Górecki Lerchenmusik: Recitatives & Ariosos (1984-85)
*martha & monica* is thrilled to pair with *sfSound* clarinetist Matt Ingalls in a rich program of favorite works for combinations of cello, piano and clarinet from the last century. Mario Davidovsky's Synchronism #3 for cello and electronic sound was composed as part of a series of eleven works for solo instrument with electronic sounds; although it was composed forty-eight years ago it is still fresh and provocative. Erik Ulman's Canto XXV is a highly romantic work from 2007 which explores ideas expressed in Ezra Pound's poem Canto XXV, particularly those around Venice and the self-regeneration of the natural world; it takes its influences from works such as Liszt'sLugubre Gondola, and Ravel's Ondine, exploring a watery murmuring and lamenting past of decadent beauty and grandeur. The piece attempts to rhyme a wide range of historical references into a new mosaic, passing through various kinds of doubt or fervor toward a suspended quality of watery stasis. Sofia Gubaidulina's Punkten, Linien und Zickzack ("Dots, Lines and Zigzag") is an early work for bass clarinet and piano which searches for new timbres. Henry Górecki's Lerchenmusik is a powerfully spiritual work which quotes directly from Beethoven's Piano 音乐会o No. 4. and Messiaen's Quartet for the End of Time – its "bird" motive comes from the name of the commissioner, Louise Lerche-Lerchenborg (Lerche means lark in German). Xenakis's Charisma was written as a short intense tribute to a young French composer Jean-Pierre Guézec Xenakis was very fond of; a line form the Iliad is printed on the title page: "then the soul like smoke moved in至 the earth, grinding."