11 May 2006
The Music of Joseph Dubiel
Joe Dubiel is a well known and accomplished music theorist, affable, pleasant in demeanor, learned and astute, and above all friendly in a field that has its thorns and brambles.
Paul Dukas’ Ariane et Barbe-Bleue, first heard in 1907, once seemed important. Arturo Toscanini conducted the Met premiere in 1911 with Farrar and later arranged some of its music for a 1947 recording with his NBC Symphony.
The economics of the recording companies dictate much that is not ideal. Wagner’s operas were not composed as they were in order to permit the extraction of bleeding chunks, even on those occasions when strophic song forms do occur.
Among the recent recordings of Mahler’s Eighth Symphony, Valery Gergiev’s release on the LSO Live label is an excellent addition to the discography of this work.
While not unknown, the songs of Alexander von Zemlinsky (1871-1942) deserve to be heard more frequently.
Recorded on 5 and 6 May 2008 and 17 and 18 January 2009 at the Lisztzentrum (Raiding, Austria), this recent Bridge release makes available the piano-vocal versions of three song cycles by Gustav Mahler, Lieder eines fahrenden Gesellen, Rückert-Lieder, and Kindertotenlieder performed by mezzo-soprano Hermine Haselböck, accompanied by Russell Ryan.
Contraltos rarely achieve the acclaim and renown of sopranos. Assigned few leading roles in opera, they are condemned to playing the villain or the grandmother, or to stealing the castrati’s trousers in en travesti roles.
Following their 2011 Decca recording of Striggio’s Mass in 40 Parts (1566), I Fagiolini continue their quest to unearth lost treasures of the High Renaissance and early Baroque, with this collection of world-premiere recordings, ‘reconstructions’ and ‘reconstitutions’ of music by Giovanni and Andrea Gabrieli, Monteverdi, Palestrina, and their less well-known compatriots Viadana, Barbarino and Soriano.
Eternal Echoes is an album of khazones [Jewish cantorial music] for cantorial soloist, solo violin and a blended instrumental ensemble comprising a small orchestra and the Klezmer Conservatory Band.
Michael Tilson Thomas’s recording of Mahler’s Third Symphony is an outstanding contribution to the composer’s discography.
Oliver Knussen burst into British music with an unprecedented flourish. In 1967, the London Symphony Orchestra premiered Knussen’s First Symphony, with István Kertész scheduled to conduct.
Based on performances given in Summer 2010 at the Lucerne Festival, this recording of Beethoven’s Fidelio is an admirable recording that captures the vitality of the work as conducted by Claudio Abbado.
Stanisław Moniuszko (1819-1872) was one of the most popular composers of his day in Poland, and of the many works he wrote for the stage, two are performed from time to time, Halka (1848) and Strazny dwór [The Haunted Manor] (1865).
The Polish alto Jadwiga Rappé is a familiar voice in various stage and concert works, and the recent release of a selection of songs by Stanisław Moniuszko (1819-1872) is an opportunity to hear her performing artsongs.
Originally released on multiple discs in 1981 this reissue on two CDs is a comprehensive collection of art songs by Italian and French composers from the nineteenth and early twentieth centuries.
An exciting contribution to the discography of this popular opera, the live performance of Richard Strauss’s Salome from the Festspielhaus at Baden-Baden is a compelling DVD.
Released in late 2011, Deutsche Grammophon’s DVD of the new staging of Berg’s Lulu at the Gran Teatro del Liceu, Barcelona is an excellent contribution to the discography of this fascinating opera.
A recent release by the Metropolitan Opera, this two-disc set makes available on DVD the famous performance of Berg’s Lulu that was broadcast on 20 December 1980 as part of the PBS series “Live from the Met.”
The novels of Sinclair Lewis once shot across the American literary skies like comets, alarming and fascinating readers of that era, but their tails didn’t extend far behind them.
Once the province of only the most dedicated opera fanatics, mid-20th century recordings of privately taped live performances have become more widely available.
Flute players in opera orchestra around the world must look forward to the frequent appearances of Donizetti’s Lucia di Lammermoor, knowing that while the stage spotlight in the mad scene will be on the soprano, the orchestral spotlight will be on their instrument.
Joe Dubiel is a well known and accomplished music theorist, affable, pleasant in demeanor, learned and astute, and above all friendly in a field that has its thorns and brambles.
He's been an active member of the theoretical community for at least two decades now, teaches at Columbia University, has co-edited the evergreen Perspectives of New Music, and published a quite impressive body of work, some of it devoted to elucidating the inimitable thoughts of Milton Babbit, a veritable doyen of music theory, not given to the short and succinct in written expression.
That's Joe's professional side. Hearing this recording is like being invited to his house for a beer and a chat. Here's a side I never knew before: Joe composer.
With a dozen works in various genres done by several performance ensembles, the recording offers up a miscellany of Dubiel's compositional interests, including some very good vocal writing. Some of it is edgy, notably a setting of three songs for female voice and double bass to texts by Margaret Atwood, "Pig Song," "Owl Song," and "Siren Song." Some of it is witty: a setting of three stanzas by Gertrude Stein is just as clever as Stein's stanzas themselves. Hilda Doolittle's "At Baia" merits particularly close listening; it is a subtle work for double string quartet, string bass, and soprano.
Of the remaining works, three involve clarinet: "Down Time" for bass clarinet and piano, "Precis" for clarinet and piano, and a quartet for clarinet and strings. These are all very good, showing a nice familiarity with the instrument (perhaps another personal dimension to Dubiel?). The recording rounds out with two works for piano solo, both with enigmatic titles, "Neither Here Nor There," and "Still Getting Nowhere."
The style on the whole is American modern-expressively atonal, albeit gently so. The musicians would seem to have Princeton, Manhattan, or U. Wisconsin at Madison associations, thus they must all be friends with Joe, since he's been resident in all three locations at one time or another. And that sort of makes the whole thing a celebration of friends, all centered on one friendly guy.
Murray Dineen
University of Ottawa