JACK Quartet: Filigree: Music of Hannah Lash

, composer

About

Composer Hannah Lash writes music that is informed in equal measure by historical precedents, such as the Baroque inspired "Suite: Remembered and Imagined," as it is by a modernist examination of instrumental phenomenon, such as the dual meaning of the word "Pulse" as it pertains to bow changes as well as beatings in closely spaced sonorities. A virtuoso harpist in her own right, she joins the acclaimed JACK Quartet for "Filigree in Texture," a work integrating aspects of Middle Ages tapestry with early contrapuntal practice.

Audio

# Audio Title/Composer(s) Time
Total Time 55:39
01Frayed
Frayed
8:44

Suite: Remembered and Imagined

02I. Allemande
I. Allemande
1:37
03II. Courante
II. Courante
1:26
04III. Sarabande
III. Sarabande
3:46
05IV. Gavotte
IV. Gavotte
1:13
06V. Gigue
V. Gigue
2:13
07VI. Menuet antique et fragile
VI. Menuet antique et fragile
3:25
08Pulse-space
Pulse-space
9:15

Filigree in Textile

09I. Gold
I. Gold
6:38
10II. Silver
II. Silver
5:48
11III. Silk
III. Silk
11:34

Hannah Lash’s multi-layered music balances rhetoric with sensuality and enters into a dialogue with pre-existent forms while simultaneously reexamining them. On this excellent recording of her music for string quartet by the JACK Quartet, we hear Lash’s engagement with two canonic traditions as points of inspiration (the Baroque Suite as well as an extra musical discipline — tapestry arts from the Middle Ages), alongside two works that concern themselves with instrumental and musical phenomenon.

Frayed opens with sighing chords, breathing through the quartet like a series of inhales. The passage is performed with mutes on, lending it a covered sound, almost like a delicate harmonica. The accumulated energy eventually explodes into vigorous music before material from the opening is re-integrated, toggling back and forth between contrasting energies. As the work evolves, “frayed” edges of each expressive world begin to show—overpressure on the culmination of a repeated chord, a hybrid gesture of pizzicato and glissando articulated with the back of the frog of the bow.

Suite: Remembered and Imagined takes a traditional Baroque Suite as a jumping off point for Lash’s reinterpretations. The opening “Allemande” presents jaunty lines at different speeds simultaneously, with an aural illusion of the second violin playing at a different tempo than the others. Each line on its own captures the genteel propriety of the German dance, but together they are heard as if through a distorting prism. Echoes of the opening of the Prelude from Bach’s C major cello suite begin the “Courante,” as the four string instruments complete each others’ scalar passages, weaving together a harmonic progression that moves easily between keys. An insistent high register pedal point on the original tonic enters midway through the movement, framing the subsequent passagework in terms of its relationship to the home key. A brooding “Sarabande” follows, marked by closely spaced, dense chord voicings.The language is reminiscent of early 20th century Romantic string quartets, with the short-long rhythm characteristic of a traditional “Sarabande” asserting itself throughout. In a Suite that has a fair share of light hearted humor and irony, this movement stands out for the weight of its expression. The playful “Gavotte” opens with an ascending pizzicato line — the other instruments occasionally highlight individual notes by doubling them in harmonics at the octave. Later in the movement, violin trills fulfill the same function, but they are pitched slightly lower than the main pizzicato line, sounding as if they are sung by a singer whose voice has seen better days. The off-kilter “Gigue” features short chromatic phrases in a violin part that seems to constantly be interrupting itself. The final movement, “Minuet antique et fragile,” is played entirely pizzicato, in a rhythm that skips and swings gently, closing the Suite not with a grand gesture, but instead with a sly wink.

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Pulse-space pits beatings that result from dense, closely spaced voicings against the pulsing created by bow changes in the ensemble. Individual instruments in the quartet emerge briefly from the prevailing repeated pattern, either to play an intense sustained line on top of the other three, to weave a fragmented line within them, or to superimpose a new rhythmic layer. The relentless work culminates in a section of impassioned sustained notes played by the whole quartet, each instrument voice leading to a new pitch in a dramatic chorale texture.

