Argo's first disc featuring the music of Michael Torke (12/90) focused on pieces for small or chamber orchestra-sized ensembles, whilst the second (2/92) was devoted to orchestral music. In this release attention is turned, in part, to his vocal works. Those familiar with Torke's music will not be surprised to learn that his vocal writing has a strong lyrical impulse; they may not know, however, that he also appears to have a natural flair for the medium—my appetite for the forthcoming Channel 4 opera has definitely been whetted. The Four Proverbs (settings of proverbs from the New Testament) are attractive examples of Torke's approachable style—lyrical melodies and a disciplined, economical working of his chosen material. In each of the settings Torke ingeniously constructs, deconstructs and finally reconstructs the vocal line in such a way that the technical process actually becomes an integral part of the music's attractiveness. Catherine Bott certainly makes an ideal and persuasive exponent, and dearly relishes the curvaceousness of Torke's melodic writing.
The remaining pieces, Monday, Tuesday and Music on the floor, are for chamber ensemble and are more abstract in style. The pieces Monday and Tuesday may be a musical response to those days of the week, or they may not. In fact, the music needs no hidden agenda to justify itself, its beautiful sense of organic flow and development and its pulsing kinetic energy are enough in themselves for this listener. The same goes for Music on the floor, a three-movement work colourfully scored for two vibraphones (spatially separated left and right), piano, string quartet and two woodwind, the slow movement is particularly haunting and attractive. Q ''Having now reviewed three discs of Torke's music, the one thing that really stands out about this 33-year-old composer is his highly individual voice, because, for all of its echoes of Copland and Stravinsky, there is an overall sound that is uniquely Torkean. Splendid performances and recorded sound. A must for all fans of Torke's music.'