Author : Jennifer Stone
American composer Brian Field’s latest album release showcases a new recording of his orchestral work Kaleidoscope performed by the Symphonic Orchestra of Moldova conducted by Mihail Agafita.
Clocking in at 13 minutes and 19 seconds, Kaleidoscope is a work of considerable dimension scored for a large orchestra consisting of full woodwind, string, and brass instrumental families alongside harp, piano, timpani, and multiple percussion instruments including xylophone, glockenspiel, crash cymbals, and bass drum.
With a timbral palette rich in percussion instruments, the work unravels around repeating rhythmic patterns counterpointed by lyrical string, brass, and woodwind writing. The piano and harp are put to fantastic use with a hybrid nature, alternating between background roles supporting the repeating patterns and brief solo passages of great emotional display.
Despite its minimalist tendencies, Kaleidoscope is a work of great spiritual and emotional depth. Clearly entrenched in classical teleology, the piece traverses through several slowly unfolding expressive states culminating in a monumental climax that closes the piece and brings the relentless rhythms to a satisfactory closing halt.
Regarding the colorful title, the composer comments:
A kaleidoscope is an optical instrument in which bits of glass, held loosely at the end of a rotating tube, are shown in continually changing symmetrical forms by reflection in two or more mirrors set at angles to each other.
This musical kaleidoscope, for large symphonic orchestra, uses this same concept with a constantly changing and evolving musical landscape that is heavily pattern-based, shifting across instrumental families, meters, and dynamics.
In an era where conceptual ideas tend to reign supreme over musicality, it is especially refreshing to encounter a piece where a balance is struck between the two and, as in all classical art, the aural experience is at the forefront of importance.
The representation of the kaleidoscope image is easily inferred from the piece’s surface elements and even in a single playthrough, the concept becomes apparent. Although this makes for an accessible listening experience, do not confuse Kaleidoscope with a light or insubstantial work. The vast dimensions of the piece make for a superb musical journey of outstanding depth and aesthetic relevance which make it a must for any music lover’s collection.
Several comments can be made concerning the musical content. Firstly, regarding its melodic and harmonic construction, the slowly evolving harmonic rhythm creates a sense of vastness and expansion which beautifully counterpoints the brief melodic fragments that it is supporting. Furthermore, it is important to mention that the harmonic language possesses an elegant simplicity which is the seal of a composer in outstanding command of tonal mechanisms and idioms. For example, this can be seen in how the alternation between keys tends to be more of a formal articulation factor with each key change representing a new stage of the tonal journey and in consequence a new section of the piece.
Perhaps the single most genre-defining feature of the piece is its textural construction. A relentless rhythmic drive dominates the entire work from the first note to the last with lush textures being carefully balanced around repetitive rhythmic patterns. On the few occasions where these are interrupted with a sudden timbral change the relentless rhythms simply continue to flow in the new instrumental configuration.
Devices of rhythmic elaboration abound across the piece and seem to be one of, if not the central focal point of its compositional construction. Changing meters and irregular rhythmic groupings are employed to great effect. Furthermore, the repetitive patterns which make up the bulk of the piece’s surface elements, are continuously morphing and changing timbre from one instrument to another creating a flowing sense of motion quite resembling that of the rotation of a kaleidoscope.
Although the record contains a plethora of noticeable influences, perhaps the most noticeable of all from a construction perspective is that of American minimalist composers from the 1960s like Steve Reich and Philip Glass. The harmonic language bears some resemblance to this compositional school but arguably it is closer in spirit to that of contemporary tonal idioms like those seen in media music. Other curious points of contact can be drawn between Field’s brass writing and modern choral music like that of Morten Lauridsen where soft dissonances almost become contextually consonant.
The Symphonic Orchestra of Moldova delivers a rich and passionate performance demonstrating great technical prowess and emotional subtlety. A brief comment regarding the conductor is in order, especially due to how he demonstrated wonderful command of the orchestra successfully accomplishing one of the hardest tasks that these kinds of pieces present which is achieving textural and dynamic balance.
The production value of the record is, as usual, great. Modern recordings of art music can sometimes commit the grave sin of losing the elements which are responsible for the magic of live performances. Of course, technical limitations make it nearly impossible to replicate a live setting in a recording. However, the production team has presented great work and was able to produce outstanding sound quality with surprisingly good dynamic range all while maintaining the feel and excitement of a live performance.
Another great release by Brian Field continues to assert his place as a relevant contemporary composer who is unafraid of exploring the world of lyrical melodies and traditional sonorities. All in all, a successful release and most importantly, a refreshing record that continues to prove what a great tragedy it would be for contemporary composers to abandon the warm embrace of traditional tonality.
Single
Kaleidoscope
Brian Field
Symphonic Orchestra of Moldova
Conductor: Mihail Agafita
13:19 minutes
Album info here: https://olimmusic.com/brian-field-kaleidoscope/
Brian Field’s website: www.brianfield.com
Brian Field on Spotify: open.spotify.com/artist/6EdCRnOWWIxDWvTqwbF5rL
—– Luciana Arroyo
An orchestral conductor and educator
Buenos Aires, Argentina.
