Celesta is a suite of a dozen quietly transcendent, gem-like celesta solos—a slowly unfolding ribbon of short pensive pieces composed over the past year and performed by the composer. The individual pieces, ranging in length from under two minutes to just over six minutes, are notable for the beautifully simple ways in which they reveal themselves through repetition and elegantly fashioned variation. The composer notes that these works “project a lyrical world of quiet intensity, bathed in the glow of delicately ringing metal.”
Taken as a whole, this collection of solos creates its own graceful musical arc, and it is certainly among the largest statements ever composed specifically for the celesta alone. (For this recording, one of Los Angeles’s finest five-octave Schiedmayer celestas was used.)
A longtime proponent of expressive solo celesta music, Fink contributed Celesta Solo (1981) to the first Cold Blue anthology in the mid-1980s (which was reissued as a CD in the early 2000s), and his solo work For Celesta, performed by Bryan Pezzone, appeared on the 2001 Cold Blue CD titled I Hear It in the Rain (CB0004).
Michael Jon Fink is a Los Angeles–based composer-performer whose usually quiet, lyrical music has been described by the Los Angeles Times as “lustrous,” “metaphysically tinged,” and “unapologetically tranquil.” LA Weekly has written that his music is “of ethereal simplicity . . . he has shaped and refined his spare style . . . it is distinctly his own.” Fink’s instrumental and electronic music has been presented at the Green Umbrella Series of the Los Angeles Philharmonic New Music Group, New Music L.A., the Monday Evening Concerts, the SCREAM Festival, the Fringe Festival, New Music America, the Martes Musicales, Podewil, the CalArts Contemporary Music Festival, and numerous other festivals throughout the United States and Europe, as well as at such venues as REDCAT and numerous new-music clubs and art galleries. He has written much chamber music, as well as concertos for a variety of instruments (including a concerto composed for avant-garde cellist Frances-Marie Uitti, who plays with two bows at the same time), incidental music for three plays by Wajdi Mouawad (Forêts, Seuls, and Temps), and the score for Tareq Daoud’s short dramatic film La salle des maîtres. Most recently Fink has focused on performing as an electric guitarist, particularly in semi-improvisational contexts with such performers as Brian Walsh, Derek Stein, Chas Smith, Vinny Golia, Ulrich Krieger, Alan Tofighi, and Maxwell Denney. Fink’s music has been released on the Cold Blue, Centaur, CRI, Raptoria Caam, Bare Bones, Wiretapper, TrancePort, and Contagion record labels. (His music appears on eight previous Cold Blue CDs: CB0039, CB0036, CB0017, CB0014, CB0009, CB0008, CB0005, and CB0004.) He has taught at CalArts for more than three decades.
The British blog Misfit City aptly wrote that there’s an “evanescent emotional skill to Fink’s music… [W]hat gets me every time is its sheer and honest beauty.”
“[Fink’s music is] music that comes from the classical tradition, but that feels like it belongs somewhere other than the concert hall . . . texturally rich, meticulously crafted and delicately beautiful.”—Dusted magazine
“[T]he long arc of his composing career has allowed Fink to refine his style of understated eloquence through simple musical materials . . . music that is simple, yet essential.”—Sequenza21 and New Classic LA
“It might be small music but it sounds absolutely great; a very strong release.”—Vital Weekly (Netherlands)
“It’s stark, silvery and somehow lush and bare all at once, each pitch of Michael Jon Fink’s music for celesta remaining frozen with a maelstrom of tone and pulse beneath. As usual, Cold Blue combines recorded sound, instrument and composition at the highest levels.
“On one of these levels, Fink offers music I can only describe as emanating from longing. Anyone following his music will have heard it, going back to his piano pieces of the early 1980s. His instrument of choice on these 2018 miniatures, a five-octave celesta, lends itself well to the aching distances so poignantly captured by a composer of extraordinary melodic gifts. A few bars of Triptych’s lydian-inflected opening, modal and chromatic by turn but supported by a gradually blooming ostinato, demonstrate both Fink’s compositional aesthetic and the instrument’s complex coloristic universe. Sunless transforms those open octaves and fifths, equating them more with the shifting sonic planes and overtonal interplay of a composition like A Temperament for Angels. Softly Yellowed Moon treads a thin line between melody and harmony, its spare counterpoint nearly disappearing into itself as implication comes close to birthing chord and cluster. The celesta’s music box timbre is a factor, but Chopin and late Liszt’s nostalgia, clothed in varied layers of complexity, are often evoked but never copied as the Romantic sounds unfold.
“These are sterile observations whose pedantic nature does nothing to illuminate the music’s complex underlying currents. Fink’s titles are more useful and mysterious; they connote a meditative distance, the involved and observational detachment meditation can foster. Each title is a static yet vibrant poetic utterance, and even the provocative First Star, Last Star is quietly cataclysmic rather than explosively apocalyptic. The music inhabits a world of similarly potent restraint. No pitch is wasted, no sustain counts for naught, and no silence is without import. The instrument and environment are integral to the experience. Each pitch vibrates, pulsing internally but entirely lacking the sometimes garish exuberance of a vibraphone. Acclimation to this smaller but hugely detailed landscape reveals attack in infinite variety, whether feather-soft or razor-sharp, and each multivalent decay joins with room ambiance to enhance the symmetries and ruptures in Fink’s simple yet complex pieces. After the End could not be better placed. Its chords conjure some third space between nursery and chorale, a space as familiarly strange as its titular evocation. Listening through the disc can open doors on the mystical, and nowhere better than in that final miniature’s sonorities, which just avoid hiding the subtlest polyrhythms in each decay. These are introspectively large statements on the smallest scale, and each nests motives and phrases of similar implication, all adding up to a disc whose power and beauty unfold with the celesta’s deceptively simple grace.” —Marc Medwin, Fanfare magazine
“As might be guessed, my wife hears a lot of music coming from the room in our condo where I do my work. Shortly after the first gesture of the first movement of Fink’s suite, she came to the room to ask what she had just heard. When I explained that it was a suite for solo celesta, she observed that she thought she had heard gamelan music!
“I offer this anecdote as a way of observing that the overall range of sonorities of the family of metallophones (regardless of structure or performance technique) is relatively limited…. Fink is clearly aware of these limitations and compensates for them through the diversity of the phrase structures deployed across his suite’s twelve movements…. Each movement says what it has to say and then steps back to allow its successor to do the same…. [T]here is no question in my mind that Fink’s work holds up to attentive listening.” —Stephen Smoliar, The Rehearsal Studio
“Celesta is an intriguing exploration of the expressive powers latent in the bright sounds of the celesta. The limitations of intonation, timbre and dynamics are, under the hands of Michael Jon Fink, crafted into precise vessels of sensitivity and introspection.”—Paul Muller, Sequenza21