Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Bridget Kibbey and the Amphion String Quartet Battle the Elements and Come Up with a Win

A gusty, unexpectedly chilly February night in a boomy, barewalled basement-level public space hardly makes for optimum conditions for an up-and-coming string quartet to debut their new collaboration with a similarly irrepressible, cutting-edge concert harpist. But Bridget Kibbey and the Amphion String Quartet – violinists Katie Hyun and David Southorn, violist Wei-Yang Andy Lin and cellist Mihai Marica – defied the elements and made a strong impression Tuesday night, notwithstanding the gusts of wind, ganja smoke and a hi-tech coffeemaker working hard in the background during quieter moments. Kibbey took it all in stride, no surprise considering that she made her way up with shows in rock clubs and loft spaces, and the quartet were just as game. Watching them pull everything together made the prospect of seeing them in more comfortable surroundings all the more enticing.

Hyun wore knitted armwarmers for the first number, Bach’s Harpsichord Concerto in F Minor, BWV 1036. She took them off afterward – playing first-chair violin, you work up a sweat even if it’s cold. Meanwhile, Kibbey negotiated the composer’s rapidfire runs with a harpsichord’s precise, even articulation, hardly an easy task. The group followed by nimbly negotiating Debussy’s Danses Sacree et Profane with a dynamic performance from stately gamelan-inspired phrasing to more kinetic, traditionally western ballet territory.

For whatever reason, the one piece that seemed the hardest to tackle under the circumstances was its least challenging one, Haydn’s String Quartet, Op. 77, No. 1. As Hyun told the crowd, she was happy it “made the cut” for the program, maybe just under the wire, because the group had to battle their way into the graceful opening movement before coming together with an energetically friendly chemistry as the piece rose and fell, spiced with bits of humor and drollery in the same vein as early Beethoven. As Hyun explained, this made sense considering that the quartet was published just a year after Beethoven’s first, a point where there was about to be a changing of the guard…but Haydn wasn’t going to let it happen, at least not yet.

It would seem that the stoners in the house, or outside of the house would have been most entranced by the circling riffage of the Bach or the elegant maze of counterpoint in the Haydn, but instead it was the murderously acidic danse macabre of Andre Caplet’s Conte Fantastique that got them huffing and puffing. The piece follows the narrative of Edgar Allen Poe’s Mask of the Red Death, a cruelly populist parable that in the age of ebola scares seems especially relevant. Southorn took over first violin part as the group lept and bounded while Death skulked in the background and then tiptoed in over the castle walls. After the bloodbath subsided, the ensemble took it out on an aptly sepulchral note.

This concert was staged by the Concert Artists Guild, whose raison d’etre is to springboard the careers of up-and-coming artists. One especially enticing upcoming CAG-sponsored bill is at Weill Hall at Carnegie Hall on March 22 at 7:30 PM, where trumpeter Brandon Ridenour, pianist Rachel Kudo and the ensemble Useful Chamber perform works by Gershwin, Ravel, Debussy, Paganini, Bartok, Saint-Saens and Vivaldi.

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February 13, 2016 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , | Leave a comment

Violinist Alexi Kenney Stuns the Crowd in Chelsea

After violinist Alexi Kenney‘s solo performance last night, Concert Artists Guild president Richard Weinert enthused that it was one of the best he’d ever seen: high praise from someone who gets to see an awful lot of concerts. And by any standard, it was pretty transcendent – and no surprise that despite this being the coldest night of the year so far, there was a full house at the Robert Miller Gallery in Chelsea.

Kenney opened with Bach’s Partita No. 3 in E Major, BWV 1006. On a surface level, it’s a dynamically shifting suite of variations on what might well have been pilfered folk dance themes. Playing from memory, Kenney went way below that surface for a minutely jeweled interpretation that quickly became a showcase for his quicksilver legato. We talk about having a fluid, legato approach, but this guy’s is so unwavering that if it was a sine wave, it would be flat. Which made all the more contrast when the music became more lilting and kinetic, Kenney establishing a trope he’d fall back on frequently throughout the performance, adding just a wisp more bow at the end of a phrase if he thought it needed the emphasis.

The showstopper was Kenney’s masterful take of Erwin Schulhoff’s Sonata for Solo Violin, WV 83. Part feral post-Schoenberg savagery, part richly apprehensive late Romantic angst, it bristles with sudden cadenzas and overtones and requires all sorts of extended technique. Kenney didn’t necessarily make it look easy, but he was clearly at home with it both technically and emotionally, something you don’t see that often. By contrast, the purposeful arpeggios of a fantasia by Nicola Mattheis – a precursor to Bach – made a comfortable segue into the cirrus-cloud atmospherics of Kaija Saariaho’s Nocturne.

Kenney closed the concert, making a wrenchingly heartfelt return to Bach with what seemed like the entirety of the Partita No. 2 in D Minor (the program listed just the chaconne section, but it was music to get lost in). The wounded opening theme, and its foreshadowing, were genuinely harrowing, which made the epic climb to more optimistic territory all the more impactful. The sonics of the gallery were serendipitous, to the point of becoming part of the performance: spaces with natural reverb like there is here should host more solo shows. And the music made a good counterpart to the art on display, Ran Ortner‘s uneasily photorealistic tableaux of yellow-grey waves roiling in a sunset current. They have little in common thematically with Edward Hopper’s work but have a similarly raptutous use of light and shadow. It would be fascinating to see how the artist builds it, layer upon layer of paint.

These Concert Artists Guild gigs are a great way to discover new talent: that, after all, is the purpose of the organization. The next one is Bric Arts, down the block from BAM at 647 Fulton St. in Brooklyn on February 9 at 7 PM featuring dazzlingly eclectic harpist Bridget Kibbey and the Amphion String Quartet playing music of Bach, Debussy, Haydn and Caplet; admission is free.

January 20, 2016 Posted by | Art, classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , | Leave a comment