Two Michael Hersch Works Top the List of the Most Disturbing Music of 2018

by delarue

One of the most sepulchral and chilling albums of recent years is the Blair String Quartet’s 2014 recording of Michael Hersch’s Images From a Closed Ward. That one was inspired by Michael Mazur sketches made inside a Rhode Island mental asylum in the early 1960s. The latest recording of Hersch’s characteristically harrowing work is even more so, evoking the fitful last gasps and lingering pain of the final stages of terminal illness. Hersch’s Violin Concerto, performed by soloist Patricia Kopatchinskaja with International Contemporary Ensemble is paired with his End Stages suite, played by the Orpheus Chamber Orchestra and streaming at New Focus Recordings.

The twisted march that introduces the concerto – arranged with an emphasis on strings rather than a full orchestra – kicks in with a savage downward slash from Kopatchinskaja. Within the first minute, the message is clear: the horror is going to be relentless. The brooding string quartets of Per Norgard are an antecedent. Kopatchinskaja’s role is less traditional soloist than member of the ensemble who gets the most shivery, terror-stricken lines and cruelly demanding cadenzas.

A sense of desperation pervades this piece, foreshadowing the suite to follow. Evil faces from every corner of the sonic picture peek out and then slash at each other, the horns rising over a cruel, emphatic low note from the piano. Astringent microtones linger side by side, a macabre march anchoring the shrieks overhead – not that anyone would want to be anchored in this skin-peeling acidity.

That’s the first movement. In the second, Similar shrieks burst from accordion-like textures throughout as much welcome calm as there is, the occasional piano accent piercing the veil. The third is a vast, spacious, defeated tableau punctuated by funereal piano, a horrified fragment from the strings eventually leading to a horrified quasi-march with a frantic couple of duels amid the string section, then a series of cruelly sarcastic faux-fanfares. The stillness in the fourth remains constant and sadistically icy: Hersch’s orchestration is every bit as inventive as his music is disturbing.

End Stages, which is also a microtonal work, begins with an austere mist punctuated by a sudden evocation of a scream or a brief moment of neoromantic clarity. The rest of the movements, many of them barely a minute or two long, shift from surreal, cinematic, conversational exchanges, to macabre dirges.

Bells and stark string horror permeate the third movement. There could be a death in a sudden pained cadenza here, and also in the grim codas of the fourth and fifth, puncturing their lingering, ghastly suspense. A sadistic parody of churchbells and grey-sky Shostakovian ambience sit side by side with long shrieking motives and every foreshadowing device ever invented, as these tortured voices stare down the end.  This is the best piece of new orchestral music since Julia Wolfe’s Cruel Sister album, which was rated the best record of 2011 here. Look for this one on the best albums of 2018 page here at the end of the year.

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