Bryce Dessner | Solos Review

by Illiam Sebitz

Bryce Dessner has released his Sony Classical debut, Solos, a collection of unaccompanied instrumental works that highlight his multifaceted talent as a composer. With a total duration of 64 minutes and 25 seconds, this album showcases Dessner’s exceptional compositional skills through the extraordinary musicianship of his collaborators. Solos is a journey through varied textures and moods, offering an expansive exploration of Dessner’s musical world.

Dessner’s inspiration for Solos stems from his deep appreciation for unaccompanied instrumental music, a genre he has admired since his early days. Drawing from influences like the solo Bach lute and cello suites and Renaissance lute fantasies of John Dowland, Dessner has crafted pieces that reflect his intimate connection with the instruments and the performers. Each track on Solos is a result of the collaborative bonds Dessner has formed with the musicians, resulting in a rich and cohesive album that yields a fine contemporary classical music listening experience.

Dessner’s innovative approach is evident throughout Solos. The album opens with “Lullaby for Jacques et Brune,” featuring pianist Katia Labèque. The piece is a modern cinematic melody developed through Dessner’s keen balance of intensities and colors on the piano. Dessner’s use of counterpoint and harmonic twists creates a sense of intimacy that sets the tone for the rest of the album.

In “Francis,” Dessner’s guitar performance delivers a flowing melody supported by precise arpeggio figures. Each repeat of the theme includes subtle variations, showcasing Dessner’s ability to create an evolving story within his compositional expression. This track is brilliant in its simplicity and depth, drawing the listener into a thoughtful surrounding of sounds and guitar textures.

Cellist Anastasia Kobekina’s performance on “Tuusula” is realized by her robust modern cello playing. The composition incorporates a twentieth-century sonic landscape, featuring harmonics, double and triple stops, wide intervallic leaps, and various emotional settings. Kobekina navigates these with passion, bringing out the emotional range, logical progression, and developments in Dessner’s writing. The piece evolves through multiple textures and moods, from abstract to lyrical and calm to energetic, keeping the listener engaged throughout.

“Song for Octave” is a mystical theme characterized by open textures, repeated ostinatos, and harmonic and melodic twists. Dessner’s counterpoint writing between the inner voices is exceptional, and Labèque’s performance highlights the composition’s intricacies. The piece is a fine example of Dessner’s skill in creating accessible music for anyone with a sense of musical adventure.

Percussionist Colin Currie’s technical skill and musicality shine on “Tromp Miniature.” His solo marimba performance is well-shaped, and his rhythmic interpretations highlight the dynamic nature of Dessner’s composition. The interplay of inner voices and rhythmic patterns creates a rich and varied listening experience.

Violinist Pekka Kuusisto brings us the three movements in the “Ornament and Crime” series. The first movement is a multi-textural ostinato based figure with suspenseful counterpoint, setting the stage for exploring captivating musical ideas. The second movement continues with darker harmonies and an andante tempo, while continuing the thematic movement and rich interplay of textures and counterpoint. Kuusisto’s technical and emotional depth brings these compositions to life.

Lavinia Meijer’s harp on “On a Wire” adds a haunting hue to the program. The piece is a textural exploration, with multiple parts combining harmonically and rhythmically to create a hypnotic effect. Meijer’s performance invites the listener into Dessner’s vivid sonic world, where accents and feelings blend seamlessly to form polyrhythmic patterns that interact to stimulate and entertain.

Dessner returns to guitar for “Walls,” a piece composed for Fernando Meirelles’s film The Two Popes. His performance brings out the flamenco-influenced right-hand pattern with a lyrical melody, and his expressive playing allows both to shine, making it a beautiful example of his abilities as a performer and composer.

The two parts of “Delphica,” featuring violist Nadia Sirota, add to the program texture and inventive sounds. “Delphica I” methodically develops into a multi-textural composition with a strong identity and counterpoint clarity. Sirota’s performance is commanding and nuanced, capturing the essence of Dessner’s writing. “Delphica II” continues with a lighter mood, showcasing Sirota’s versatility and Dessner’s compositional skill as layers of rhythmic figures and counter melodies intertwine, building a modern romantic culmination.

“Song for Ainola” features Kobekina’s outstanding cello playing, bringing the album to a close with a narrative of beauty and resolution. One can hear the influence of Bach, but Dessner’s modern compositional style makes this solo cello composition sound current, mysterious, and a cross of old-world techniques with modern intervallic coloring.

Solos is a remarkable blend of traditional and contemporary elements by Bryce Dessner on Sony Classical. The performers’ emotional depth and technical brilliance significantly add to each composition’s energy. Dessner’s ability to collaborate with top-tier musicians and his innovative compositional voice make Solos accessible to a broad audience, continuing his rise as a prominent figure in contemporary classical music.

Solos

Release Date: August 23, 2024

Label: Sony Classical

About the author

Illiam Sebitz

Born and raised in a picturesque European village, my fondness for music began during my formative years, when the charismatic tones of the recorder first filled the halls of my primary school. This early fascination escalated into my lifelong pursuit of embracing the melodious charm of the flute; I have even spent time refining my skills at a music conservatoire. As a seasoned music connoisseur, I find myself captivated by the multifaceted world of music. I enjoy writing music reviews to better enable me to explore genres as diverse as world, rock, jazz, classical, folk, and film music, each offering a unique auditory journey that enriches my life and intellect.

In my spare moments, you'll likely find me meticulously crafting my latest woodworking project, sharpening my skills with flute etudes, or inventing tales of fantasy through the art of creative writing. My eclectic interests and expertise harmonize to create a symphony of passion and curiosity that resonates within every aspect of my life as a music enthusiast.