Flashbacks, and: The Music of Mario Davidovsky, Volume 3 (review)

Flashbacks is the first of a series of compact discs that Bridge Records is devoting to the music of Mario Davidovsky. Volume 2 in the collection, documenting pieces like Shulamit's Dream, Scenes from Shir haShirim, and Biblical Songs, with Susan Narucki and the Riverside Symphony (Bridge 9112), is not reviewed here because it does not contain any electroacoustic elements. Volume 3, the most recent release, is reviewed below.

The composition that gives its name to Volume 1 of the series, Flashbacks, written in 1995, is scored for flute (doubling piccolo and alto), clarinet (doubling bass clarinet), violin, cello, piano, and percussion. It was commissioned by Meet the Composer for the New York New Music Ensemble (NYNME), together with the San Francisco Contemporary Music Players and California EAR Unit. It was premiered in New York City by NYNME, and is performed by them in this recording. Flashbacks is instrumental music having all the angular aspects of electronic music: quick, sudden changes in dynamics, fast appoggiatura passages, and a profound exploration of the textural and rhythmic domains. Mr. Davidovsky succeeds with clever duplications of notes and decays between two or more instruments, which together with a "percussive" approach in the writing for all instruments, achieves this quasi-electronic atmosphere. The percussion part is brilliantly played by Daniel Druckman. The ensemble delivers this piece with assurance and imagination under the effective leadership of Jeffrey Milarsky.

This mostly instrumental CD includes one of the Synchronisms series, the set of pieces for instrument(s) and electronics for which Mr. Davidovsky is renowned. Synchronisms No. 10 (1992) is scored for guitar and electronic sounds, and features a stunning performance by David Starobin. The music is good, with some magical moments, but it is also a bit predictable due to some well-profiled phrases, attacks, or idioms in the Davidovskian style.

Romancero (1983) is a song cycle based on old Spanish texts, some related to stories from the Old Testament. Romancero, written for the Speculum Musicae ensemble, is sung with conviction by soprano Susan Narucki. The ensemble, conducted by Donald Palma, provides an ideal accompaniment. The second and third songs—!Arriba canes, arriba! and Seguidillas—are splendid.

The accompanying booklet, written by composer Martin Brody, provides valuable information on the composer and his works. The comments are not directly related to individual works, and consequently are a bit obscure. The text for Romancero is included in the original Old Spanish and in an English translation by the composer.

Bridge continues its releases of music by this Argentinean composer in a well-researched and well-presented edition. Volume 3 begins with "vintage" Mario Davidovsky, his Synchronisms No. 5 for percussion ensemble and electronic sound ("sound" being curiously singular for this one piece), a stunning interplay between the realm of noise and clear pitched percussion on one hand, and a "percussive" electronic tape on the other. The composer takes ensemble writing to new heights, perfectly matching his acute sense of rhythm with a rich variety of different textures. The Manhattan School of Music Percussion Ensemble excels in this recording, under the leadership of Jeffrey Milarsky.

More delicate is the writing in the Duo Capriccioso (2003). The very articulate exchanges between the violin and piano include pizzicatti, staccato chords, and percussive attacks. More conventional tremolatos and arpegiattos are also interspersed along the way. This is a good rendition by Curtis Macomber, violin, accompanied by Aleck Karis on piano. Mr. Karis also provides a stunning version of another early Synchronisms, in this case the well-known Synchronisms No...