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CEDILLE RECORDS 5255 N. Lakewood Ave Chicago IL 60640 USA • 773.989.2515 • CEDILLE RECORDS 5255 N. Lakewood Ave Chicago IL 60640 USA • 773.989.2515 • www.cedillerecords.org Cedille Records is a trademark of WORLD PREMIERE RECORDING The Chicago Classical Recording Foundation, a not-for-profit foundation devoted to promoting the finest musicians and ensembles in the Chicago area. EASLEY BLACKWOOD CHAMBER MUSIC FOR PIANO AND STRINGS The Chicago Classical Recording Foundation’s Easley Blackwood, piano activities are supported in part by contributions and grants from individuals, foundations, corporations, and Charles Pikler, violin & viola government agencies including the Alphawood Gary Stucka, cello Foundation, the Chicago Department of Cultural Affairs (CityArts III Grant), and the Illinois Arts Council, a state agency. Easley Blackwood (b. 1933) Producers Second Viola Sonata, Op. 43* (2001) (24:09) Easley Blackwood 1 I. Andantino con moto (6:35) James Ginsburg 2 II. Allegro capriccioso (3:58) Engineer 3 III. Vivace (4:07) Bill Maylone 4 IV. Adagio (4:02) Design 5 V. Allegro deciso (5:15) Melanie Germond Cover First Violin Sonata, Op. 7 (1960) (16:39) White Line Square I, published 1966 by Josef Albers 6 I. Allegro rigoroso (6:52) © 2005 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York 7 II. Adagio (5:27) 8 III. Allegro molto (4:12) Recorded February 2-3 (Op. 43), April 28 (Op. 1), and September 4 (Op. 7), 2002; Piano Trio, Op. 22 (1968) (16:35) and December 4, 2004 (Op. 22) 9 I. Allegro moderato (5:07) at WFMT Chicago bk II. Vivace (3:03) Steinway Piano bl III. Largo — Allegro (8:16) Piano Technician Ken Orgel First Viola Sonata, Op. 1 (1953) (13:57) bm I. Adagio quasi sensa misura ma non troppo rubato (6:12) Publishers First Viola Sonata, Op. 1 ©1959 Theodore Presser bn II. Allegro molto (4:54) First Violin Sonata, Op. 7 ©1961 Easley Blackwood bo III. Andante tranquillo — Allegro molto e meccanico (2:45) Piano Trio, Op. 22 ©1968 Easley Blackwood Second Viola Sonata, Op. 43 ©2001 Easley Blackwood CDR 90000 081 Total Time: (71:48) P&© 2005 Cedille Records, trademark of The Chicago Classical Recording Foundation *commissioned by Ivan Sellin through a grant to The Chicago Classical Recording Foundation All Rights Reserved 2 3 NOTES ON THE PROGRAM physicist who is also an accomplished sections is very unusual, being for the repeating material is sometimes present- by Easley Blackwood violinist-violist. Prof. Sellin requested a most part in 13/8 time. Prof. Sellin has ed exactly, and sometimes in a variety of composition that would suggest the idiom always been intrigued by the section of variations. The slow, meditative coda is The compositions on this recording span of Bartók, as in the Contrasts for Violin, Bartók’s Contrasts in the same meter, and unlike anything else in the movement, nearly fifty years — from Op.1(1953),Op.7 Clarinet, and Piano, or of Prokofieff, as in requested that a portion of the Sonata and makes a surprise ending. (1960), and Op. 22 (1968), through Op. 43 the Overture on Hebrew Themes, and I should also be in 13/8 time. The more con- (2001). They exhibit a wide variety of styles. was glad to oblige. ventional trio section provides a sharp Op. 22 (Trio for Violin, Cello, and Piano) is contrast. The fourth movement is a free in an atonal, polyrhythmic idiom that was It is interesting to reflect for a moment on The five movements exhibit an unusual fantasy, with fairly lengthy passages for pioneered in Darmstadt during the 1960s. the stylistic evolutions of other com- key scheme: the first is in C-sharp minor; the viola alone. The final movement is a Its style most nearly resembles both Elliott posers. Some find a particular style early the second is in D major; the third is in E- sonata form, with new material being Carter and Charles Ives. Although largely on and maintain it throughout their lives — flat minor; and the fourth is in E major. introduced in the development. This is atonal, the harmonic idiom is not merely a category that includes Johannes Brahms Thus far, the tonics make an ascending recalled near the end; and the coda, with random dissonance, in which notes and and Frédéric Chopin. Others gradually chromatic scale. The fifth movement is its sudden change in tempo and rhythmic sonorities are chosen so as to bring about evolve from one style to another that is once again in C-sharp minor, which makes modality, closes the movement in an the maximum possible surprise. On the totally different, usually going from con- a smooth modulation from the E-major unexpected way. contrary, there is a constant sense of har- servative to radical. Alexander Scriabin and triad at the close of the fourth movement. monic resolution from one sonority to the