- Lisa Moore (Piano)
Notes & Reviews:
"Martin Bresnick is one of the great pragmatists in contemporary music, a composer who will use any sound as long as it speaks vividly and makes narrative sense." - Alex Ross, The New Yorker Composer Martin Bresnick returns to follow up his first Cantaloupe release, The Essential Martin Bresnick (2006) with Caprichos Enfáticos (Emphatic Caprices). A concerto in eight movements for piano/keyboard and percussion quartet, Caprichos Enfáticos was commissioned by Meet the Composer for Cantaloupe artists Lisa Moore, pianist, and So Percussion. The movements are based on Francisco Goya's book of etchings Los Destastres de la Guerra, or The Disasters of War, a piece that laments the excesses and tragedies of war
In live performances, Caprichos Enfaticos is accompanied by video projections created by Johanna Bresnick and based on the Goya works. So Percussion and pianist Lisa Moore inhabit the music with a persuasive, commanding, and detailed performance on record: one can only imagine its powerful impact coupled with Goya's artworks in a live setting.
Moore and So Percussion perform the music with energy and commitment. Cantaloupe Music's sound is clear and appropriately resonant.
Recording information: Morse Recital in Sprague Memorial Hall, Yale University (04/02/2009).
The CD is inspired by a series of Goya’s hyper–expressionistic, macabre paintings which were part of the original multi-media performance. There is a pent-up violence in some of Bresnick’s gestures that easily capture Goya’s explosiveness. Meanwhile, the work’s music language revolves mostly around the Spanish dance, the Farandula. Here the dance periodically returns in various guises and tempi, and is always skillfully woven into the more abstract elements of the music.
The first cut opens with this dance and takes it through various post-minimalist processes as well as a lot of fugal-like entries while the toms keep an insistent groove underneath. In the second movement, the piano enters with the same rhythmic material, only simpler and more lyrical. The piano writing is reminiscent of de Falla (mostly because of the insistent b6) but even more so of Bartok, in the use of octaves to articulate the main pitch structure. The third moment consists of militaristic toms with the piano giving quiet plaintive responses/cries for peace.The 4th cut is the whole ensemble again in another dance, featuring a piano section with interesting octave transfers. The fifth is another dance but each time it returns it is more abstracted, cannibalized, or blown to pieces in a Goya/Webernesque way.The 6th cut has ritualistic percussion accompany a kind of fugal dirge (reminiscent again of Bartok) with a lot of fresh harmonic turns and some beautiful voice leading from the pianist. Movement 7 further strips the dance down to sheds of its former self, to the point it goes into Crumb/Bartok night music territory which is occasional interrupted by the most Dadaist of interruption ; a telephone ringing. The final cut returns to the tom groove of the opening, the piano dancing in ¾ while the toms attack overtop.
So Percussion and Lisa Moore (the pianist) does an excellent job of conveying all the delicate intricacies and often-brutal violence of the piece. Worth checking out!
Submitted on 12/28/11 by Mike Maguire
Submitted on 11/07/11 by Dan Coombs
Works DetailsBresnick, Martin : Caprichos Enfáticos :: Los Desastres de la Guerra, for piano & percussion quartet
- Performer: Lisa Moore (Piano)
- Ensemble: So Percussion Ensemble
- Running Time: 30 min. 4 sec.
- Period Time: Contemporary
- Written: 2007