Salonen's zeal for cleanliness made the first movement's silences almost inhibiting, like little walls impeding the music's motion the Comodo section later on was charmingly done. The string sound had a dry precision on Sunday. Lindberg's teeming surges of color on Friday). The great tuttis were splendidly managed (as were Mr.
A slow finale ruminates at length.Įsa-Pekka Salonen and his Los Angeles players hear Mahler as hard and bright. Sober alto solos, sung here by Anna Larsson, are set against women's and children's voices considered are the pains and pleasures along the road toward eternity. The first movement is a gargantuan, brass-heavy parade, mournful with funeral marches at one moment, festive at the next.ĭelicate dancing and singing in instrumental form occupy the orchestra in the middle sections. It is an act of gluttony rescued by a digestive tract of genius. Despite its unerring sense of momentum, ''Fresco'' goes on too long, as if the composer cannot bear to let it go. Seldom have tonal satisfactions been abandoned with such elegant and hedonistic results. Lindberg works hard to disabuse listeners of modernism's pain-equals-virtue syndrome. There are several caesuras, but the overall impression is of one unbroken chord progression, managed by a kind of compositional circular breathing. The final cadence reduces the multiplicity of texture to the single tone of D spread across the orchestra.
Layers of timbre fall away and new ones are added, easing one episode smoothly into the next. This is particularly true of the Lindberg piece, where sonority modulates continually, as would harmony in Wagner. Both composers raise orchestral color to the level of line, rhythm and counterpoint. There are other similarities between the young and thriving Finn and the long departed Central European. Sonata form is replaced by the esthetic principles of ''And furthermore. In both pieces, form is an afterthought, a way of keeping some kind of order in a relentless outpouring of new ideas and musical developments that no amount of restraint or temperance could possibly slow down. Friday night, it was Magnus Lindberg's ''Fresco,'' on Sunday afternoon the Mahler Third Symphony. The Los Angeles Philharmonic's weekend in New York, two concerts at Avery Fisher Hall, stationed composers with large appetites at its beginning and at its end. The positive musical vibes of The Bookends will make you believe in love all over again with tracks such as the rainbow-colored “Got To Tell You,” and touch your heart with the low-key, wistful album closer “World.” You’d have to be a curmudgeon not to smile as you listen to these terrific songs. The music of The Bookends is a groovy throwback to 1960s pop, but it’s also influenced by the music of groups like The Go-Gos and The Bangles. “Have It All” and “Can’t Be Wrong” lovingly evoke the British Invasion sound while also standing out as brilliant examples of 21st-century pop/rock. “She’s Got It All” wouldn’t sound out of place on the soundtrack to a cool 1960s spy flick and “It’s Your Turn” is pure power-pop perfection. Sharon and Karen co-wrote the fourteen songs on the album, and every track is a catchy, hook-filled delight that will have you constantly hitting the replay button. Related: “The One-Hit Wonder File: ‘Walking On Sunshine'” The luminous “Stop Right There” is a marvelous old-school pop confection that echoes with the classic girl group sound. Up next is the energetic, horn-driven “Face The Facts,” which includes some dandy guitar work. Calliope kicks off with the title track, a psychedelic-infused number featuring echo-laden vocals and mind-bending effects. The sterling musicianship and heavenly harmonies of this dynamic duo are featured throughout the album, and they’re aided in their endeavors by producer Frank Labor on guitar, as well as Buck Ellis, Ward Reeder, and Larry Alvarez on drums. The Bookends are cousins Karen Lynn (guitar, vocals) and Sharon Lee (bass, keyboards, vocals) whose lifelong love of music inspired them to form the group.
The band’s musical style is a scintillating blend of genres, ranging from the girl group sound to sunshine pop and garage rock, along with a healthy dose of power pop. The record features a terrific set of effervescent tunes that are guaranteed to brighten your day and make you believe in the healing power of well-crafted pop music. If you’re looking for some sparkling pop songs to lift your spirits, Calliope, the sophomore album from The Bookends, just might be the ray of rock and roll sunshine that you need.
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