Lash joins the JACK on harp for Filigree in Textile, a three movement work inspired by tapestry arts from the Middle Ages. The first movement, “Gold,” opens with a mournful cello solo, and features intricate imitative counterpoint. Through this disciplined treatment of the motivic material, Lash draws a parallel between the rigors of the craft of tapestry making and early compositional technique.“Gold” closes with a pizzicato passage, leading gracefully into “Silver” which remains pizzicato throughout, neutralizing the bowed strings and placing them in the same world of articulation as the harp. This middle movement is in rhythmic unison throughout, a “formal and somber dance” as Lash describes it, with a bell-like middle section wherein harmonics move from a secondary embellishing role to a primary function as the main timbre. The final movement, “Silk,” is a moto perpetuo tour de force for the harp, who glues the ensemble together with a percolating, running lines and pointed accents. The quartet snakes along behind Lash, taking her suggestions of goal notes shortly after she articulates them, as she traces the threads of this musical tapestry.

Hannah Lash’s compositional voice is an important one in our contemporary scene. Her aesthetic integrates elements from the canonic repertoire with a keen sense of the expressive power of experimental techniques within a largely conventional sound world. The JACK Quartet’s performance of these pieces takes full advantage of their versatility, presenting them with intelligence and sensitivity to Lash’s cultivated language.

– D. Lippel

Tracks 1-8: JACK Quartet: Christopher Otto, violin; Ari Streisfeld, violin; John Pickford Richards, viola; Kevin McFarland, cello

Track 9-11: JACK Quartet: Austin Wulliman, violin; Christopher Otto, violin; John Pickford Richards, viola; Jay Campbell, cello; Hannah Lash, harp

  • Engineer: Ryan Streber
  • Assistant engineer: Michael Quick
  • Recorded at Oktaven Audio, Mt. Vernon, NY, July 22-23, 2016, and September 22, 2017
  • Session producer: Ryan Streber
  • Edit producer: Ryan Streber
  • Editing: Charles Mueller and Ryan Streber
  • Mastering: Ryan Streber
  • Program notes: Hannah Lash
  • Design: Marc Wolf (marcjwolf.com)
  • Cover & interior photos: Annie Spratt (Unsplash)
  • Funded in part by The Aaron Copland Fund for Music, Inc.

JACK Quartet

The JACK Quartet electrifies audiences worldwide with "explosive virtuosity" (Boston Globe) and "viscerally exciting performances" (New York Times). David Patrick Stearns (Philadelphia Inquirer) proclaimed their performance as being "among the most stimulating new-music concerts of my experience." The Washington Post commented, "The string quartet may be a 250-year-old contraption, but young, brilliant groups like the JACK Quartet are keeping it thrillingly vital." Alex Ross (New Yorker) hailed their performance of Iannis Xenakis' complete string quartets as being "exceptional" and "beautifully harsh," and Mark Swed (Los Angeles Times) called their sold-out performances of Georg Friedrich Haas' String Quartet No. 3 "mind-blowingly good."

The recipient of New Music USA's 2013 Trailblazer Award, the quartet has performed to critical acclaim at Carnegie Hall (USA), Lincoln Center (USA), Wigmore Hall (United Kingdom), Suntory Hall (Japan), Salle Pleyel (France), Muziekgebouw aan 't IJ (Netherlands), La Biennale di Venezia (Italy), the Lucerne Festival (Switzerland), Bali Arts Festival (Indonesia), Reykjavik Arts Festival (Iceland), Festival Internacional Cervatino (Mexico), Kölner Philharmonie (Germany), Donaueschinger Musiktage (Germany), Wittener Tage für neue Kammermusik (Germany), and Darmstadt Internationale Ferienkurse für Neue Musik (Germany).

Comprising violinists Christopher Otto and Ari Streisfeld, violist John Pickford Richards, and cellist Kevin McFarland, JACK is focused on the commissioning and performance of new works. In addition to working with composers and performers, JACK seeks to broaden and diversify the potential audience for new music through educational presentations designed for a variety of ages, backgrounds, and levels of musical experience.

