THE COMPLETE CABARET SONGS OF WILLIAM BOLCOM
Stephanie Acraman (voice)
Liam Wooding (piano)
RATTLE RAT D140-2023
Producer: Kenneth Young
Recorded by John Kim and Steve Garden
at the Gallagher Theatre, Waikato University
I imagined I could at first almost hear the beguiling tones of Joan Morris floating around the edges of Stephanie Acraman’s voice as the latter made her svelt, seductive way through the opening song “Over the Piano” of this well-nigh irresistible collection of American composer William Bolcom’s Cabaret Songs, which Steve Garden’s enterprising Rattle Records has captured and released for our delight!
I couldn’t help myself, really – because Joan Morris is the wife of the composer, William Bolcom, of these songs, and the singer for whom they were originally written – and over thirty years ago I remember sitting spellbound in London’s Wigmore Hall listening to Morris and Bolcom weave their magic through an evening of American Song, one featuring names and tunes of composers and music I both knew and didn’t know, but didn’t at all care, the discoveries throughout the evening being as delightful as the familiar songs were enfolding, wrap-around-pleasures!
Not that Stephanie Acraman doesn’t quickly make these songs very much her own! – by the time she and her pianist Liam Wooding had teased my sensibilities with that first number, I found myself falling hook, line and sinker for more! And I straightaway loved the Ira Gershwin-like word-pairings in the second song “Fur (Murray the Furrier)”, with the matching “worrier” and “hurrier” creating consonances that seemed to spontaneously sprout from the very ground along which the song ambled, Bolcom’s musical fancies readily tickled by his songwriter Arnold Weinstein’s impish wit and word-verve.
Some history – alongside his studies with both Darius Milhaud at Mills College, California, and Olivier Messiaen at the Paris Conservatoire, the young William Bolcom was balancing an interest in the works of Boulez, Stockhausen and Berio and a desire to develop his own stylistic links with popular music. This brought him into contact with Arnold Weinstein who was the librettist of a 1964 anti-war satire Dynamite Tonite for which Bolcom was asked to write the music. Their resulting collaboration went on to produce operas, song-cycles and books of madrigals, besides a number of “single” works over the years, and of course, these “Cabaret Songs”, which appeared in separate “books”, the first completed in 1977 and Book Four finally appearing in 1996. These songs embody the concept of “cabaret” as a “theatre of life”, presenting vignettes illustrating all kinds of people in different life-situations, their range and variety here done captivating justice in this particular recording by these two performers.
As the songs pass through one’s consciousness one gasps in places at the abyss-like gulf between portrayals of different human sensibilities, as, for instance, when one breaks off from the antics of the well-practised philanderer of the fourth song, “He tipped the waiter”, in Book One, and straightaway enters the endless but patiently-endured world of longing of the singer in “Waitin’”, a touching, almost hymn-like paean to hope, voiced by a disarmingly unpretentious soul; or the life-enhancing, wing-spreading optimism and oxygenating energies of the free-spirited vocalist (with a suitably jaunty piano accompaniment!) of “Places to Live” (the word “live” perhaps Freudianly misprinted as “love” in a couple of places), and which then disarmingly curdles into the fraught domesticities of “Toothbrush Time”
Besides these (and other) ill-fated couplings airing their dreams and disappointments practically in tandem with one another, there are the “stand-alones”, the songs which, amidst either the bubbling effervescence of both words and music, or woven all about the voice’s suggestive curve of tremulous warmth with the piano’s like connivance echo in the memory as worlds of their own long after the sounds have outwardly ceased. These can tell their own story, as with the “Song of Black Max (as told by the de Kooning Boys” – Weinstein’s deliciously macabre ode to a legendary fate-like figure of the Dutch underworld) – or paint a no-holds-barred character picture, like that of “Radical Sally”, a bluesy ballade of a nemesis-like female omnipresence who, in the poet’s words “still looks at you like a long-lost cause” – singer and pianist totally inhabiting both persona and ambient world.
Acraman and Wooding throughout the disc make every sliver of Bolcom’s and Weinstein’s characterisation and flavour count, even the pithy “Thius, King of Orf”, whose elliptic utterance and sudden discharge couldn’t help but remind me of the “la-la-land” life-slices of American cartoonist B.Kliban (“Cynthia is mistakenly crowned King of Norway”, for instance)……as recounted above they do it breathtakingly so, and draw a masterly contrast with the gentle, Blake-like world of “sweet and small” satisfaction of the eponymously-titled portrait of a bee who “sits a second on a rose, sips a bit and goes….”
Turn to anything in these “books”, in fact, and listeners may well find themselves variously amused or disconcerted, charmed or concerned, grounded or transported – Acraman and Wooding present without apology a collected means of awakening a whole gamut of responses to these portrayals of the human condition, and which I, for one, couldn’t resist playing right through again, just to revisit what I considered the fun of it! And a second hearing uncovered more in the “stand-alone” areas that Bolcom and Weinstein give voice and tones to that I caught on my first, fine, careless traversal…..
I found myself going back to the resonances that clung to my memory of Volume One’s “Waitin”, with its “hope-against-hope” loneliness, to Volume Two’s “The Actor” who repeatedly “dies for a living”, along with “George” whose “difference” to others cost him his life (as it did a Puccini heroine in a different context, but hinted at by the same music), to Volume Three’s “Miracle Song” (which pays tribute to Jerry Lieber’s and Mike Stoller’s “Is that all there is?” but with rather more grotesque imagery (ev’ry third friend you meet – “Hello, so what else is dead?”) a song leaving us like possuums trapped in car headlights!…and then the final Volume’s vulnerabilities of love, firstly teased in “Can’t Sleep” and then trashed in the following “At the Last Lousy Moments of Love”. How tellingly Acraman and Wooding give and take with each other throughout these vignettes of human feeling, with many a vocal impulse proposed, shared and countered by a pianistic rejoiner, and vice versa.
A third “listen”? – it won’t be the last time, I’m certain, but this traversal had me looking for “take-aways” I might have not given enough time to, and allowed to pass me by in a generalised kind of mind-set – but as with all great music parts of it are loaded to register at later and still more later hearings! So I’m now writing this with the initially trite but charming “Love in the Thirties” from Volume Three having properly “sprung” its spell (with my own parenthood times poignantly played like a private movie in my head throughout the song!), and finally (appropriately?) the last song “Blue”, tantalisingly ambivalent in its intent for me (a song for someone else or for the self? – I vary, depending on my mood (need?) when listening) …….but those words which I’ve finally paid proper attention to are Wordsworthian in their impact, like distant daffodils! – “behind the eyes, behind the mind you’ll find the sweetest brilliance and a stillness of such blue…..” I’m finding they now leave me weak with realisation……
I’m left saying that I can’t recommend this recording enthusiastically enough! – whatever genre of music is one’s “thing”, this for me has transcended such considerations! I wish for it every success – it does proud everybody involved in its becoming and actual being.