As an avid fan of contemporary classical music, I’ve had the pleasure of immersing myself in Color Music by composer Michael Torke.” This captivating collection is a testament to Torke’s genius and his ability to paint vivid auditory landscapes that linger in the mind long after the music has stopped. Here’s my review of this masterpiece.
Azure Hills Music contains affiliate links and is a member of the Amazon Services LLC Associates Program. As an Amazon Associate, we earn from qualifying purchases at no extra cost to you when you purchase using one of these Amazon links. Read our disclaimer and privacy policy for more information.
The Concept of Synesthesia in Music
Synesthesia is a phenomenon where stimulation of one sensory pathway leads to involuntary experiences in another sensory pathway. In “Color Music,” Torke masterfully translates colors into musical forms, inviting listeners to experience a blend of auditory and visual sensations. This concept sets Torke’s work apart and adds a layer of depth and engagement that is both intriguing and refreshing.
Colors by Michael Torke CD
The Argo CD of Colors by Michael Torke which I listened to has a performance by the Baltimore Symphony Orchestra conducted by David Zinman. The recording was released in January, 2007.
Review of Key Pieces in Color Music
Color Music by Torke is exciting modern orchestral music awash in energy, rhythm, and dynamics. Five titles on this CD propelled me on a fascinating journey in sound.
1. “Green”
The music of “Green” provides hints of Latin American sounds merged with European symphonic traditional elements. Torke associates the key of E major with the color green, maintaining a simple melody of F#-A-D#-E-B throughout the piece but in varying contexts to convey a consistent idea. The tempo is notably faster than his previous works, and unlike Bright Blue Music, Purple, and Ash, Green includes a notation for “fresh green” midway through.
The piece lasts around 12 minutes and is scored for an extensive orchestra, including flutes, oboes, clarinets, bassoons, horns, trumpets, trombones, tuba, timpani, strings, and a percussion section requiring three players.
2. “Purple”
Purple evokes the soundtrack to a crime drama or mystery film. The shortest composition in the set at around six minutes, Purple is scored for a diverse ensemble including three flutes, two oboes, an English horn, two clarinets in A, a bass clarinet in B-flat, two bassoons, four horns, three trumpets, three trombones, a tuba, timpani, a harp, a piano, strings, and a percussion section with three percussionists. This monothematic piece emphasizes the brass section, highlighting its syncopating character.
3. “Ecstatic Orange”
Dedicated to Beth Roberts, the composition is said to be in E, according to music critic Andrew Porter. However, the composer notes it gravitates towards a six-note melody (G#-A-D-C#-B-E) that remains unchanged but is presented in different contexts. The rhythmic structure relies heavily on a constant sixteenth-note pulse. The piece brings nervous energy, frantic sounds, soaring, searching, and reaching out.
Lasting approximately 11 minutes, the piece is scored for a diverse ensemble, including piccolo, two flutes, two oboes, two clarinets in B-flat, two bassoons, four horns in F, a trumpet in D, two trumpets in B-flat, three trombones, a tuba, piano, four timpani, a full string section, and extensive percussion. Throughout the composition, color headings such as “Absinthe,” “Apricot,” “Terra Cotta,” “Unripe Pumpkin,” and “Copper” reflect various shades of orange experienced by the composer. The work is monothematic, with all movements built around a single theme.
4. “Ash”
The composition “Ash” was commissioned by the St. Paul Chamber Orchestra with support from the Jerome Foundation and debuted on February 3, 1989, at the World Theater in St. Paul, Minnesota, under the direction of John Adams. Composed between October and December 1988, it is unique in requiring only a chamber orchestra. The piece is in F minor and occasionally shifts to A-flat major before returning to its original key, reflecting its neoclassical style. Unlike other movements, color plays a minor role here. Spanning about 15 minutes, “Ash” includes a variety of instruments such as a flute, oboes, a clarinet, bassoons, horns, a trumpet, timpani, strings, and a synthesizer. The synthesizer’s timbre is flexible, but a bass sound with a percussive edge, buzz, and reinforced pitch is recommended.
5. “Bright Blue Music“
This piece is in D major, a color that has been a part of the composer’s life since childhood, evoking the serene blue of the sky. conveys youthful innocence through dancing lines.
Rhythmically, it follows the sixteenth-note pattern of his earlier works, Ecstatic Orange and Vanada, and remains monothematic without modulation. The nine-minute performance requires a large ensemble, including three flutes, two oboes, two clarinets in B-flat, two bassoons, four horns in F, three trumpets in C, three trombones, a tuba, timpani, piano, harp, strings, and a substantial percussion section with four percussionists.
The Listening Experience
My first chance to listen to this music was via earbuds via a streaming service download while traveling on a plane. Upon my return home, it was a treat to listen to the CD-quality performance. That encounter deserves a good amount of volume from your home stereo.
Listening to “Color Music” is a deeply immersive experience. Torke’s compositions are not only musically engaging but also emotionally evocative. Each piece takes the listener on a unique journey, exploring the different facets of the associated color. The seamless blending of various musical elements showcases Torke’s versatility and creativity as a composer.
Listen on Spotify – Color Music by Michael Torke
Conclusion
The recording of Color Music by Michael Torke is a wonderful performance by David Zinman and the Baltimore Symphony Orchestra. This is an example of music that belongs in the modern concert hall along with the likes of Jack Gallagher.
Michael Torke’s “Color Music” is a masterpiece that transcends the boundaries of traditional classical music. By infusing his compositions with the essence of colors, Torke creates a multisensory experience that is both captivating and profound. Whether you’re a fan of contemporary classical music or simply looking for something new and exciting, “Color Music” is a must-listen.
In a world where music often serves as a backdrop to our busy lives, “Color Music” demands attention and invites listeners to pause, reflect, and experience the beauty of sound and color. It is a testament to the power of music to evoke emotions, tell stories, and paint pictures in the mind’s eye. Michael Torke’s “Color Music” is not just a collection of pieces but a symphony of colors that celebrates the extraordinary interplay between sound and sight.
Check Out More Music
I Might Be Praying by Arthur Dobrucki