|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
review by Bill Binkelman I doubt anyone could have predicted that one of the more well-received new age music CDs of 2005 would feature viola as the lead instrument! However, based on what I've read, Rhonda Lorence's Winter Moon is impressing a lot of people and it's easy to "hear" why. Lorence's playing is lyrical, passionate, and emotive without being pretentious or so steeped in classical music that it would alienate the very audience for which it was intended. Part of this success is also due to the judicious use of expertly applied synthesizers (also by Lorence) as well as the guest talents of vocalist Angela Sterling Forest and guitarist Elaine Gray. Lest you think this CD will come off sounding like Secret Garden (a highly successful yet too mainstream for my taste duo which features violin as the lead instrument), you only need to listen to the first song, which is the title track, to have your preconceptions smashed to smithereens. Opening with cascading synths and a somber air on the viola, the piece builds into a midtempo yet melancholy number that balances the electronic embellishments with multi-tracked viola. The song becomes a sad, romantic yet not cloying composition that sincerely tugs at your heartstrings at the outset, but then introduces hard percussion rhythms and guitar to become a fiery ode to throwing caution to the wind. It's one of the best opening tracks to any album I've heard this year. Forest's (wordless) vocals are first heard on the next track, a lovely haunting ballad titled "Imprints" which further showcases Lorence's adroit skills on assorted synths and well-executed beats. Her viola dips and flits over, under, and around the vocals with dexterity, each seeming to complement the other. Forest's vocals come across a little like Sara Ayers (a big compliment for me). When drum kit beats and thumping bass open the next song, "Vanishing," you should be convinced this is NOT Secret Garden. Hell, I'd go as far as to call this track progressive fusion - and damn good fusion at that! Other tracks include the melancholy yet midtempo "Inward Bound" (actually, most of the CD has an air of sadness or reflection to it, despite the presence of so many rhythms and percussive textures), the exotic and fiery "Steamy River" (which flirts with the world beat genre), "Eastern Rising" (with even stronger global influences, this time from Asia, as you might surmise from the title), and the predictably forlorn "Lament of the Loons." "Soaring" closes out the album in upbeat fashion, peppered with some of Lorence's most flowing viola work and a cheerful midtempo beat. Understanding my bias (Kathryn, my wife, is a classical violist for the St. Paul Civic Orchestra), I was still pleasantly surprised at how accessible Winter Moon was while still never descending into music that was either too "pop" nor too erudite or intellectual. Lorence is a gifted violist and her skills on synthesizers are equally impressive, as she never overdoes it, but always finds the right rhythms, textures, and accompaniment to add, not detract, from her viola playing. The two guest stars do excellent work as well. All in all, Winter Moon is a delight and should go a long way towards erasing some of the viola jokes that fly around orchestras (that's only going to be understood by insiders, sorry). I highly recommend it. |
|