Elliott Carter are examples. Finally, there The melodic contours of Op. 7 (First Violin next. The first movement is a sonata with- are composers who write in a variety of The first movement is a sonata rondo — Sonata) show the influence of Paul out development, followed by a brief coda. styles, some of which are surprisingly dif- unusual in that the tempo is very leisurely. Hindemith, but the harmonic language is The two themes are distinguished by dif- ferent in nature — Béla Bartók and Igor For the most part, keys are readily identi- rather more like the pre-serial atonal ferences in rhythmic modality: the first is Stravinsky immediately come to mind. I fiable, although there is a section in the works of Arnold Schönberg — an interest- freely flowing without a distinguishable believe I fall into this latter category. At development that verges on atonality. The ing combination, considering that those pulse, while the second is characterized present, I feel comfortable writing in just second movement is also a sonata rondo, composers held each other’s music in low by successions of evenly spaced notes — about any idiom; and when a new work is but in a more conventional style, having a regard. The first movement is a sonata mainly sixteenths and septuplet six- requested, I ask what style is desired. scherzo-like character. Once again, there form in which the first and second teenths, occasionally quintuplets. The sec- is a section in the development that is themes are presented in reverse order in ond movement is a scherzo and trio. The The style of my Op. 43 (Second Viola largely atonal, although the final cadence the recapitulation. The second movement scherzo is in a syncopated, dancing Sonata) is distinctly conservative, espe- is unmistakably in D major. is a sonata without development. At the rhythm; the trio is quiet and meditative. cially when compared with stylistic trends very end, the closing bars of the first The repeat of the scherzo is curtailed, and over the past forty years. This work was The third movement is a scherzo with trio. theme are heard once again. The last considerably slower than the initial state- commissioned by Prof. Ivan Sellin, a The rhythmic arrangement of the scherzo movement is a sonata rondo in which the ment. The last movement is a sonata form, 4 5 preceded by a free, slow introduction that Formally, the first movement of Op. 1 is a is divided into two distinct parts, separated sonata without development, preceded by by a brief episode played by the piano a slow introduction. The first theme is alone. There are tonal elements in the sec- largely atonal, but the second theme con- ond part: a chromatic, modal arrangement tains more nearly tonal elements. As an of D-flat major, followed by A minor, and unusual feature, the return of the second then a return to D-flat major. The two theme in the recapitulation is in the same themes of the body of the movement fea- key (A-flat major) as in the exposition, ture the polyrhythm three-against-five, although greatly changed in character. The often with syncopations in both cross second movement begins with a quick rhythms. There is much dialogue between introduction that is abruptly broken off. the piano and the string duo. The central This is followed by a set of variations portion of the development consists of a whose theme is drawn from the first rhythmic variation of the second section of movement’s introduction, which is repeat- the slow introduction. Near the end, ele- ed exactly at the end of the fourth varia- ments of the slow introduction return, and tion. The last movement also begins with the movement closes with a brief coda an introduction, this one a fragment of the that recalls the second theme. first movement’s second theme. The main body of the movement is a sonata form Op. 1 (First Viola Sonata) is in a style that whose development is a palindrome based resembles Alban Berg and Olivier on the second movement’s introduction. Messiaen. For six weeks in 1949, I studied Near the end, there is a brief recall of the About Easley Blackwood with Messiaen at the Berkshire Music introduction of the first movement, but in a Composer, pianist, and musical theorist, Easley Blackwood’s career has been consistent Center and found him to be a fine musician different rhythmic arrangement. only it its seeming contradictions and strong individuality. Blackwood is Professor Emeritus with a persuasive intellect. When I wrote ———— at the University of Chicago, where he taught for forty years (1958–1997). Known for his Op. 1, I was studying with Hindemith at the Participating as a pianist in this recording, provocative atonal compositions from the 1950s through the 1970s, Blackwood’s abrupt Yale School of Music.
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