Michael Hersch: The Vanishing Pavilions

, composer

About

Michael Hersch’s The Vanishing Pavilions, originally released in 2007 as a 2-CD boxed set, is the first part of his ten-hour, three-part cycle, sew me into a shroud of leaves. The recording was released to acclaim on the Vanguard Classics/Musical Concepts label, with the composer at the keyboard.

Audio

# Audio Title/Composer(s) Time
Total Time 142:23

The Vanishing Pavilions: Book I

01I
I
2:08
02II
II
1:15
03II
II
2:09
04IV
IV
1:02
05V
V
1:55
06VI
VI
1:09
07VII
VII
1:36
08VIII
VIII
2:09
09IX
IX
2:37
10X
X
3:00
11XI
XI
1:09
12XII
XII
1:05
13XIII
XIII
1:16
14XIV
XIV
5:30
15XV
XV
1:11
16XVI
XVI
1:57
17XVII
XVII
0:42
18XVIII
XVIII
6:52
19XIX
XIX
3:04
20XX
XX
2:31
21XXI
XXI
4:38
22XXII
XXII
1:09
23XXIII
XXIII
1:53
24XXIV
XXIV
2:07
25XXV
XXV
1:35
26XXVI
XXVI
10:19
27XXVII
XXVII
5:22

The Vanishing Pavilions: Book II

28I
I
8:39
29II
II
1:55
30III
III
4:33
31IV
IV
2:36
32V
V
2:07
33VI
VI
4:25
34VII
VII
2:15
35VIII
VIII
1:56
36IX
IX
1:06
37X
X
2:07
38XI
XI
2:12
39XII
XII
1:03
40XIII
XIII
1:15
41XIV
XIV
8:49
42XV
XV
3:21
43XVI
XVI
1:14
44XVII
XVII
5:26
45XVIII
XVIII
1:01
46XIX
XIX
3:29
47XX
XX
6:43
48XXI
XXI
1:35
49XXII
XXII
3:16

The Vanishing Pavilions is divided into two books that encompass some fifty movements. Each book has its own discernible dramatic logic and shape, yet the two are indivisible. Approximately half of the movements were composed as companions to Middleton's poetic images; these are separated by a comparable number of intermezzi unrelated to any particular text. A dense web of motivic, harmonic and atmospheric relationships binds the whole together. And the density does not merely extend horizontally, from movement to movement, but is often expressed vertically, too, in elaborate layers of distinctly articulated musical ideas and characters. It is yet another technical challenge in a work that already requires extreme digital dexterity and strength.

The Vanishing Pavilions was premiered by the composer on October 14, 2006 at Saint Mark’s Church in Philadelphia. Hersch performed the vast, intricately detailed score entirely from memory. David Patrick Stearns of The Philadelphia Inquirer described the event as one that “felt downright historic.” He added, “The long-term trajectory of The Vanishing Pavilions is from music of polarized extremes to something more integrated, but harshly mirroring how elements of daily life that were unacceptable before Sept. 11 [2001] are confronted daily. Overtly or covertly, The Vanishing Pavilions is about the destruction of shelter (both in fact and in concept) and life amid the absence of any certainty. And though the music is as deeply troubled as can be, its restless directness also commands listeners not to be paralyzed by existential futility.” Stearns also praised Hersch's playing, writing that the composer "conjured volcanic gestures from the piano with astonishing virtuosity."

– Andrew Farach-Colton


Reviews

5

sequenza21.com

"His pianistic technique is seemingly limitless and his expressive resources vast."

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