David Starobin, house guitarist for Bridge Records (his own label), and a very fine one at that, offers here a recital of music that has all kinds of intertwined connections of children and associates that represent to him a sort of “family” album (that’s his daughter on the front cover by the way, who inspired the percussion additions to this disc). Two of the works use “amplified” guitar (a convention that I am convinced adds virtually nothing to the sound of the instrument, aside from a slight bit of distortion) and percussion. This combo does not work very well in my opinion, and though I understand completely the familial aspects of having music to play with one’s children, both the Ruders and Starobin’s own piece use the percussion in a very elementary way and it cannot be said that either instrument responds very well to the presence of the other. Poul Ruder’s piece in particular is a letdown to me, having heard much more formidable music from him in the past, and I cannot help but think this piece was a bit of a toss-off for a friend. It’s not bad music, but it doesn’t register very high on the want-to-hear-it-again meter. Starobin’s work, a honeyed nod in the direction of Charles Ives’s New England masterpiece, bears little relation to that work, but possesses some splendid homey and clever moments of real originality.
William Bland’s opus, 48 Preludes for Guitar, and offering us six pieces in this recital, is another matter entirely. I would loved to have had a whole album dedicated to these wonderful works alone (they are still in progress), for they are indeed destined to become foundational works for the guitar, and their sensitive and finely-honed melodic content coupled with a varied harmonic, rhythmic, and stylistically diversified palate make for listening that never loses interest. This is wonderful music indeed. Almost as good are the pieces that constitute the Semi-Suite by Paul Lansky, a composer who has spent much time with electronic music, yet is able to produce a full-bodied sound for the guitar while simultaneously cozying up to the instrument in a very warm manner. The music in no way expressed esoteric digital sounds, as might be expected from a man with this sort of background, but is humane and beautifully realized. Cuban-born Tania Leon’s Bailarin (“dancer”) is somewhat of filler on this recital, but it really sticks out as being quite different from the other music in its rhythmic integrality and almost exotic flamboyancy that, surprisingly, trickles out at the end.
Starobin has arranged for great sound, so that his incredible technical accuracy and masterly articulation are captured in full. Though I can do without this particular Ruders, and the timing is rather short, there is some fine music-making on this disc. His fans will have to have it.
— Steven Ritter
