TRACKLISTING:
1. Snake Eating Its Tail (1:44)
2. Norrgarden Nyvla (3:03)
3. Hands of the Juggler (4:44)
4. Rethinking Plague (3:49)
5. Presage (10:21)
6. Land Arf (6:19)
7. Brachilogia (3:08)
8. Distillando (4:11)
9. Crossroads (4:37)
10. Luoghi Che Aspettano (6:44)
LINEUP:
Emilio Galante – flute, piccolo
Valerio Cipollone – bass clarinet, clarinet
Andrea Pecolo – violin
Bianca Fervidi – cello
With:
Massimo Giuntoli – piano (6)
As my readers will have noticed, this blog generally deals with music that, in one way or the other, belongs to the rock universe. However, the album that will be reviewed in the following paragraphs (as the ensemble’s own name aptly points out), while conceived as an homage to a movement in whose name the word is prominently featured, cannot by any stretch of the imagination be described as rock.
AltrOck Chamber Quartet is the brainchild of gifted flutist and composer Emilio Galante, known for his work with avant-jazz ensemble Sonata Islands (hence the album’s title), who is here assisted by Valerio Cipollone (also a member of Yugen, one of the finest modern outfits in the RIO/Avant vein), Bianca Fervidi and Andrea Pecolo. The album’s witty cover artwork (a brilliant concept by AltrOck resident graphic artist Paolo Ske Botta), showing a violin adorned by Brazilian-themed images, plays on the possible misunderstanding of the word RIO by those unaware of the acronym’s meaning. Composer Giovanni Venosta, who was responsible for the transcription of three of the original compositions featured on the album, revisits his first experiences with the Rock in Opposition movement in the album’s foreword (offered also in an English-language version, with an eye for AltrOck’s growing international following).
Recorded in February 2012 and released a few months later, Sonata Islands Goes RIO might be called (at least in part) a rather highbrow take on a very popular rock product such as the tribute album. Indeed, half of the 10 tracks on the album reinterpret well-known RIO/Avant compositions, while the remaining five are the work of modern Italian composers (including Galante himself) who have been influenced by the subgenre’s distinctive modes of expression. In true chamber tradition, the music is performed by a very limited number of instruments – flute, piccolo, clarinet, violin and cello – ruling out the presence of percussion, guitars or keyboards (with the exception of Massimo Giuntoli’s “Land Arf”, on which the composer himself guests on piano). While at first the result is very intriguing, even fascinating, those who are not chamber music devotees may find things a bit heavy going after a while – even if the album, at around 48 minutes, is by no means excessively long.
For the chamber-music novice, the most approachable tracks are definitely those in the first half of the album, especially the three Fred Frith compositions, “Snake Eating Its Tail” (transcribed by renowned clarinetist Mauro Pedron), “Norrgarden Nyvla” and “Hands of the Juggler” (both transcribed by Giovanni Venosta). In the second, Galante’s flute adopts a particularly assertive, almost harsh tone, while the first makes the most of the lively dialogue-like interplay of the reeds, and the third skillfully shifts from stately melody to dissonance. Galante’s revisitation of Thinking Plague’s “Love” – aptly titled “Rethinking Plague” – conveys the elaborate angularity of the Denver band’s sound, while adapting it to a somewhat different musical format. However, Venosta’s string-driven transcription of Univers Zéro’s iconic “Presage”, while undoubtedly faithful to the spirit of the original, cannot fully convey its hauntingly martial allure, and the absence of Daniel Denis’ imperious drumming diminishes the impact of the final product .
On the other hand, the more recent compositions seem to be much more suited to the minimalistic chamber format – starting with Francesco Zago’s jagged, intricate “Brachilogia7”, led by Galante’s sharp-toned piccolo. Massimo Giuntoli’s brisk, almost upbeat piano lends a sense of fullness and rhythm to “Land Arf”, whose melancholy middle section showcases Andrea Pecolo’s violin to great effect. Galante’s own composition “Distillando” (originally commissioned by the History Museum of the north-eastern Italian city of Trento) is sparse and almost ethereal in spite of the piercing tone of the piccolo, while the lilting tango of Tiziano Popoli’s “Crossroads” reintroduces a measure of melody in its engaging duet between violin and reeds. “Luoghi Che Aspettano”, penned by Stefano Zorzanello, closes the album with its ambitious but surprisingly effective combination of eerie dissonance and more upbeat, almost melodic flow.
From the above description, it should be quite clear that Sonata Islands Goes RIO is not for everyone. Chamber music in itself can be an acquired taste even for classical music fans, and the daunting nature of anything bearing a RIO label has been discussed all too often in this blog. However, the sheer excellence of the individual performances and the often riveting quality of the music should be enough to attract open-minded listeners who are looking for something more challenging than traditional progressive rock. Needless to say, the album will delight fans of RIO/Avant Prog and contemporary chamber music.
Links:
http://www.altrock.it
http://www.allmusic.com/album/sonata-islands-goe-rio-mw0002397513
You may be right that this one an acquired taste. However, you well said ” the sheer excellence of the individual performances and the often riveting quality of the music should be enough to attract open-minded listeners”. The execution of “Presage” by this quartet is excellent and flows so well, I prefere it on the original. The TP “love” interpretation is briliant, It’s quite hard to recognize the original track here. The original compositions are interesting. I’ll be glad to put my hands on that as soon as possible.
I have found that chamber music can be hard to “get” even for seasoned fans of classical music (like my late mother). In fact, even if chamber music is often lumped together with “mainstream” classical, it is almost a separate genre, and its minimalism does not always appeal to those who love the full, rich sound of an orchestra.