Spanning more than five decades and a variety of mediums, Music of Ursula Mamlok, Vol. 1, is a strong initial disc in a projected series devoted to this German-American composer (b. 1923). After fleeing Nazi persecution in 1939, Mamlok arrived in the United States by way of Ecuador to study composition at Mannes School of Music. A precocious child, she had already studied piano and composition for several years. A 1944 summer institute at Black Mountain College in North Carolina provided the opportunity for Mamlok to connect with composers—especially German and Austrian immigrants—who were writing atonal and twelve-tone music, and she realized that she wanted to move her own style in a new direction and develop a distinctive musical language as a composer. During the following years, Mamlok struggled to find her own new voice while studying with various people, none of whom taught a twelve-tone system. Finally, after listening to a great deal of modernist music in New York and studying with Stefan Wolpe (1960–61) and his former pupil Ralph Shapey (1962–64), Mamlok achieved a musical approach and language that combined “flexible rhythmic structures”Footnote ¹ with her own version of twelve-tone technique, which she described in an autobiographical sketch: “My own ‘recipes’ for using the twelve-tone system, which change from work to work, give me the harmonic structure I need for unified compositions.”Footnote ² Mamlok has also identified several principles as consistent throughout her oeuvre: clarity, balance, simple closed forms (e.g., ABA), engagement with audible melodic/thematic material, and emotional expression that is experienced by the listener.Footnote ³

Mamlok's compositional journey is audible in this CD, beginning with Woodwind Quintet (1956), the earliest work represented and, according to a 1994 interview, the only work among her early compositions that she still liked.Footnote ⁴ It is distinguished from the other included repertoire by its neoclassicism and its foundation in tonality, albeit with some spiky dissonances. The performance by Windscape, Ensemble-in-Residence at the Manhattan School of Music, is well balanced and appropriately playful in the first and last movements. Designs (1962) for violin and piano, Mamlok's first work after commencing study with Shapey, reveals her new compositional vocabulary. The two movements are linked through very similar closing segments that are connected with the opening of the first movement, and they have a cohesive sound although the compositional techniques used are different from one another. The first movement utilizes a constantly varied pitch collection, whereas the second employs a twelve-tone row, but not in the manner of the Second Viennese School. David Bowlin (violin) and Jacob Greenberg (piano), members of the innovative and much-praised International Contemporary Ensemble (ICE), show strong technical and musical skills, creating expressivity even in disjunct, angular segments.

Coming later the same year, String Quartet No. 1 (1962) is a major, compelling work in Mamlok's new language and demonstrates her comfort and maturity with this new approach. Despite independence among the four instruments, as well as rhythmic fluidity and diversity, linear gestures emerge. This work exhibits high levels of complexity and virtuosity in the service of dramatic expression. The performance by Daedalus Quartet shows why they are acclaimed for performances of contemporary music, especially repertoire that is twelve-tone, serial, and technically demanding. The four fine young American players are extremely effective in capturing the essence of the third movement title: “Still, as if suspended.”

Mamlok composed Haiku Settings (1967) for soprano and flute/alto flute as a true partnership, which is beautifully realized by the excellent performers, again members of ICE: soprano Tony Arnold, noted for her interpretation of contemporary repertoire, and flutist Claire Chase, an active and successful recitalist and chamber musician. At times, the two single lines complement each other in their independence (e.g., during much of movements 1 and 4); elsewhere, they blend as if one (e.g., movement 5, performed on alto flute). Haiku Settings highlights Mamlok's attention to effective contrasts and expression that go beyond text painting, which she identified in commentary with the score. Although the voice articulates the words, the flute is at least as much a conveyor of the meaning as is the voice. The clarity of Arnold's voice is fitting and effective for these cryptic poems. Like haiku poetry, the depth of this composition is in its careful crafting rather than in length, with movements ranging from thirty-five seconds to almost three minutes.

Concerto for Oboe and Chamber Orchestra is a 2003 version of an oboe concerto for large orchestra written in 1974–76 and then arranged in 1980 for oboe soloist, two pianists, and a percussionist. As seems appropriate for an orchestral work, Mamlok's handling of texture and rhythm is different from her approach in chamber works. Here the interweaving and independence of lines take place more often between the soloist and the orchestra than among the members of the orchestra, who now function more traditionally as a unit and ground for the soloist. On the other hand, the oboe line retains Mamlok's characteristic virtuosity, angular leaping melodies, and rhythmic variety. Because the original work was written for Nora Post, a champion of extended oboe techniques and especially of multiphonics, the latter figure prominently in the work. Oboist Heinz Holliger is at his best performing these avant-garde techniques and in the taxing, athletic passages. The Freiburg-based Ensemble SurPlus, led by its founding conducter, the late James Avery (1937–2009), is quite impressive in this challenging work both in terms of precision and in the creation of meaningful musical gestures from the sometimes dense orchestration. This performance is surely a tribute to the musicianship and insight of James Avery as well as the ensemble members.

In Concertino (1984, rev. 1985–87) for woodwind quintet, string orchestra, and percussion, Mamlok favors continuity with more compact melodic lines and more regular rhythmic figures than in the preceding oboe concerto. Stylistically, the aural impression draws more heavily on Mamlok's earlier neoclassicism, yet the music retains elements of modernism. The orchestration and wide timbral palette are among this work's most effective features. Concertino may be less challenging for listeners as well as performers than the concerto; however, for me both the score and the performance lack the drama and excitement of the concerto. The performance by an active regional Danish orchestra, the Odense Symphony, and American guest conductor Scott Yoo seems prosaic and without sufficient shaping of the score.

2000 Notes (2000), Mamlok's most substantial piano solo work, is cast in four short, musically related movements. The first is titled “Gruff,” whereas each of the subsequent movements is referenced only by a metronome marking. The music teems with all manner of energy that belies these abstract titles. The array of musical detail spans the spectrum of dynamics, utilizes the full range of the piano, and includes variety in activity or pacing. The work offers contrasting textures: virtuosic filigree, chains of chords, isolated tones, sweeping gestures, and audible motivic material. Pianist Garrick Ohlsson's performance conveys both the drama and the unity within this work.

The articulate liner notes by Barry Wiener provide excellent guidance for listeners by drawing attention to important compositional details and offering background information for each work, as well as situating Mamlok's style in context with other U.S. composers. The texts of Haiku Settings, which are in English, are included in the liner notes. The complete notes and haiku texts are also printed in a German translation. The skillful engineering and sound production for this recording add to its merits.

Despite Mamlok's substantial discography, most of the works presented here are first-time commercial CD recordings.Footnote ⁵ Mamlok's works compare quite favorably with those of other U.S. twelve-tone and/or serial composers, many of whom have received considerably more attention from historians, critics, and musicians.Footnote ⁶ Hopefully, this CD, with such strong performances by major concert artists as well as exceptional younger performers, will help elevate the visibility of Mamlok and her music.