Bryce Dessner, Solos Review

by Brice Boorman

Bryce Dessner’s Solos, his debut with Sony Classical, is a mesmerizing journey through the landscape of unaccompanied instrumental music. This collection, spanning 64 minutes and 25 seconds, showcases Dessner’s compositions and his unique ability to create imaginative music. The album features solo performances by some of the finest musicians in the contemporary classical scene, making it a standout release of 2024.

One of the most striking aspects of Solos is its exploration of the intimate relationship between the performer and their instrument. This intimacy is palpable in “Lullaby for Jacques et Brune,” where pianist Katia Labèque delicately balances tension and release, bringing out the balance within the modern and romantic piece.

Dessner performs “Francis” with clear thematic clarity and flowing arpeggios. His performance is marked by subtle dynamics and variations, demonstrating his deep understanding of the guitar’s expressive potential. Anastasia Kobekina’s performance on “Tuusula” offers a glimpse into the modern sonic landscapes Dessner is capable of creating. The piece features a stirring soundscape, harmonics, and wide intervallic leaps. The composition moves through various moods, from abstract to lyrical, providing a comprehensive view of Dessner’s compositional range and the broad expression of Kobekina’s cello playing.

“Song for Octave,” performed by Katia Labèque, is a textural exploration of Dessner’s outstanding counterpoint writing. Labèque’s performance brings out the piece’s rhythmic and harmonic twists. “Tromp Miniature,” played by Colin Currie on the marimba, introduces a percussive element that adds a new energy to the album. Currie’s performance is vibrant and precise. The piece highlights the dynamic possibilities of percussive instruments in a classical setting.

The “Ornament and Crime” series, performed by Pekka Kuusisto, showcases Dessner’s ability to write for the violin in a challenging and playful way. Kuusisto navigates the rhythmic intricacies and textural variations to bring out the lively and engaging energy of the pieces. The series progresses from an energetic opening to darker, more introspective movements, before concluding with a richly textured finale.

Lavinia Meijer’s harp performance on “On a Wire” is a textural exploration that combines harmonic and rhythmic elements to create a hypnotic effect. Meijer’s sensitive playing adds a shimmering quality to the album, making this track a standout for its delicate beauty.

In “Walls,” Dessner returns with a solo guitar piece with rolling arpeggios and a modern, almost romantic melody. This track is a testament to Dessner’s expressive capabilities as a performer as he shapes his phrases with dynamics and defining articulations. “Delphica I” and “Delphica II,” performed by Nadia Sirota on viola, close the album with a strong sense of identity and sonic clarity. Sirota’s commanding performance in “Delphica I” sets a powerful tone, while “Delphica II” brings a lighter, more playful mood. These pieces showcase the viola’s versatility and Dessner’s skill in writing for the instrument.

Solos is an album that explores unaccompanied instrumental music’s intimate and expressive potential. Bryce Dessner’s compositions are rich in texture and sonorities, brought to life by a cast of exceptional musicians. This debut with Sony Classical highlights Dessner’s unique voice in contemporary classical music with his innovative approach to classical composition.