The members of the quartet met while attending the Eastman School of Music and studied closely with the Arditti Quartet, Kronos Quartet, Muir String Quartet, and members of the Ensemble Intercontemporain.

http://www.jackquartet.com/

Hannah Lash

Hailed by The New York Times as “striking and resourceful...handsomely brooding,” Hannah Lash’s music has been performed at such major venues as Carnegie Hall, Los Angeles Walt Disney Concert Hall, Lincoln Center, the Times Center in Manhattan, the Chicago Art Institute, Tanglewood Music Center, and the Aspen Music Festival & School, among others. In 2016, Lash was honored with a Composer Portrait Concert at Columbia University’s Miller Theatre, which included commissioned works for pianist Lisa Moore (Six Etudes and a Dream) and loadbang (Music for Eight Lungs). In the 2017-2018 season, Lash’s Piano Concerto No. 1 “In Pursuit of Flying” was given its premiere performances by Jeremy Denk and the Saint Paul Chamber Orchestra; the Atlantic Classical Orchestra debuted Facets of Motion for orchestra; and Music for Nine, Ringing was performed at the Music Academy of the West School and Festival. In the 2018-2019 season, Paul Appleby and Natalia Katyukova gave the world premiere of Songs of Imagined Love, a song cycle commissioned by Carnegie Hall. Hannah Lash’s music is published exclusively by Schott Music.


Reviews

Best of Bandcamp Contemporary Classical: August 2019

This stunning collection of string quartet music by composer Hannah Lash, performed by the singular JACK Quartet, ripples with fresh ideas and energy while engaging with some of classical music’s most cherished conventions. The opening movement of “Suite: Remembered and Imagined,” for example, draws inspiration from the Baroque suite, but the various lines progress at different speeds, conveying an off-kilter canter on the edge of the abyss. The second movement references bits of the prelude from Bach’s C major cello suite, as individual lines start finishing one another’s sentences, while a needling upper register violin line cleaves things open.

“Filigree” uses tapestry arts from the Middle Ages as its point of reference, with the composer’s own harp playing beautifully interweaving with JACK Quartet’s luminous strings. All three movements introduce different sorts of meshed lines and counterpoint, as in the mournful “Gold,” or the pithy pizzicato of “Silver.” “Frayed” is a dazzling back-and-forth between delicately voiced, muted sighs or exhalations—at times suggesting the sound of a glass harmonica—and slashing, almost primeval lines pushed to the point of unraveling by masterful bow pressure, and “Pulse-space” is a relentlessly driving juggernaut of acoustic beating and massed sound, with brief solo excursions poking out of the din.

-Peter Margasak, 9.3.19, Best of Bandcamp Contemporary Classical: August 2019

AnEarful

The durability of the string quartet never ceases to amaze me and with artists like Lash and the JACK perpetuating the medium it should be around for centuries to come. The album hits the ground running with Frayed, which brilliantly employs extended techniques to sound like it’s literally coming apart as you listen. Suite: Remembered and Imagined engages with Baroque dance rhythms across its six short movements, using Lash’s inventiveness to remain relentlessly modern. The title of Pulse-Space may make you think of a Pink Floyd outtake, but is instead a threnodic outpouring of pure emotion, with only Lash’s restraint keeping it from neo-romanticism. Inspired by Medieval weaving techniques, Filigree In Textile also features Lash on harp (it was originally performed by her teacher, the great Yolanda Kondonassis, who has a fine recent album of her own) and allows you to add the finishing touches as you assemble the threads in your mind. As expected, the JACK makes all of this sound as natural as breathing and it's hard to imagine a better presentation of this excellent, deeply involving music.

-Jeremy Shatan, 8.24.19, AnEarful

textura

Performed by the JACK Quartet, the four works on Filigree offer an exciting sampling of Hannah Lash's creative output. The presence in her music of experimental techniques and imaginative treatments reflects an intrepid contemporary sensibility, while at the same time she's not afraid to weave elements from the canonic repertoire into her material; consistent with that, two of the recording's pieces draw upon two canonic traditions, the Baroque Suite and tapestry arts from the Middle Ages. Each work builds upon a thoughtfully conceived conceptual foundation that pulls the listener into her compositional world, eager to hear more. No better choice of string quartet conceivably could have been made for the project, the JACK Quartet renowned for its versatility and the commitment it brings to its performance of a composer's material.

