Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

The Da Capo Chamber Players Unveil a Stunningly Diverse, Global Mix of Sounds at Merkin Concert Hall

The Da Capo Chamber Players have an enviable track record performing a vast stylistic range of lesser-known works that deserve to be heard on a much wider scale. Wednesday night at Merkin Concert Hall, the theme was global.

The coda was a richly noir, relentlessly shifting narrative that frequently resembled Bernard Herrmann’s best work. But Reinaldo Moya‘s Cronica de una Muerta Anunciada was much more of a horror soundtrack than a suspense theme. The full ensemble – Steven Beck on piano, Chris Gross on cello, Curtis Macomber on violin, Patricia Spencer on flute, Nuno Antunes on bass clarinet and clarinet, and Michael Lipsey on vibraphone and percussion – reveled as much as  a group can revel in a story about a grisly murder. Fleeting quotes from a couple of familiar wedding themes appeared early on. before a couple of chase scenes and a sharp, stomping finale illustrating the savage public stabbing immortalized in Gabriel Garcia Marquez’s Chronicle of a Death Foretold. Aptly, a recurring, dancing riff for the violin and piano spelled out the name of the murder victim, Santiago Nasar, who’d been the illicit lover of a young woman in a rural Colombian village.

The opening piece – for cello, violin, flute and piano – was Chinary Ung‘s Child Song, interpolating several Asian modes around a lively pentatonic theme based on a surrealistic Cambodian nursery rhyme. The quartet wove a series of graceful exchanges punctuated by sudden dramatic bursts and a moody cello solo as the tonalities cleverly drifted further into western territory. Historically, this 1985 piece was a triumphant return to composition for Ung, who’d spent much of the previous ten years simply trying to stay alive in his native Cambodia while so many of his colleagues were murdered.

While Chou Wen-chung‘s Ode to Eternal Pine celebrates a Korean longevity archetype , it’s written in a western idiom. The ensemble rose from spacious, spare exchanges to a serene majesty in tribute to rugged mountaintop greenery, mysetrious ambience alternating with echo phrases and a sudden, striking coda.

Gabriela Lena Frank’s four-part suite Cuatro Bosquejos sent a shout out to now-vanished civilizations on the Peruvian and Colombian coast. Gross’ cello, in particular, stood out through acerbic chromatic passages in lively, shapeshifting depictions of an ancient, insistent group of flutists, the contrasting cascades in a portrait of a pre-Colombian man-bird, seaside calls into a desert wind, and a methodical disassembly of a panpipe-influenced tune.

Also on the bill were also a brief, elegant partita for solo flute by Noel Da Costa, and a persistently unsettled, steady, occasionally noirish Second Viennnese School trio for clarinet, violin and piano by Pablo Ortiz.

June 9, 2019 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

The Chiara String Quartet Scheme for the Future

It’s hard to imagine a more ambitious advocate for new music than the Chiara String Quartet. They may have made a name for themselves playing Brahms and Beethoven – last time we caught them, they played a brilliantly insightful survey of Beethoven quartets from early to late – but they have their sights set on blazing trails for newer composers. They call their latest project Creator/Curator: the concept is to commission a work and have its composer pick the accompanying pieces on the program, debut it in a small venue and then move it to “more traditional classical venues” next season around. You can see the wheels turning: tonight le Poisson Rouge, tomorrow Lincoln Center. If Sunday night’s performance at LPR is any indication, they have their fingers on an important vein.

This particular program was chosen by Gabriela Lena Frank, an important and eclectic voice who, for what it’s worth, won a latin Grammy last year. The first piece on the bill was Alberto Ginastera’s String Quartet No. 1, Op. 20, which the Quartet tackled with equal parts passion and rigor. Cellist Gregory Beaver propelled the fiery staccato of its “allegro violento e agitato” first movement with relish. Violinist Rebecca Fischer’s gentle, fluidly meticulous glissandos lit up its more ambient, delicate second movement. Artfully playing off the open notes in standard guitar tuning (E-A-D-G-B-E), the third movement was delivered with a steely suspense behind Beaver’s incisive pizzicato work and Jonah Sirota’s plaintive viola lines. They wound up the “allegramente rustico” final movement spiritedly with the flavor of a Nordic hardanger dance.

Chou Wen-chung, composer of the following work, Clouds, was present. But rather than establishing a nebulous atmosphere, these clouds take specific shapes. How they morph into other configurations is what makes the piece compelling, from the understated, Asian-inflected drama of the pizzicato opening and closing motifs, to its constantly shapeshifting series of rondo-lets, simple and memorable circular themes bouncing off each other nimbly and playfully to a surprisingly intense, brooding conclusion.

Sirota explained that Frank’s eight-part suite, Milagritos (making its New York premiere) was an exposition of mestizaje, a recurrent theme which for her means celebrating an individual identity drawing from diverse sources – which makes perfect sense in light of her Peruvian-Jewish heritage. Her program notes explained the pieces as illustrations of Peruvian cultural iconography that might seem mundane to others but to her, they’re small miracles. Shrines to accident victims along serpentine mountain roads were portrayed by Julie Yoon’s surprisingly blithe violin against fluttery disquiet, while a stroll alongside Lake Titicaca became a delightfully macabre Bernard Herrmann-esque stalker tableau. Eerie cello cadenzas punctuated stillness in a depiction of pre-Inca panpipe ceremonies; likewise, the jungles were portrayed as impenetrable but with considerable activity lurking just out of range. The suite concluded on a richly haunting, practically stygian note, another roadside shrine scene, Fischer’s long, surgically precise solo passage a vivid contrast with the murky tritone ending. The standing-room-only crowd roared their approval boisterously: if this bill is any indication, the Chiaras’ upcoming concerts in this series will be a treat for the lucky crowds who catch them the first time around in cozy, comfortable confines like these.

October 20, 2010 Posted by | avant garde music, classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , | Leave a comment