Alicia Svigals and Marilyn Lerner Steal the Show at Lincoln Center
Last night violinist/composer Alicia Svigals debuted her new score to the 1918 German silent film The Yellow Ticket to a sold-out house at Lincoln Center, accompanying a screening in tandem with jazz pianist Marilyn Lerner. The movie isn’t much. A screwball tragi-comedy starring nineteen-year-old future Hollywood siren Pola Negri, it casts Polish Jews as the unlikely protagonists in a family drama concerning a question of parentage. The pro-Jewish angle was undoubtedly less of a decisively progressive move than an excuse to paint the WWI enemy Russians as cruel and discriminatory (which they were, actually). The film, newly restored, has historical value for including rare footage of Warsaw’s Jewish district – and little else. But Svigals’ score is exquisite.
In practically an hour of music, the former Klezmatic and Itzhak Perlman collaborator blended somber klezmer themes with vivid, plaintive neoromantic melodies that echoed Tschaikovsky and Ravel, particularly in one of the soundtrack’s most chilling passages, piano joining the violin in adding ominous close harmonies to a variation on the steady, pensive, minor-key title theme. The score’s dynamics turned out to be pretty straightforward, other than a brief, furtive suspense interlude and a couple of shivery, overtone-generating solo violin cadenzas that only hinted at the raw firepower that Svigals can generate in concert.
Svigals’ themes unfolded and shifted shape cleverly and memorably. A moody, apprehensive hora early on, introduced during a broad sequence where Negri’s character fends off a would-be suitor, romped back in later as a joyous freilach. The soaring blue-sky interlude illustrating Negri’s train passage to what would ostensibly be a new life as a student in St. Petersburg turned ominous and chilling in a split second, to match a jump cut. Lerner’s understatedly haunting, resonant block chords and elegant arpeggios made a poignant and intuitive backdrop for Svigals’ highly ornamented phrasing, sometimes tense and nuanced, occasionally channeling fullscale horror. Svigals has a forthcoming album of Osvaldo Golijov works recorded with clarinet powerhouse David Krakauer due out this year; this deserves to be immortalized every bit as much.