The listener interested in the somewhat vexing question of the relationship between music and visual art has various choices on the market. The releases on France's Alpha label, pairing compositions from the Renaissance to the early Romantic period with nicely reproduced and analyzed paintings that touch on similar aesthetic issues, are especially recommended. But this little American album also has a distinctive contribution to make. The Montage Music Society chamber group has assembled four contemporary works, all multi ...
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The listener interested in the somewhat vexing question of the relationship between music and visual art has various choices on the market. The releases on France's Alpha label, pairing compositions from the Renaissance to the early Romantic period with nicely reproduced and analyzed paintings that touch on similar aesthetic issues, are especially recommended. But this little American album also has a distinctive contribution to make. The Montage Music Society chamber group has assembled four contemporary works, all multi-movement pieces in which each movement is based on a painting. The paintings are all quite well known, and reproductions of some of them appear in the booklet. This approach is diametrically opposed to that in the Alpha set, substituting direct programmatic evocation for deeper currents. The strength of the musical-visual connection varies over the length of the program. Perhaps the most satisfying piece is Libby Larsen's Black Birds, Red Hills, subtitled "A Portrait of Six Paintings...
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