Mary Kathleen Ernst: Keeping Time

Mary Kathleen Ernst
Keeping Time
Fung, Higdon, Hoover, Shatin, de Kenessey, Deussen
Innova

Pianist Mary Kathleen Ernst turns in a strong program of solo piano works with equally strong performances. Yes, all the works were written by women, but that's about the only thing they have in common.

Vivan Fung's "Keeping Time" uses the piano as a percussion instrument. This work is all about rhythm, and Ernst delivers an energetic and (in my opinion) very cool performance.

By contrast, Jennifer Higdon's "Secret And Glass Gardens" sounds shimmering and ethereal, almost suspended in time and space. It's almost a companion piece to Debussy's "La cathédrale engloutie"

The "Dream Dances" of Katherine Hoover is a somewhat mysterious-sounding work, with slow-moving passages suddenly bursting forth with up-tempo angular melodies.

Judith Shatin used the I Ching to guide her compositional process, and the resulting music is fasciniating. This 26-minute work is comprised of very short sections, sounding almost like aphorisims. Shatin sometimes has the piano sound very mechanistic, almost like an electronic instrument.

I somethimes think Stefania de Kenessey writes the music others wish they had the courage to. "Spontaneous D-Combustion" has catchy, tonal melodies, supported by full, rich chords and a rhythmic pulse that has more than hint of pop sensibilities.

Nancy Bloomer Deussen's "A Recollection" is a wistful and quiet little work that calms down the listener and makes a peaceful close to the program.

Judith Shatin: Time to Burn

Judith Shatin: Time to Burn
James Dunham, viola
The Cassatt String Quartet
Margaret Kampmeier, piano
Arron Hill, oboe
I-Jen Fang, Mike Shutz, percussion
F. Gerard Errent, D. Gause, clarinet
Innova Records

"Time to Burn" provides an extensive overview of this innovative composer's output. Head collectively, the works brings to light several themes which Shatin revisits and reinterprets in differing ways; her Judaic heritage; using sound (not just musical notes) to create art; and the interface between technology and humanity.

One of the highlights is "Glyph," for viola, string quartet and piano. The music has a very open sound, giving the solo viola plenty of room to maneuver in. The work's elegiac opening gives way to more animated and thickly textured movements. The solo viola remains always at the forefront, sometimes interacting with the ensemble, other times floating serenely above the busyness, and occasionally commenting on the action.

The title track "Time to Burn" is an engaging work for oboe and two percussionists. Extended techniques make the oboe sound almost like an electronic instrument in places. The interplay between the three instruments, and the imaginative way in which they're used gives the music a sense of energy and even urgency.

To me, "Sic Transit" was the least successful work on the album. The piece is for percussionist and computer-assisted drum machine, which the soloist interacts with. I suspect "Sic Transit" works well as a theater piece, where the audience can see the performer react to the drum machine. Without visual cues, I found the music somewhat aimless.

"Elijah's Chariot" was commissioned by the Kronos Quartet, and was written for string quartet and electronics from processed shofar sounds. The shofar is a traditional Jewish instrument made from a horn and used in religious services. Shatin uses the shofar to represent the heavenly chariot that comes for Elijah. The composition is a heady blend of acoustic and electronic, spiritual and secular, emotional and intellectual.