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By Christian Carey
Sequenza 21

On io, Flutist Margaret Lancaster performs a program that spans nearly three quarters of a century. Despite this, most take the 1930s Ultramodernist tradition in American music as a point of referral.

Written in 1936, Johanna Beyer’s “Have Faith� is a brief, angular piece that presents the nightingale’s song in a fetching, somewhat spiky, costume; it is sung with pure tone and detailed care by Beth Griffith. This segues directly into the title piece, by Lois V. Vierk. Lancaster is joined here by Larry Polansky (playing electric guitar) and Matthew Gold (playing marimba). The material encompasses many of the slides and inflections of Gagaku, a subject of extensive research by the composer. Lancaster thrives with Eastern flair in the subtleties and characterizations demanded by the score. Meanwhile, Polansky and Gold articulate vibrant ostinati and pulsating drones. Thus, the piece supplies an East-meets-West, traditional music plus Downtown amalgam that is simultaneously distinctive and appealing.

Premiered in 2008, the most recent work on the CD is Joan La Barbara’s Atmos. Although written for multiple instruments and “sonic atmosphere� as a theatre piece, it still shows off Lancaster’s considerable dramatic flair as an audio-only presentation. La Barbara revels in the sounds of breath, manipulating both live performer and recordings to create a wide range of “wind shadings.� Other effects include percussive attacks, key clicks, and all manner of vocal utterances. La Barbara’s piece may be more directly influenced by Cage than Cowell or Seeger, but it is welcome for its inclusion as a stunning showcase for Lancaster regardless.

Another echo of the Ultramodernist school is James Tenney’s Seegersong #2 (1999). Tenney (1934-2006) used Ruth Crawford Seeger’s Piano Study in Mixed Accents as a basis for the piece, extending Seeger’s ideas about tempo flexibility (perpetuo mobile) to encompass some of the investigations into large-scale rhythmic design that engaged him during his late career. While all of this precompositional conceptualizing may be fascinating to insiders, the aural result is widely appealing: a skillfully written, artfully shaped solo flute piece. Lancaster affords it the precision its tricky rhythmic shifts require, all the while maintaining a sumptuous tone.

The CD closes with Larry Polansky’s five-movement work for solo piccolo entitled Piker. Taken from a reference in a 1935 letter by Marion Bauer to Ruth Crawford Seeger (“You’re no piker! But please drop me a card from somewhere!�). Generally, one might think that five movements of solo piccolo is four too many, but Polansky varies the part enough to keep things quite interesting, including microtones, devilishly difficult polymetric twists and turns, distressed Shaker tunes, and percussive foot stomps. Truth be told, Lancaster is joined by Polansky and Gold on the final movement of the piece, so it’s not strictly a solo work. But for many, it takes an artist of Lancaster’s caliber to make piccolo diverting for twenty minutes; a task she accomplishes handily here.