Some
biographical information first. Born in 1960, Jeremy Beck
studied with Lukas Foss, Jacob Druckman, Stephen Jaffe and
David Loeb. He holds degrees from the Yale School of Music,
Duke University and the Mannes College of Music. He is a
cello player, so no wonder that he has composed three cello
sonatas. Some of his orchestral music is available on another
Innova disc (Innova 612). Although he studied with musicians
who may have been regarded as modernists, his music is firmly
rooted in free tonality, and is – judging by the works recorded
here – warmly melodic and colourful with unexpected harmonic
twists. This is clearly evident in the Cello Sonata No.3 “Moon” and
in Songs without Words (flute and harp), both
completed in 1997. The three movements of the Third Cello
Sonata allude to a sort of baroque suite (Aria da Capo, Pavane and Galliard,
although the music never imitates its classical models. The
music generally speaks for itself and is exactly what one
has come to expect from the movements’ titles. The third
movement, however, is somewhat more developed and cast as “a
developing rondo” (the composer’s words) and ends with a
shortened restatement of the opening theme of the first movements. Songs
without Words is a beautiful piece in three movements
for one of the loveliest instrumental combinations: flute
and harp. Beck’s richly melodic vein is again much in evidence;
and the music never outstays its welcome. A really lovely
work that perfectly lives up to its title.
Black
Water, a monodrama for
soprano and piano is by far the most substantial and
ambitious work here. The words are adapted by the composer
from Joyce Carol Oates’ eponymous novel. “[Oates’ story]
is presented completely from the point of view of the
drowning woman: in reality, in flashback, in dreams and
in hallucinations” (the composer’s words). There is
thus ample scope for musical characterisation throughout
this long piece. The soprano’s part relies on song as
well as on spoken word - a bit too much of the latter
to my taste. The music, however, is remarkably varied
in order to reflect the many moods suggested by the words,
although I suspect that some might find Beck’s musical
idiom too single-minded to do full justice to the wide
range of emotions implied by the text. The drama might
have been greatly enhanced, had the piece been scored
for orchestra with soprano and narrator sharing the words
in order to suggest the various perspectives of dream,
hallucination and reality. The work obviously calls for
a more expansive treatment, which the black-and-white
colours of the piano do not always completely convey.
However, this is an impressive piece of music in its
own right.
Beck’s
music is yet another example of what can be successfully
achieved within the boundaries of tradition, for it is never
reactionary and holds enough harmonic and rhythmical surprises
to sustain the interest. These three pieces are superbly
served by the performers who play and sing with all their
heart in a most convincing way. Well worth investigating.
Hubert Culot
see also review by Glyn Pursglove
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Emilio Colón
(cello)a; Heather Coltman (piano)a;
Elizabeth Sadilek (flute)b; Gretchen Brumwell
(harp)b; Jean McDonald (soprano)c;
Robin Guy (piano)c 
