Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Lush, Luxuriant, Relentless Intensity from JP Jofre and the Attacca String Quartet

It takes nerve to put your own string quartet on the program after an Astor Piazzolla work widely regarded as a classic, but that’s what bandoneon virtuoso JP Jofre did at SubCulture last night. Not only was it not anticlimactic; it would have made a good segue with the bill’s centerpiece, the late-period Piazzolla suite Five Tango Sensations. Jofre filled the time between the two pieces with a small handful of hard-hitting shorter works of his own before leaping into his String Quartet No. 1, joining with the Attacca String Quartet: cellist Andrew Yee, violinists Amy Schroeder and Keiko Tokunaga and violist Luke Fleming.

Jofre broke a sweat before the first piece, a stormy, bustling miniature, was over. Then he led the group into the lingering, wistful introduction to Piazzolla’s Five Tango Sensations. The suite was premiered by the composer with the Kronos Quartet at Lincoln Center in 1989 and remains one of the standouts in a late-career burst of creativity to rival pretty much any composer, ever. The “sensations” in the title are meant to describe specific emotions; the composer wasn’t bragging about how sensational the suite is…yet that’s a good way to describe it. The ensemble built it to lushly shifting, Rachmaninovian washes of strings, resolutely propelling a vamp that was a lot more bitter than sweet. Dynamic shifts, which the group worked like a charm all night, went from to darkly pillowy to leaping and insistent, developing the ominously chromatic central theme and then angst-fueled variations to an ultimately triumphant conclusion. In between, the strings carried a somber, noirish lament that made the payoff at the end all the more rewarding – and unexpected, for anyone hearing it for the first time.

From there Jofre mixed and matched a trio of smaller-group numbers, first a tender, hypnotic lullaby for his niece and then a marauding, rat-a-tat theme that evoked the cello metal of Rasputina before shiftting back and forth between atmospheric washes and a big, shivery bandoneon cadenza into a victoriously anthemic ending. An austere, rather elegaic bandoneon/cello duet was next. Then they tackled the String Quartet – which is actually a quintet, the bandoneon featured in its later movements. Throughout the composition, Jofre kept his collaborators on their toes as the variations moved briskly through an uneasy rustle, warmly anthemic hints emerging from moody atmospherics, the bandoneon leading the cello through a furtive chase scene to a big, rhythmic, stalking passage that deviously signaled the way out. They wound up the show with an explosive, anxiously bustling piece whose dark drama crept into crime-jazz turf and ended cold. The pretty much sold-out audience responded about as explosively as the music they’d just heard. For anyone in search of soul-wrenching, emotionally-charged tunefulness, Argentina is the place to look, with Jofre as one of its most original ambassadors.

Advertisements

November 8, 2013 Posted by | concert, latin music, Live Events, Music, music, concert, New York City, review, Reviews, world music | , , , , , , , , , , , , , , , , , , | Leave a comment

The Attacca Quartet Vanquishes the Elements

“We’re going to get through this together,” Attacca Quartet cellist Andrew Yee reassured the crowd last night at Lincoln Center. The measure of a musician is how well they perform under duress: this group’s trial last night was not by fire, but just the opposite. The atrium space where they were playing was freezing, yet the quartet of Yee, violinists Amy Schroeder and Keiko Tokunaga and violist Luke Fleming muscled up, retuned their instruments between movements as the weather dictated, and turned in an unstoppably valiant performance of Haydn’s Emperor String Quartet followed by a brisk, nimble series of John Adams works.

They opened with the Haydn, which was as much about slowly revealing a depth that’s alwayas surprising as it is about teamwork, with the endless volleys of call-and-response and pass-the-baton. The first movement was assured and lively to the point of maybe being a way for the group to keep warm (Schroeder breathed deeply into her bow hand afterward). The dynamic shifts from the calm of the second to the jauntiness of the third were bright and poised; the arc from an approximation of storminess to a real storm in the fourth, a ride to savor.

Four John Adams works from his seven-part suite Alleged Dances (i.e. whose steps haven’t been invented yet) were next, and the group rose to their many demands: hazy overtones, insistent pizzicato and staccato, artful exchanges of diverging ideas all circling, sometimes hypnotically, sometimes aggressively, around a center. The ensemble closed with the second movement of Adams’ String Quartet, its briskly pulsing agitation getting a precise, knive’s edge performance, chilly early spring bite finally making way for a series of false endings that became irresistible: the audience fell for all of them, and the group had a mutual grinfest going as well.

The Attacca Quartet play from their ongoing cycle of the complete Haydn string quartets this coming Feb 7 at 7 PM at Holy Trinity Lutheran Church, 65th St. and Central Park West; suggested donation is $10. On March 26 at 8 they’re at the Poisson Rouge playing Adams works, with the composer in attendance.

January 25, 2013 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , | Leave a comment