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 | Title/Composer(s) | Time |
---|---|---|---|
Total Time | 142:23 | ||
The Vanishing Pavilions: Book I |
|||
01 | I | I | 2:08 |
02 | II | II | 1:15 |
03 | II | II | 2:09 |
04 | IV | IV | 1:02 |
05 | V | V | 1:55 |
06 | VI | VI | 1:09 |
07 | VII | VII | 1:36 |
08 | VIII | VIII | 2:09 |
09 | IX | IX | 2:37 |
10 | X | X | 3:00 |
11 | XI | XI | 1:09 |
12 | XII | XII | 1:05 |
13 | XIII | XIII | 1:16 |
14 | XIV | XIV | 5:30 |
15 | XV | XV | 1:11 |
16 | XVI | XVI | 1:57 |
17 | XVII | XVII | 0:42 |
18 | XVIII | XVIII | 6:52 |
19 | XIX | XIX | 3:04 |
20 | XX | XX | 2:31 |
21 | XXI | XXI | 4:38 |
22 | XXII | XXII | 1:09 |
23 | XXIII | XXIII | 1:53 |
24 | XXIV | XXIV | 2:07 |
25 | XXV | XXV | 1:35 |
26 | XXVI | XXVI | 10:19 |
27 | XXVII | XXVII | 5:22 |
The Vanishing Pavilions: Book II |
|||
28 | I | I | 8:39 |
29 | II | II | 1:55 |
30 | III | III | 4:33 |
31 | IV | IV | 2:36 |
32 | V | V | 2:07 |
33 | VI | VI | 4:25 |
34 | VII | VII | 2:15 |
35 | VIII | VIII | 1:56 |
36 | IX | IX | 1:06 |
37 | X | X | 2:07 |
38 | XI | XI | 2:12 |
39 | XII | XII | 1:03 |
40 | XIII | XIII | 1:15 |
41 | XIV | XIV | 8:49 |
42 | XV | XV | 3:21 |
43 | XVI | XVI | 1:14 |
44 | XVII | XVII | 5:26 |
45 | XVIII | XVIII | 1:01 |
46 | XIX | XIX | 3:29 |
47 | XX | XX | 6:43 |
48 | XXI | XXI | 1:35 |
49 | XXII | 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