Proper artist albums in classical music are often less realized than other genre counterparts. Whether because they rely too much on standard repertoire, or perhaps more strict constraints to a particular composer or period, the market is packed with all-too-similar releases—regardless of the technical merits on display—that do little to differentiate themselves from the score of releases that have come before them.
Which is why Kim Kashkashian's latest album, Neharót, is such a breath of fresh air. Mining only recent and largely unknown compositions, it fits snugly into the contemporary classical realm. But its the cohesiveness of the selections that sets it apart. Focusing on composers and styles from the Near East, Neharot both relates to Kashkashian's heritage as an artist while also presenting a stylistic plumbline to center this particular program of material.
The tone of the album is dialed in to 'plaintive' and 'subdued' in the opening and title piece, "Neharót, Neharót." The work, whose title roughly translates from Hebrew to mean "rivers, rivers," is by Israeli composer Betty Olivero. A grim and mournful reflection on the 2006 Lebanon War, the title is an allusion to the many tears shed over the loss of life from the conflict. Musically, "Neharot, Neharot" features the solo viola alternating between more energetic, weeping phrase to more somber and long lines, accompanied by small string ensemble, percussion, accordion and manipulated recordings of indigenous female voice.
Kashkashian continues to explore her Armenian ancestry—as well as her ongoing collaboration with Armenian composer Tigran Mansurian—with "Tagh for the Funeral of the Lord." Originally written for viola and piano, this arrangement features viola and percussion with a very sparse and reflective air. The viola solos freely over long and fluid lines, while the percussion is relegated to more bell-like and atmospheric accents.
"Oror" follows as almost an intermission to the album. Mansurian's solo piano arrangement of a work by Armenian composer Komitas gives the viola a rest, as the incidental and soundtrack-like piano song follows the descent of emotion from the previous work and offers a subdued resolve before the more emotional triptych that follows.
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