Composer
Henry Brant
is a significant figure in contemporary music and, in 2006, is the second to last man standing who participated in the first wave of American modernism (
Elliott Carter
is the other).
Brant
has never been well represented on recordings but, thanks to
Innova
, listeners are finally getting a comprehensive overview of the extensive catalog of this pioneer of American
avant-garde
, whose couple of hundred works span from the early '30s to the present time.
's
The Henry Brant Collection, Vol. 2
includes three pieces belonging to the concerted genre, featuring a soloist or soloists along with an instrumental backing of some kind. As
has always trod his own path, reinventing the wheel with each new piece, it is inevitable that he should turn out a few duds, and unfortunately the opening work on
,
Nomads
, is one of them. It is a "
third stream
" triple concerto presented at
Oberlin University
in 1974 for improvised voice, saxophone, and a
jazz
drummer as soloist, with
the Oberlin Wind Ensemble
providing the ripieno, the only part of
that is composed. The wind band tromps through music that would be suitable for a 1960s
AIP
-produced
horror
film as the improvised voice hollers about God knows what, the saxophone attempts to out-
Pharoah Sanders
, and the drummer produces a jumble of drums.
is staggeringly awful -- like a tape that
Alexander von Schlippenbach
would have burned. However, as a "party piece" for a get-together of aspiring composer types,
might have some functionality.
Solar Moth
helps to redeem
at this point. It features the talents of another pioneer, violinist
Daniel Kobialka
, inventor of the Zeta Polyphonic violin.
Kobialka
lays down some dazzling tracks that are combined with layers of
himself contributing accompaniment on a variety of instruments.
is quite good, although it is dense, tense, and claustrophobic, and over time can get on your nerves if you are not prepared to devote your undivided attention to it. This late analog studio recording was originally issued on
Thomas Buckner
1750 Arch Records
label and is amazingly clear and realistic. Best of all is the double bass concerto
Ghost Nets
from 1988; the solo double bass part, played by
Lewis Paer
, is generous and different from the norm, although a lot of it is scored up in the cello range.
The American Camerata
under
and
John Stephens
provide a solid and respectful foundation, and the quality of the recording is outstanding. In sum,
consists of one bad piece, one good piece, and one that could go either way; it's not quite the sure thing that
Vol. 1
Vol. 3
are in the same series, but if one is strongly interested in
, even
should not serve as a deterrent. ~ Uncle Dave Lewis