Download Francesco Tristano – Idiosynkrasia


Francesco Tristano – Idiosynkrasia
Score: 7/10
The number of classical composers producing music that defies traditions, defies notions
of what “classical” music should be, and is actually enjoyable to listen to is rising at a
delightful pace. In years past, the terms neo-classical and modern classical made
listeners brace themselves for a barrage of nonsensical rhythmic jumps based on
esoteric, non-pertinent mathematical equations and melodies. Ironically, these melodies
were not melodious, but random filler to justify the “concept”. This gross generalization
excludes early twelve-tone masters like Schoenberg, and music concrete scene or
electronic music experimenters like Stockhausen. Instead, it refers to those who are
obsessed with technology over musicality. When emotion is lost in code, the result is
elementary tinkering.
Recent years have given us composers like Olafur Arnolds, Matthew Herbert,
and Francesco Tristano. Many of these artists are adhering to their classical music
training by performing and interpreting pieces by the world’s great composers. Yet the
defining point of their original works is that they reach a balance between
experimentation and genuine emotional input. Francesco Tristano has been awarded
countless prizes and praises for his classical work, but with Idiosynkrasia, he proves that
he has an ear for music beyond the confines of academia and tradition.
Album opener “Mambo” exhibits a keen sense for timbre. The processed piano produces
an ominous and driving tone which is both engaging and forceful. The arpeggio-based
melody is accessible but unnerving; brief piano interludes provide relief from the
pounding. Electronic beats stagger, break up the forward motion, and give a slight
frenetic sense to the track. The following track, “Nach Wasser noch Erde”, is a sweetly
melodic piano composition, sans processing or effects. While still driving, the motion is
not so frenetic or menacing. Its motion is urgent, but unchanging, due to the repeating
arpeggio that again comprises the bulk of the melodic force. But this repetition is neither
overbearing nor gimmicky. Varying dynamics break up the pounding and the melody
flows effortlessly between ideas, ensuring that it never feels worn out.
This ebb and flow between the highly processed and the more traditional piano-based
tracks continues throughout Idiosynkrasia. The piano-based tracks are a necessary and
pleasant contrast to some of the unbelievably unique and frantic eletronic pieces that
make up the bulk of this album. Yet even these simple piano tracks are enhanced with
slight processing. On “Last Days”, gentle distortion at key subtle moments provides a
robustness of sound to an otherwise sparse and spacey piece. It would be easy to
overdo the processing to try and aim for something “more interesting”, but only the
subtlest of processing is added to create just the right atmosphere.
Where the piano tracks tend to be flawless, a handful of musical choices on some of the
electronic tracks don’t work quite as well as one would hope. “Fragrance de Fraga”
employs a rather clichéd batch of synth sounds and piano stabs to create an early 90s
French house vibe that is somewhat misplaced. “Eastern Market” also falls victim to this
house music motif, making for an awkward song that feels a bit unpolished in
comparison to the tight, well thought out tracks that have preceeded it. However, the
penultimate track, “Single and Doppio”, winds down Idiosynkrasia with a perfect
summation.
Frantic
rhythmic
elements
accompanied
by
processed
melodies simultaneously soothe and confound, leading the listener along a mystifyingly
beautiful path. This is a perfect recap for an album that has been packed with so many
ideas.
Idiosynkrasia is a display of incredible talent, and it displays a fondness for melody and
intricate sound design. All elements work together and flow well – even the French
house tracks eventually find their niche. Idiosynkrasia plays with so many genres and
moods that it can satisfy an electro craving one day and a contemporary composition
bent the next. It is a challenging listen, but not exhausting or overbearing, and contains
just the right amount of “catchyness” to entice the ears, like sonic candy.