The American Composers Orchestra: Cutting Edge Sounds from Across the Decades at Carnegie Hall
The American Composers Orchestra’s main mission is to whip new material into shape so as to entice other enterpising orchestras to play it. A daunting task, but one they’ve tackled gamely since the group’s inception back in the 90s. The group’s appeal is bittersweet: along with many tantalizing premieres that other orchestras will pick up, the ACO also plays a lot of material that you’ll never hear again. And that they’ll never play again, which makes their job so much harder considering that they have to learn so much of their repertoire, such that it is, from scratch. Friday night’s Carnegie Hall performance was typically eclectic and more historically-infused than usual, featuring an old standard of the avant garde that’s lived to claim its place, more or less, in the standard repertoire; a rarity from Mexico; two new works utilizing wavelike motives, the second much more successfully than the first; and a suite of new songs by the orchestra’s main man Derek Bermel.
They opened with a rather twistedly fascinating rarity, Mexican composer Silvestre Revueltas’ 1932 suite, Alcancias (literally, the title means “piggy bank;” figuratively, it can also mean “bullet” or “pimp”). The middle section was an uselfconsciously pretty pastorale lit up with a lyrically panoramic solo by oboeist Kathy Halvorson. On either side of it was a frantic, Keystone Kops pastiche of snippets of folk tunes, ragtime and vaudeville, so blustery that the pageantry seemed suspiciously forced. A satire, maybe?
The evening’s piece de resistance was the New York premiere of Gabriela Lena Frank‘s Manchay Tiempo, a chilling, Bernard Herrmann-esque depiction of waves of fear inspired by childhood exposure to a documentary about terrorism in 1970s Chile, where her mother grew up. Frank flaunts her multiculturalism fearlessly: no idiom is off limits. That fearlessness extends to subject matter and emotional content as well, in this case a series of slow, menacing glissandos and murderously creeping crescendos, a knife’s-edge depiction of terror in the night, noir in the purest sense of the word. The surreal, off-center, tone-bending “is this really happening” ambience finally faded down to an unexpected calm at the end, a terrorized child finally drifting off to sleep. It’s impossible to think of a more gripping piece of music performed on a New York stage this year.
Gunther Schuller‘s Contours was considered radical when it debuted in 1958. More than half a century later, the composer’s vision has been more than validated: it’s still pretty cutting-edge. Conductor George Manahan, poised on his heels, was clearly having a good time with Schuller’s long, suspenseful crescendos, jazzy rhythms and bracing post-Ives lyricism and so was the orchestra. The program concluded with Bermel’s new suite of Eugenio de Andrade songs, delivered guardedly and methodically in a cool alto by Luciana Souza, building tension and intensity almost imperceptibly through deft manipulation of a series of circular, often hypnotic, yet equally kinetic themes.
One upcoming ACO series of concerts that’s been regularly promising is their Underwood readings of new works by up-and-coming composers at the DiMenna Center this coming June 5 and 6.
No comments yet.