Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Transcending the Gloom Outside of St. Ignatius Loyola

Wednesday night the Choir and Orchestra of St. Ignatius Loyola rescued an otherwise gloomy and dismal evening with warmth and epic grandeur at their sonically superb home base, via an animated performance of Haydn’s Symphony No. 97 and then Mozart’s Mass in C Minor. Music Director K. Scott Warren had a jaunty confidence on the podium, conducting the Haydn through its many dynamic shifts between instrumental voices, with lively, conversational counterpoint. From its precise cantabile opening, to a surprising and welcome gravitas in the second movement, the swaying dance of the third and a long series of clever, practically conspiratorial exchanges as it wound out, Warren and the ensemble spotlighted all the most entertaining moments. It’s not a heavy piece of music –  it made for a well-received contrast with the storm gusting outside.

Like his Requiem, Mozart’s Mass in C Minor is unfinished. It may or may not have been performed in his lifetime. It has far more to do with operatic flair than gothic gravitas: watching the choir pulsing through its waves and cadenzas, it was easy to imagine a group from Mozart’s day reveling in how much fun church had become with this composer writing the score! Was this a vehicle for the talented choirgirl who would become his wife? Quite possibly. And she had to be talented because the lead soprano role is brutally challenging, but Martha Guth embraced the hair-raising demands of its roller-coaster dips and swells and meticulous ornamentation and left the audience stunned.

Soprano Marguerite Krull also brought a sparkling clarity to her parts, often paired off with New York Polyphony‘s Stephen Caldicott Wilson and his far more stern, measured tenor (and impressive low range as well). Wilson’s choirmate Christopher Dylan Herbert was required to do less, but added an extra layer of heft in the final sections. Because Mozart never finished the mass, Warren had to choose from many versions fleshed out by others, over the centuries; settling on a 20th century version by Mozart’s fellow Austrian Helmut Eder was respectful of the original in limiting its scope to the parts of the score finished by the composer himself. Joy, and passion, and lustrous timbres from the top to the bottom of what the human voice is capable of delivering, abounded throughout the group’s dynamic and rousing interpretation. The next concert here is a fascinating program of original arrangements by organist David Enlow on Nov 2 at 3 PM; the Choir and Orchestra return on Nov 30 at 3 with a celebration of Advent.

October 24, 2014 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , | Leave a comment

A Parade of Jazz and Classical Talent Showcases the Sonics at Subculture

There was no need for the parade of musicians on the bill this evening at Subculture to do anything more than phone in their performances. After all, they were only there to give a by-invite-only audience of media and a few friends an idea of how both amplified and unamplified acts sound in the newly renovated space. But they did far more than that: if the quality of most of these artists is an indication of what the venue will be booking in the coming months, that’s something to look forward to. And the sonics here are exquisite, to rival the Village Vanguard and Carnegie Hall: Subculture has quietly vaulted to the ranks of Manhattan’s top-tier listening rooms.

On the unamplified side, a-cappella quartet New York Polyphony – Christopher Dylan Herbert, Craig Phillips, Geoffrey Williams and Steven Caldicott Wilson – blended voices richly and intricately in pre-baroque Palestrina motets and then with a slyly joyous new arrangement of Rosie the Riveter. The up-and-coming ACJW String Quartet – Grace Park, Clara Lyon, John Stulz and Hannah Collins – made energetic work of a Philip Glass excerpt and then took what could have been Schubert’s String Quartet No. 12 – if Schubert had finished writing it – to the next level. The famous nocturnal theme became a suspenseful springboard for animated, even explosive cadenzas, a mystery unfolding with an increasing sense of triumph. Student ensembles can be erratic, but they also bring fresh ears and ideas to a performance and this was a prime example of that kind of confluence.

On the more groove-oriented side, pianist/chanteuse Laila Biali sang her driving, playful new arrangement of This Could Be the Start of Something New with Joel Frahm on tenor sax, Ike Sturm on bass and Jared Schonig on drums. The highlight of the night, unsurprisingly, was pianist Fred Hersch, who delivered an understatedly bittersweet, strolling blend of ragtime-tinged pastoral shades on Down Home, his homage to Bill Frisell (with whom he collaborated memorably about fifteen years ago), a standout track from Hersch’s new live album, Flying Free, with guitarist Julian Lage. Singer Jo Lawry then joined Hersch and over lush, glimmering, Debussy-esque cascades, delivered a biting, half-sung, half-narrated reflection on clueless parades of tourists in the Louvre crowding around to take pics and videos of the Mona Lisa – and then moving on. The two wound up their brief set, joined by Richie Barshay on hand drum, for an electrically dancing, animatedly conversational take of the new album’s bossa-flavored title track, an Egberto Gismonti tribute.

September 16, 2013 Posted by | classical music, concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment