Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

An Exhilirating, Revelatory Carnegie Hall Debut by the Aizuri Quartet

In their Carnegie Hall debut last night, the Aizuri Quartet played an exhilarating, “wonderfully quirky” program, as violinist Miho Saegusa grinningly characterized a lively, animatedly conversational performance of Haydn’s String Quartet in B minor, Op. 64, no. 2. And that wasn’t the highlight of the night. The suite of Komitas’ Armenian folk songs, via a colorful Sergei Aslamazian arrangement, were often gorgeously poignant. And Paul Wiancko‘s 2016 triptych Lift, an “ode to joy,” as violist Ayane Kozasa put it, was a thrilling, ceaslessly bustling, distinctly urban choice of coda. Wiancko is a cellist by trade: his work for strings takes maximum advantage of all those instruments can offer.

The theme of the night was “locally sourced” music inspired by the composers’ home turf that also resonated with the group members. Cellist Karen Ouzounian explained that the night’s five dances collected by Komitas – a Near Eastern musical polymath and proto Alan Lomax– were “a musical link for a lot of families in the diaspora to a distant home…a tiny window into Armenia.” Growing up in Toronto, she’d developed a passion for the repertoire, something the group clearly share.

The wistfully waltzing song without words they opened with set the bar almost impossibly high for the rest of the night, lit up with Saegusa’s sparkling pizzicato. They’d revisit that plaintiveness with the third piece, a distantly Viennese-tinged waltz, Kozasa adding aching intensity with a solo toward the end. In between, a kinetic, celebratory number featured forceful call-and-response and a nimble pizzicato bassline from Ouzounian. The acerbic fourth tune, with its uneasy, Iranian-tinged modalities and stormy gusts, morphed into a jauntier waltz that set the stage for a bounciy vamping conclusion.

In the Haydn, violinist Emma Frucht got to indulge in some unusual single-string voicings that the composer had written for a string-playing buddy. The group reveled in the occasional puckish, peek-a-boo moment and coy instants of anticipation: they’d really taken the quartet apart to find all the best jokes. Dynamics were very hushed in the quietest passages, so that when the group really dug into the Romany-inspired minor-key phrases that Haydn would inevitably smooth out, the effect was all the more striking. Deft handoffs of neatly interwoven counterpoint between the instruments became more animated as the music grew more straightforwardly triumphant, to a playful coda.

Wiancko’s triptych had a cinematic restlessness, a hive of activity built around several intriguing thematic variations. The ensemble kicked it off memorably with a shiver of harmonics, quickly hitting a bustle that brought to mind Charles Mingus’ mid-50s work. Seemingly tongue-in-cheek rounds of pizzicato gave way to circular, Philip Glass-ine phrasing and some of the night’s most unselfconsciously lustrous harmonies between the violins. As the piece went on, lively swoops and dives along with a long series of short, colorful solo spots for each of the instruments mingled with hazy atmospherics, Debussy-esque echoes of ragtime and a return to a frenetic cityscape to tie up any possible loose end. What appeared to be a sold-out crowd exploded with a series of standing ovations.

The Aizuri Quartet’s next New York gig is Dec 15 at 11 AM at Subculture, playing a program TBA; cover is $20, which includes coffee and breakfast snacks. Concert Artists Guild, who sponsored this show, also have a characteristically innovative series of performances from future stars of the serious instrumental music world. Their next one is Feb 11, 2020 at 7:30 PM back at Weill Hall at Carnegie Hall, with pianist Yi-Nuo Wang playing works by Rachmaninoff, Bartok, Brahms, Chen-yi Lee and Liszt; tix are $30.

December 5, 2019 Posted by | avant garde music, classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , | Leave a comment

The Aizuri Quartet Launch a New Season at a Favorite Upper West Side Classical Institution

It wouldn’t be fair to let the month go by without mentioning the Aizuri Quartet‘s eclectically entertaining, dynamic performance earlier this month at the popular Music Mondays series of free concerts on the Upper West Side.

The ensemble – violinists Emma Frucht and Miho Saegusa, violist Ayane Kozasa and cellist Karen Ouzounian – began with an arrangement of a Hildegard Von Bingen diptych, its somber, stately, plainchant shifting artfully between the high strings and the cello, following a lengthy, aptly otherworldly introduction. The group’s take on Haydn’s String Quartet in F Major, op. 77, no. 2 spotlighted those individual, intertwining voices in as high definition as anyone could have wanted, illuminating its innumerable (some might say interminable) moments of playful repartee.

Then they played Caroline Shaw‘s deviously Beethoven-influenced Blueprint, its tightly interwoven cellular motives eventually reaching a burst of quiet jubilation, in contrast with its airy, spacious accents. There was also an augmented Brahms work on the bill, after the intermission, but sometimes sticking around for an entire evening of music ia a luxury. The Aizuri Quartet’s next New York concert is. December 4 at 7:30 PM at Weill Hall at Carnegie Hall, with works by Komitas, Haydn and Paul Wiancko.; tix are $30 The Music Mondays series at Advent Church at the northeast corner of 93rd St. and Broadway continues on Nov 18 at 7:30 PM with the Brass Project playing works by Bach, Reena Ismail, Gabriella Smith and a New York premiere by Kinan Abou-Afach

October 17, 2019 Posted by | avant garde music, classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , | Leave a comment