Brian Field - Vocal Works
Brian Field is a composer known for his eclectic fusion of lyricism and driving rhythm in his pieces. Field began composing in earnest at the age of sixteen and attended Julliard and Columbia University to further hone his craft. Today we are excited to share our thoughts on Brian Field’s new album Vocal Works which features the Budapest Chorus conducted by Martón Tóth performing Field’s compositions.
Vocal Works begins with “By and By” which captivates from its opening notes. I enjoy Field’s version of this song more than other versions I have heard; I feel as though the emotions presented in the lyrics are able to be expressed in such an authentic, meaningful way. The way in which the performers’ voices align also creates what feels to me like a more intentional and intricate kind of texture that is extremely appealing to listen to.
“3 Canciones de Amor” follows “By and By”; this suite features lyrics in the form of poems by the legendary Pablo Neruda. The suite begins with “No. 1, Plena Mujer, Manzana Carnal. This first movement has a certain eloquence to it that builds into more powerful feelings as it progresses. The second movement, “Tengo Hambre de tu Boca” has a certain dramatic intensity that is brought to life so beautifully through the way in which the Tenor vocal performance works with the orchestral background. “No. 3, Cuando yo Muero” closes the suite out; while I feel as though the first two parts highlighted both the orchestra and vocals evenly, it is the vocals that really shine the brightest here. I was definitely left impressed by the beauty, splendor and at certain times, intensity brought out throughout this suite and this shows us how effortlessly Brian Field can weave complex emotions into his compositions.
“Let’s Build a Wall!” is the next song and this six-minute piece is a satire of current events in the United States of America. The song’s lyrics cover how all problems could be solved simply by building a wall to keep the things we want to avoid out. I enjoy how this song is able to acknowledge the weight of current events in the United States but also poke legitimate fun at these things in a way that is capable of providing both a chuckle at how ridiculous things are - and a dialogue.
Up next is “Durme, Durme, Kerido Ijiko” with this version being arranged for soprano and orchestra. This version of the song captures the soft emotions presented by this lullaby. Of all of the pieces from Vocal Works, I feel as though this one turned out as my personal favorite as this version is truly beautiful; Brian Field is able to capture such a range of emotions in what feels like effortless strokes of his pen.
“Let the Light Shine on Me” is up next and this song is a true delight. Again, we are treated to beautiful vocal textures, weaved across the tapestry that is this song. While it is apparent - if not obvious - throughout the entirety of this album, through “Let the Light Shine on Me” I feel we get a very strong sense of the musical mastery that Brian Field displays through his beautiful compositions.
The six sections of “Chimneys” close out Vocal Works, with the lyrics featuring the work of poet E.E. Cummings. “The Cambridge Ladies Who Live in Furnished Souls” starts “Chimneys” and its foreboding nature is captured brilliantly within this piece with both piano and vocals aligning perfectly. “Goodbye Betty, Don’t Remember Me” which continues the foreboding themes but increases the theatrical nature up a notch, truly giving life to the lyrics in a spectacularly memorable way. I found “Ladies and Gentlemen, This Little Girl” to also be quite remarkable. “When You Rang, at Dick Mid’s Place” which was a poem I studied in school; it is quite amazing how this composition brings the words to life like this, it is hard to express just how much this song plays like the poem did in my head. “Kitty, Sixteen, 5’1”, White, Prostitute” is next; I was impressed a great deal by how much this composition borders on harshness - which illustrates the lyrical meaning of this tragedy in a way that brings it to life. “When Thou Hast Taken Thy Last Applause” closes out “Chimneys” and Vocal Works as a whole. This piece perfectly illustrates the pure darkness and sense of finality that the poem presents and I feel as though this was the perfect choice to close out the album. I enjoy the vocals a great deal throughout “Chimneys”, with its style bordering on spoken word, truly giving these pieces the feeling that they began as poems and were given additional life through music.
Brian Field is a truly remarkable composer; his ability to write music to some of the most beautiful works of poetry throughout history on Vocal Works is something that I appreciate greatly. This album is made up of beautiful, textured works that legitimately capture and present real emotions and I cannot say enough about how brilliant Field is as a composer. Make sure you visit Brian Field’s website to learn more about his music. We have “Vocal Works” embedded below via Spotify and you can learn more about the album and find it on other services by clicking here!
