Sharon RUCHMAN (b.1950s)
Remembrance
Cello and Piano Sonata [11:15]
Remembrance, for violin and piano [7:47]
Flute and Piano Duet, op.3 [5:43]
Lament, for violin and piano [3:34]
Hope, for cello and piano [8:09]
Kaleidoscope, for violin and piano [4:31]
Calm, for piano [4:29]
Longing, for violin and piano [5:33]
Variations on a Theme in F, for cello and piano [8:15]
Mary Costanza (cello)
Janet Boughton (violin)
Sharon Ruchman (piano)
Kim Collins (flute)
rec. Hebbard House, Washington, Connecticut. No dates given. DDD
Private issue [59:11]
Sharon RUCHMAN (b.1950s)
Textures - Chamber Music*
Sonata in F sharp minor, for cello and piano, op.8 [11:15]
Duet in D minor, for flute and cello, op.11 [8:33]
Piano Sonata in B flat, op.10 [10:51]
Duet in A flat, for violin and cello, op.9 [11:21]
Meditation, for piano [5:10]
Sonata in D minor, for violin and piano, op.7 [11:41]
Mary Costanza (cello)
Janet Boughton (violin)
Sharon Ruchman (piano)
Kim Collins (flute)
rec. Hebbard House, Washington, Connecticut. No dates given. DDD
Private issue [58:51]
Sharon Ruchman's own website describes
her as "an original classical music composer who embraces different styles
and instrumentation. She writes pieces that are strikingly expressive, creates
soothing music for those quiet evenings, and constructs lyrical movements
to surprise and delight her listeners." She did not start composing until
2007 in fact, her musical training as a pianist and singer, at Yale and elsewhere,
leading her eventually to the decision to study composition formally. These
discs are her third and fourth releases, published privately, and dating from
2011 and 2012. Her first two CDs, also recent, are reviewed here.
All four albums are collections of chamber music, a genre which perfectly
suits Ruchman's stated aims to create works of lyrical intimacy: "I want
my music to touch the hearts of those that hear it. Therefore, I compose strong
melodies that will be memorable to the listener." In that sense, the
present two take up where the first pair left off, further incarnations of
her capacity for warming melody and gentle, atmospheric harmony.
It might be ventured that Ruchman takes trying to make her music accessible
to all too far when she comes to describe it in words. Here is what her site
says about the one of the works on 'Textures': "The "Duet for Flute
and Cello in D Minor, Opus 11" is a surprise! Well designed for background
music for a movie scene, this piece commands two instruments to both play
their lead parts at the same time, and yet the two very different voices come
together in perfect, playful harmony. One must listen closely to hear the
complete tale of these two movements." Certainly, "background music
for a movie scene" is harsh criticism of a work from its own composer!
Moreover, it could also be argued that she is putting ideas into listeners'
heads, instead of letting them feel the music for themselves. For example,
the title-piece Remembrance is described as "a longing yet contented
two movements in which we hear the violin reach for the limits of a happy
ending and find them." Yet this simplified language does at least ensure
that those who are entirely new to art music will understand what they are
reading and, in all likelihood, be able to relate the words to what they are
hearing. In any case, the elegance of Ruchman's musical shapes and the tunefulness
of the lines do not insult, in the way pop and minimalism do, even the sophisticate's
intelligence. At their best, her works have an emotional depth that alludes
to early 20th-century late-Romanticism, and there are several pieces with
either a neo-Classical or an impressionistic feel - the notes refer a couple
of times indeed to the influence of Debussy.
With one minor exception, none of Ruchman's albums come with any accompanying
notes or biographical information - in all cases the 'booklets' are no more
than single sheets, cover art on one side, a track listing on the other. Unusually,
for those works that span two or three tracks, tempo/character instructions
or titles for those movements are not supplied. For further information the
reader/listener must visit Ruchman's website. The minor exception is 'Remembrance',
which does have a few lines of information for three tracks, revealed when
the CD is lifted out of the case.
At any rate, Ruchman's music is inspired in part by the local musicians who
have helped her make these recordings. As before, individual performances
are poised and affable, with wholesome tones and expressive phrasing. Audio
quality is good, albeit very dry and thus tending to sound a little subdued.
One minor production quibble is the fact that tracks are tightly cropped,
giving sometimes an unnaturally short silence between movements and works.
In the opening cello sonata of 'Remembrance' the cropping is actually too
tight, a fraction of a second of the start of the second movement having been
unfortunately excised. Generally, though, the minor technical gremlins found
on Ruchman's first 'Chamber Music' disc have long been exorcised.
All discs can be obtained from Ruchman's site or through the usual main online
outlets, with individual works available from iTunes and the like.
Byzantion
Collected reviews and contact at artmusicreviews.co.uk
Further incarnations of Ruchman’s capacity for warming melody and gentle,
atmospheric harmony.
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