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Chamber Music Of Stephen Perillo
BY BLAIR SANDERSON
 

Even though Stephen Perillo's contemporary chamber music is pointedly eclectic, layered with postmodern references, and infused with a neo-Romantically flavored tonality — likely inculcated by his teacher, David del Tredici — there is a point past which it all seems hopelessly busy, show-offish, clever, and hard to admire for its lack of emotions. If the argumentative, quotation-laden String Quartet No. 1 sounds too much like an Ivesian romp at full snort; the jaunty Flute Sonata too much like a coy, neo-Classical pastiche; or the Piano Trio 1999 a bit like a perfumed parlor piece of the fin de siècle, then perhaps it is because Perillo hides behind personae that feel lifeless, impersonal, and almost grotesque in their bald imitation of older music. Perhaps only his impassioned violin solo, Out on a Limb, reveals his true personality, unmasked and unidentifiable by style, but simply and effectively stated with few mannerisms. With all the effort Perillo obviously expends on his elaborate compositions — one can easily imagine the detail of his scores — it may not be too much to ask that he invest more of himself in the process, and rely less on parody or kitsch to get him through. The audio production is quite polished, and the various artists are engaging and attractive in their performances, so this quirky music at least gets respectful treatment from Centaur.