Chocolates, is spite of what you might assume from the title, is not your grandfather’s viola album.  The viola, with its warmer sound and lower range than the violin, has often been pigeonholed as the string voice of choice for laments, adagios, and as Michelle LaCourse puts it, “the highest percentage of elegies in any instrument’s rep.”  None of that is to be found here, as LaCourse joins with pianist Martin Amlin to serve up, in a CD entirely of world première recordings, a string of ‘torch songs,’ as their composer James Grant characterized them.

The concept is ingenious – Grant has written a body of work which is refreshingly different from the majority of the works out there in the viola repertoire, yet still exploits the same characteristics of the instrument which have made it a favorite of composers for centuries.  The deep, woody tone of the instrument sings beautifully in these pieces, which are each more than simply novelties or encores.  Grant creates a world in which the viola is completely at home, and thus can shine, yet he does it with a consistent, convincing language and a sure sense of compositional construction.

One is nearly reminded of Bolcom’s cabaret songs, at least during the first track (literally, the 1st of 3 Chocolates commissioned by LaCourse).  Nearly reminded, because while the general thematic concept is the same (taking older forms and setting them in a more modern compositional voice), it seems Grant journeys even farther from his point of departure than did Bolcom.  This trio of chocolates, as well as all the other tracks on the CD, vary in length from 4 to 7 minutes; each is a substantial piece, both in terms of compositional architecture and virtuosity on the part of both instruments.

Particular moments of emotional depth can be found in Waltz for Betz, originally a piano solo that won the heart of Grant’s future wife, and High Autumn, part of a set of 4 works originally for tuba.

In fact, a surprising number of the compositions were originally written for tuba, which is strange when one considers how naturally they work for the viola, since the tuba’s voice might be thought of more as the brass equivalent of the double bass.  While one understands that often modern composers write for whatever ensemble or instrument is interested in performing their music, it is a testament either to Mr. Grant’s compositional acumen or his arranging capabilities that the listener, not having read the liner notes, would never guess that any of the tracks on the CD were not original compositions for viola and piano.

Which brings me to an important point – this CD is an album of music for viola and piano, not viola solo, or even a viola showcase.  These pieces are chamber music in the purest sense; a collaborative effort between 2 performers to realize music as 1 unified voice.  And I think that is what makes this release so effective – throughout all the pieces, the listener is always aware that LaCourse and Amlin are enjoying making music together.  Grant has provided them with great music to make, and they rise to the occasion – but the prevailing theme, the connective thread, is one of friendship.  This is a collection of pieces written for friends, and performed by friends, and it comes across in every note.

© 2009 Patrick Valentino