Suspensefully Cinematic, High-Spirited New Classical Works From the CCCC Grossman Ensemble
The Chicago Center for Contemporary Composition’s Grossman Ensemble is the brainchild of Augusta Read Thomas. Her game plan was to create a group which could intensely workshop material with composers rather than simply holding a few rehearsals and then throwing a concert. Their album Fountain of Time – streaming at youtube – is contemporary classical music as entertainment: a dynamic series of new works, many of them with a cinematic suspense and tingly moments of noir. Percussionists Greg Beyer and John Corkill, in particular, have a field day with this.
They open with Shulamit Ran’s picturesque Grand Rounds. Oboe player Andrew Nogal, clarinetist Katherine Schoepflin Jimoh, pianist Daniel Pesca and harpist Ben Melsky get to send a shout-out to Messiaen and then a salute to Bernard Herrmann’s Hitchcock film scores. Terse accents from horn player Matthew Oliphant and saxophonist Taimur Sullivan mingle with the acerbic textures of the Spektral Quartet: violinists Clara Lyon and Maeve Feinberg, violist Doyle Armbrust and cellist Russell Rolen. Furtiveness ensues and then the chase is on! The ending is anything but what you would expect. Told you this was fun!
Anthony Cheung’s triptych Double Allegories begins with sudden strikes amid suspenseful, wafting ambience, heavy on the percussion: Herrmann again comes strongly to mind. The midsection is built around a deliciously otherworldly series of microtonal, stairstepping motives, subtle echo effects and ice-storm ambience. The finale comes across as a series of playful but agitated poltergeist conversations….or intermittent stormy bursts. Or both, Tim Munro’s flute and the percussion front and center.
David Dzubay conducts his new work, PHO, which is not a reference to Vietnamese cuisine: the title stands for Potentially Hazardous Objects. The ensemble work every trick in the suspense film playbook – creepy bongos, shivery swells, tense bustles, pizzicato strings like high heels on concrete, breathy atmospherics and hints of a cynical Mingus-esque boogie – for playfully maximum impact. It’s the album’s most animated and strongest piece.
Tonia Ko‘s Simple Fuel was largely improvised while the ensemble were workshopping it; it retains that spontaneity with all sorts of extended technique, pulsing massed phrasing in an AACM vein, conspiratorial clusters alternating with ominous microtonal haze.
A second triptych, by David “Clay” Mettens, winds up the record. Stain, the first segment, bristles with defiantly unresolved microtones, gremlins in the highs peeking around corners and hints of Indian carnatic riffage. Part two, Bloom/Moon pairs deviously syncopated marimba against slithery strings. The textures and clever interweave in Rain provide the album with a vivid coda. Let’s hope we hear more from this group as larger ensembles begin recording and playing again: day after day, the lockdown is unraveling and the world seems to be returning to normal.