The Flutist Quarterly, Fall 2017
Nicole Riner
Taking Charge, Albany Records 1576
Assem3bly
Contemporary music trio Assem3ly includes Lindsey Goodman, pianist Anne Waltner, and percussionist Scott Christian. All formidable musicians in their own right, they teach together at West Virginia State University, commission new music, and teach in outreach programs in their region.
“Bolamkin” by John Allemeier is an exploration of the folk song of the same name, which describes the brutal murder of a woman and her infant. In Allemeier’s version, a music-box sound is meant to invoke the (now empty) nursery, and the original folk tune is reworked in various keys and voicings to create a thoroughly haunting portrait. It is a wonderful study in compositional tone painting.
Goodman’s sound is supple, rich, and equally full of colors on flute and piccolo throughout the recording. Waltner plays piano with a razor-sharp precision and transparency that works just right in this ensemble, and Christian plays with great spirit and technique on every percussive instrument set before him. As an ensemble, Assem3ly moves like a luxury sports car, hugging every curve in the road with nimble dexterity. The program is stunning, and so is the musicianship on this recording. I haven’t been this excited about an album in a long time.
Nicole Riner
Taking Charge, Albany Records 1576
Assem3bly
Contemporary music trio Assem3ly includes Lindsey Goodman, pianist Anne Waltner, and percussionist Scott Christian. All formidable musicians in their own right, they teach together at West Virginia State University, commission new music, and teach in outreach programs in their region.
“Bolamkin” by John Allemeier is an exploration of the folk song of the same name, which describes the brutal murder of a woman and her infant. In Allemeier’s version, a music-box sound is meant to invoke the (now empty) nursery, and the original folk tune is reworked in various keys and voicings to create a thoroughly haunting portrait. It is a wonderful study in compositional tone painting.
Goodman’s sound is supple, rich, and equally full of colors on flute and piccolo throughout the recording. Waltner plays piano with a razor-sharp precision and transparency that works just right in this ensemble, and Christian plays with great spirit and technique on every percussive instrument set before him. As an ensemble, Assem3ly moves like a luxury sports car, hugging every curve in the road with nimble dexterity. The program is stunning, and so is the musicianship on this recording. I haven’t been this excited about an album in a long time.