What does the famous Adagio from Beethoven’s Moonlight Sonata sound like on a cello? Lush, and trippy, and as gothic as gothic gets. That’s how cellist Maya Beiser plays it, overdubbing herself into a broodingly lustrous one-woman string orchestra, with some magical overtones trailing toward the end. And that’s not even the most memorable track on her allusively apocalyptic latest album delugEON, streaming at Spotify.
Beiser’s choice of material is as diversely interesting as usual, with more of a loopmusic influence than ever. The light electronic touches are unobtrusive, mostly limited to sustain effects and subtle rhythmic loops. The album’s centerpiece is Slow Seasons, a stunningly saturnine, somewhat abridged reinvention of the iconic Vivaldi suite, completely transformed by transpositions to the lower registers and tempos at halfspeed or less. She opens with the slow, expressive Autumn, followed by the shivery, rather chilly Summer. By contrast, Spring can’t seem to extricate itself from winter’s icy grip. Winter itself, a delicate canon pulsing along with echoey pizzicato, seems balmy by comparison.
Lkewise, Water is a stripped-down, moodily atmospheric take on a glacially paced, famously apocalyptic Messiaen theme, Beiser’s overdubs imbued with such a cantabile quality that it’s practically a chorale. Then she raises the energy somewhat with a windswept, tectonically shifting take of Monteverdi’s Ah Dolente Partita
Beiser’s Stabat Mater has a dirgey, minimalist rusticity consistent with its medieval origins. The album ends with its most epic yet minimalistically baroque track, Purcell’s When I Am Laid in Earth, its aching rises and falls grounded in Beiser’s most somber textures here. Rainy-day music at the end of the decade doesn’t get much better than this.