Steve Rouse: Morphic Resonance, chamber music (2017)
01 Violin Sonata No. 2 - I. quarter note = 186 02 Violin Sonata No. 2 - II. quarter note = 54 03 Violin Sonata No. 2 - III. dotted half note... 04 Violin Sonata No. 2 - IV. quarter note = 168 05 Form Fades - I. Ritual Fills 06 Form Fades - II. Pulse Frees 07 Form Fades - III. Memory Feels 08 Form Fades - IV. Petal Floats 09 Form Fades - V. Hammer Falls 10 Nevolution - I. Echo Migration 11 Nevolution - II. Star Quiet 12 Nevolution - III. Morphic Resonance 13 10 Little Things - 01. The Sight 14 10 Little Things - 02. The Nature 15 10 Little Things - 03. The Charm 16 10 Little Things - 04. The Wall 17 10 Little Things - 05. The Wheel 18 10 Little Things - 06. The Sense 19 10 Little Things - 07. The Heaven 20 10 Little Things - 08. The Ball 21 10 Little Things - 09. The Cloud 22 10 Little Things - 10. The Fantasy 23 King Tango
01-04 Ben Sung violin, Jihye Chang-Sung piano 05-09 Indiana University New Music Ensemble, David Dzubay 10-12 Michael Tunnell corno da caccia, Meme Tunnell piano 13-22 Matthew Nelson clarinet, Greg Byrne percussion 23 Evelyn Loehrlein flute, Sidney King double bass
Indiana University New Music Ensemble Elspeth Hayden flute & piccolo, Nick Morandi clarinet & bass clarinet Nidhal Jebali violin, Will Rowe cello, Andreas Apostolou piano James Cromer percussion
The music of Steve Rouse has a kind of natural fluency born of a convincing inventiveness. We can hear this to excellent advantage on his recent album Morphic Resonance, Chamber Music (Ravello 7973).
Steve Rouse has a voice, a presence, an original take on the Modern Contemporary project. Five compositions grace this volume. Each one reveals special aspects of the Rouse approach. Each is sure of its goals and realizes them with distinction.
Sonata for Violin and Piano has a Neo-Classical Stravinsky-esque flavor. There is a joyous rhythmic drive and an infectious melodic-harmonic fingerprint of Rouse-ness nicely to be heard throughout.
Form Fades for six chamber instrumentalists has motor propulsion and repetition outside of a typically orthodox minimalist range — the repetitive elements occur more in developmental blocks than post-African line movement. It is not-so-much "through" rhythmically as it is a matter of cubistically conjoined sectional blocks that whirl for a certain time, then give way to a new sonic event. I would say that this favorably reminds me of Luc Ferrari's "Interrupteur" and "Tautologos 3." Yet I say that not because it sounds like either. Rather there are surface plane divisions like a cracked earth mantle. The divisions have related yet distinctive differences to them, so that a traversal is not a repetition overall so much as movement along various fault lines. That is, if that makes any sense. Like the Ferrari works I have loved for so long, you do not feel a suspension of time. You feel strongly a movement forward. It is beautiful, original music!
Nevolution brings together a primal ahead-directed piano part with expressive scaling-searching trumpet (actually corno da caccia) often with a natural resonance. It is a memorable and idiosyncratic work.
Ten Little Things pits clarinet with percussion for some very rousing and expressive miniatures. The variable coloration of a battery of percussion instruments feeds the clarinet part with contrasts. A series of open explorations results, ear opening and ever-shifting in its trajectories.
King Tango is the short yet eventful closer. Flute and double bass send us off in style in a nicely jagged, futuristic manner. There is much to savor in this compressed moment of farewell.
So we have an end to a worthy and original program. Steve Rouse has it, a voice for our times. Any fan of New Music will no doubt find this as essential as I did. Get it!
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