There was a time–the late 1960s, to be exact–when new music meant anything that stretched an instrumental technique or a traditional form to its limits and beyond. And that was it. The sole justification for a new work was how drastically it tore apart conventional formal structures and, more importantly, the fundamental mechanics of instrumental (or vocal) performance. Bartók’s tapping the wood of the bow across the strings was one thing, but creating wounded animal sounds, grating, ear-injuring effects, or pointless “see what I can do” stunts to incomprehensible “melodies” and mathematically improbable rhythms was another. The real question was: where is the music? Well, here is a wonderful, very musical response to any such notions of what “new music” really should be, and what should rate our serious and continued attention as listeners.
Russian-born composer Inessa Zaretsky is a superbly confident artist who really knows her instrument and idiom, in this case the viola. Yes, she’s a pianist by formal training, but these works for viola and piano show no favoritism toward the keyboard; rather, the partnership is so well groomed, so well conceived, that we don’t so much notice the two instruments as the overall expressiveness of the work at hand. Indeed the writing for both instruments in the opening sonata (also titled Fireoptics) is virtuosic, but it also comes across as totally natural–no gratuitous gimmicks or out-of-character, “clever” tricks. And, as she does throughout this thoroughly engaging recital, Kathryn Lockwood (known for her work with the acclaimed Lark Quartet) delivers expert, artful performances that not only keep us interested, but also make us want to come back for more.
The solo-viola Humoresque and the Russian Dances–Tango, Riding Dance, Round Dance, and Valse–are works of unfailingly solid technique, bold, assertive expression, and a kind of ripe and raw lyricism that suits the viola well. The Five Pieces for Viola and Percussion (Dervishes) features some really inventive and tasteful accompaniment by various percussion instruments–riq, marimba, bodhran, dumbek, cymbal, and bells–that gives both a new and old flavor to these very modern-sounding but always enjoyable, accessible works. If you want to hear the brighter side of new music, excellently played and vividly recorded, don’t hesitate to try this fine release. [10/4/2005]