A recipient of many awards and commissions and currently a member of the composition faculty at the Yale University School of Music, Lash has composed orchestral works and chamber settings for lauded ensembles such as Eighth Blackbird, Flux Quartet, the Boston Symphony Chamber Players, loadbang, the American Composers Orchestra, and others. A harpist as well as composer, she performs with the JACK Quartet on the recording's closing work, Filigree in Textile (the quartet membership featured in that performance—violinists Austin Wulliman and Christopher Otto, violist John Pickford Richards, and cellist Jay Campbell—differs slightly from the quartet that otherwise appears, with Ari Streisfeld and Kevin McFarland in place of Wulliman and Campbell, respectively).

A Baroque character pervades the opening section of Frayed when mutes are attached to the strings, the result a delicate, wheezing sound; that hushed shimmer detonates, however, two minutes along with a furious outburst of energy. Aggressive bowing and plucks, the latter peppering the sound field like hailstones, appear thereafter, Lash further complexing the design by accentuating extreme contrasts in volume, tempo, and attack. Raw bowed phrases reflect the frayed quality intimated by the title, as do the emphatic short statements that repeatedly appear.

In the subsequent Suite: Remembered and Imagined, Lash uses the structure of a Baroque Suite as a springboard for six concise movements. The suitably jaunty “Allemande,” the term referring to a stately court dance popular in Germany centuries ago, initiates the work with lively crosscurrents, after which “Courante” perpetuates the liveliness of the first movement, with this time the instruments acrobatically finishing each others' scalar passages. Though the term “Sarabande” refers to another dance form, the sober movement exchanges the light-hearted spirit of the first two for a brooding presentation that's more Bartok than Bach. The rhythmic impetus returns for “Gigue,” even if its forward momentum's thwarted by the brevity of the violin's chromatic phrases, followed by the gently swaying “Menuet antique et fragile,” which, true to its title, plays as if it's advancing ever-so-carefully along a high wire. One comes away from Lash's Suite struck by the way the traditional dance forms have been refracted through her idiosyncratic prism.

The most aggressive of the album's pieces, Pulse-space navigates an unsettling, at times harrowing path for nine minutes, the music's effect intensified by the addition of closely spaced voicings to the group's relentless pulsing. At strategic moments, individual players separate themselves from the pack to alter the complexion of the core throb without ever threatening to overpower it.

At album's end, the three-movement Filigree in Textile brings Lash herself aboard for a piece originally written for Yolanda Kondonassis and the JACK Quartet. “Gold” begins with a cello solo of mournful mien before the others emerge to transform the material into an exercise in elegant counterpoint, the resonant sound of the harp a pleasing addition and the interlacings of the five instruments suggestive of tapestry-making. By closing with a pizzicato passage, “Gold” transitions seamlessly into “Silver,” whose design is pizzicato throughout, the move ostensibly converting the instruments into harp-like devices for six minutes. The concluding “Silk” provides the most comprehensive presentation of the strings-and-harp combination, with all involved unleashing an abundance of sinuous patterns for twelve minutes.

Filigree offers not just an in-depth account of Lash's work but an arresting study in contrasts, stylistic predominantly. At one extreme we have the harrowing Pulse-space, at the other the comparatively restrained Filigree in Textile. While hardly a definitive portrait of the artist (what single album-length recording could be?), one definitely comes away from the release with an informed understanding of and appreciation for Lash's compositional approach.

-Ron Schepper, 8.2019, textura

Midwest Record

A high minded meeting of the minds in which a smart quartet takes on the music of contemporary composer Hannah Lash, all involved show why they have such sterling, worldwide reputations as they move the frontiers of contemporary classical forward. Despite the title, the music is not delicate but often engaging in it’s complexity and depth taking the listener to places not previously imagined. Stellar work from all involved.​

-Chris Spector, 6.18.19, Midwest Record

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