John Zorn — Mysterium

John Zorn seems to be pumping out more and more of his classical and chamber works than any other style at the moment, this is his third in just over a year after the superlative Magick and the slightly off kilter but no less explosive Rituals.

Mysterium is a collection of three pieces composed in 2004 and from opening signals a level of maturity and thought that was perhaps wayward on Rituals is clearly evident. Jagged flute and tinkling percussion swoop down in a typically erratic Zorn style before the drums harp and Viola begin circling above. This first piece titled Orphee after the Greek legend of Orpheus, who ventured to the Underworld to recover his lost love is composed in part with the romantic style of Debussy in mind. Thus the presence of flute, viola and harp. However Zorn augments these classic chamber instruments with Celeste, Harpsichord and most notably the electronic fireworks of Ikue Mori. Her fluid electric flicks and drips fit the timbre of the other percussive instruments so brilliantly that you would thought that these instruments had been designed with her stunning electro-maelstrom in mind.
Orphee is without doubt one of Zorns most complete, compact and rewarding chamber pieces, and I sincerely hope that Ikue Moris entrance into classical ensemble is not a short lived one.

The second piece Frammenti Del Sappho is a marked change from Orphee. It is a long thirteen and a half minute piece for female vocal ensemble. Five distinct voices conducted by Brad Lubman (who also had a CD released on Tzadik this month) vocalise a quite haunting (if that word is not too anachronistic for classical music) tapestry of mood and atmosphere that moves deliciously from sombre tonal melodies to full on cascade in the blink of an eye. Like Orphee it is music packed with emotion and tangible tension. To be honest I’ve never really been a fan of vocal only ensembles but this work has changed my feelings completely which is a recommendation itself. I have never really seen Zorn as a composer capable of conveying  genuine fragile beauty in his works but these first two composition may well have me reassessing that conclusion.

The third and final piece is perhaps a bit more like the Zorn of Rituals, Magick etc. Tort almost brutal picking high speed bowing and layering of tones. Not leaving much time to catch your breath or to be lulled into any sense of deeper emotion. Walpurgisnacht is it’s name which is something to do with the Witches’ Sabbath. More ridiculous Zorn preoccupation with Crowlean themes and Magick as if we don’t get enough of that from the Cold Meat Industry label. The virtuosity of the performers is no way in doubt but these sorts of half crazed hyper speed excursions into the limits of stringed sanity are far more grating than gratifying.
Mysterium is a wonderfully varied and rewarding collection of composition that despite my misgivings about the final piece is certainly up there with Zorns finest classical releases.