Christian Wolff, The Barton Workshop

Wolff is considered a member of “The New York School” along with John Cage, Morton Feldman, Earle Brown and David Tudor. Following his meeting Cornelius Cardew and Frederic Rzewski in 1970s, his music has evolved to embrace a distinct language which resonates with a deep commitment to political and social concerns. This collection of chamber works tracks his various styles over a long time span.

Among the highlights:

The Serenade of 1950, an extraordinarily individual work from a sixteen-year-old who had just introduced himself to Cage. It intimates movement which was to come a decade later.

I Like to Think of Harriet Tubman (1984) is a powerful setting for a woman’s voice with violin, clarinet and doublebass. The text by Susan Griffin tells of Tubman (1821-1913), an ex-slave who risked her life and freedom to bring others out of slavery via the ‘Underground Railway’.

For Morty (1987), written in memory of Morton Feldman, uses three instruments that have a particular significance in Feldman’s work, the vibraphone, glockenspiel and piano. Its tender fragility reminds one of the unique sensibility of Feldman, while remaining music that only Wolff could have conceived.

The superb performances come from The Barton Workshop, an Amsterdam based ensemble founded in 1989 by composer-trombonist James Fulkerson. The artistic philosophy of the ensemble is to perform the leading edge of contemporary music today with a strong tradition of music by Wolff, Cage and Feldman. They have made many excellent recordings on the Etcetera label; this is their first on Mode.

Piano Trio (1985): Greenham (4:48), Seneca (1:42), Camiso (3:31)
I Like To Think of Harriet Tubman (1984) (6:05)
Duo for Violinist Pieces (1984) (6:16/5:56)
Eisler Ensemble Pieces (1984) (5:25)
Serenade (1950) (5:25)
Piano Song (I am Dangerous Woman) (1983) (8:56)
For Morty (1987) (5:34)
Stardust Pieces (1984) (5:34)

The Barton Workshop
James Fulkerson, conductor and director