The first set of pieces, duets for bass clarinet, require ferocious technique and are stunningly executed by Ridone and Bleth. The opening melodic material is reminicent of the African marimba technique which utilizes two players which alternate notes so that both players feel that they are on the downbeat. Subsequent material includes challenging multiphonic sweeps and percussive techniques, as well as sweeping high melodic passages. At times, the music presented here sounds like highly accomplished improvisation, although that sense is only evoked by the kinetic synergy achieved by the performers. Thematic material holds the composition together as melodic and effectual elements appear and modulate freely throughout.
Melbinger holds the listener spellbound through many unusual techniques; both harmonic and rhythmic. The timbral characteristics of the bass clarinet are exploited freely, and it is clear that Melbinger did his homework on the strengths and weaknesses of the bass clarinet. Of particular interest is the frequent exploitation of close intervals which yield interesting sonorities, particularly in the low range. The excellent finale of this piece sounds as though it could have been inspired by Eric Dolphy.
The next piece is a woodwind quartet which features the performers from the previous selection on different instruments (Bleth should be shot for being such a great bass clarinetist and oboe player) as well as Emily Hay on flute and Stephanie Mijanovich on french horn, Tara Speiser on bassoon and Robert Lawson conducting.
This intraspective work was Melbinger's Master's Thesis while studying at UC Irvine. The thematic material here is quite contrapuntal in nature which seems to be a hallmark of Melbinger's composition. Rarely do you hear the sonorities most commonly associated with the woodwind quintet. What is curious about this piece is the feeling that the woodwinds are ganging up on the French horn. It seems like they have found a traitor among the ranks and are giving it a thorough lecture on the finer elements of being a woodwind. "Why are you here" ask the flute and clarinet in crystal tones. "Because the masters said I should be," defies the french horn in partial muted sound.
From a compositional standpoint, many interesting techniques are used in the thematic material here, including the use of glassandi, quarter tones, pitch bending and extreme range exploitation, particularly in the clarinet part. Melbinger's intentions seem flawlessly executed by the assemblage of musicans for this recording. A tip of the hat must also go to Vinny Golia who helped Melbinger produce this album. In quiet ensemble passages, the clarity of the recording is superb. This session could be a bench mark for other classical ensembles on how to achieve high fidelity.
The final composition on this recording is Nocturne for oboe and harp. Bleth again takes the oboe hat while Susie Allen performs on the harp. For this challenging instrumentation, Melbinger achieves some very interesting harmonic and thematic material. Most of the landscape in this piece is stark and exposed. Rarely does the harp assume a "harp-like" role; no sweeping Lawrence Welk glissandos to be found here. The oboe at times assumes a very "un-oboe-like" sound, especially through the use of multiphonics and extreme register use. Melbinger's interplay between the harp and oboe takes some unusual sidetrips with much of the accompaniment being provided by the oboe and not the other way around. The harp's role in this duet is really as a melodic instrument and not a rhythmic or tonal foundation. There are moments throughout where the harp does serve a supporting role, but always in equal measures. It is refreshing to hear instruments break from their traditional roles in classical music. This appears to be something Timothy Melbinger does very well.
This is CD is available from 9 Winds records, PO Box 10082, Beverly Hills, CA 90213