mr. Baley at the piano.

It should be noted that the Concerto No. 1 described above is also available in its original version for full orchestra on a compact disc released by Russian Disc (MK 417116), performed by renowned Ukrainian violinist Yurij Mazurkevich and the Young Russia Orchestra. Mr. Baley conducts this performance.

All three compact discs may be purchased at Tower Records stores nationwide, or by calling the Tower Records special order number: 1-800-648-4844. The two Cambria releases may also be ordered by writing to Cambria Records, Box 374, Lomita, CA 90717.

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