It’s Been a Typically Eclectic Year at Upper Manhattan’s Home for Adventurous New Classical Sounds

If new classical music is your thing, don’t let any possible twee, gentrifier associations scare you away from the Miller Theatre‘s series of so-called “pop-up” concerts. For almost a decade now, Columbia’s comfortable auditorium at the top of the stairs at the 116th St. stop on the 1 train has been home to an often spectacularly good series of free, early evening performances of 21st century works along with the occasional blast from the past. The name actually reflects how impromptu these shows were during the series’ first year, and while the schedule now extends several months ahead, new events still do pop up unexpectedly. Sometimes there’s free beer and wine, sometimes not, but that’s not the main attraction, testament to how consistently solid the programming here has become.

This past fall’s first concert was a revelatory world premiere of John Zorn’s new JMW Turner-inspired suite for solo piano, played with virtuosic verve by Steven Gosling; that one got a rave review here. The October episode, with indie classical chamber ensemble Counterinduction playing an acerbic, kinetic series of works by their charismatic violist Jessica Meyer, was also fantastic. Various permutations of the quintet, Meyer joined by violinist Miranda Cuckson, cellist Caleb van der Swaagh, clarinetist and bass clarinetist Benjamin Fingland and pianist Ning Yu began with the dappled shades of I Only Speak of the Sun, then brought to life the composer’s many colorful perspectives on Guadi’s Sagrada Familia cathedral in a dynamic, high-voltage partita. The most bracing number of the evening, Meyer explained, drew on a David Foster Wallace quote regarding how “ the truth will set you free, but not until it lets you go,”

There were many other memorable moments here throughout the past year. In February, Third Sound played an assured but deliciously restless take of Schoenberg’s Chamber Symphony No. 1 along with a mixed bag of material from south of the border. A month later, pianist Marilyn Nonken parsed uneasily lingering works by Messiaen and Tristan Murail.

Then in April, Rebecca Fischer delivered a fascinating program of solo violin pieces along with some new solo arrangements. The highlight was a solo reinvention of Missy Mazzoli‘s incisively circling Death Valley Junction. Fischer also ran through an increasingly thorny, captivating Paola Prestini piece, along with brief, often striking works by Lisa Bielawa, Gabriela Lena Frank and Suzanne Farrin.

Last month, Tak Ensemble tackled elegantly minimalist chamber material by Tyshawn Sorey and Taylor Brook. And December’s concert featured firebrand harpist Bridget Kibbey, who played the Bach Toccata in D faster than any organist possibly could, then slowed down for simmering, relatively short pieces by Albeniz and Dvorak among others.

The next Miller Theatre “pop-up” concert on the calendar is next January 21 at 6 PM with violinist Lauren Cauley.

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Intriguing New Indie Classical From Counter)Induction

The New York composer/performer collective Counter)Induction has an intriguing collection of new and relatively new chamber works, Group Theory, just out. The quintet of Steven Beck on piano, Miranda Cuckson on violin, Benjamin Fingland on clarinet, Sumire Kudo on cello and Jessica Meyer on viola tackle an ambitious and challenging series of works and pull them off with flair and conscientious attention to emotional content. The most unabashedly atonal of the lot is a piece by Salvatorre Sciarrino which is more of a study in textures and waves of shifting dynamics than melody. The real knockout here is Kyle Bartlett’s Bas Relief, a grimly resolute diptych unexpectedly juxtaposing twisted boogie woogie piano bass, icy upper register piano glimmers, apprehensively fluttering strings and a chilling crescendo anchored by an ominous bass clarinet drone. It’s avant noir in the best possible sense of those two words; as with many of the works here, the quintet’s somewhat unorthodox instrumentation enhances its plaintive edge.

Right up there with it is Douglas Boyce’s triptych Deixo Sonata. Spacious fugal tradeoffs between voices lead to a creepy dance of sorts that quickly descends to a furtive sway, rises to a crescendo with hints of ragtime and old-world Romanticism and then a neat false ending. Ryan Streber’s Partita, for solo cello utilizes a similar architecture, sostenuto forebearance versus insistent staccato, steady arpeggiated cadences punctuated by the occasional dramatic flourish or chordally-charged crescendo. Lee Hyla’s rather minimalist Ciao Manhattan is considerably less sad than the title might imply: pensive hints of the baroque and graceful, sustained layers of strings shift to a simple but affecting piano/violin duet that ends on a surprise note.

Eric Moe’s Dead Cat Bounce (Wall Street slang for a stock on the way down that’s recovered for just a second) follows a jauntily bittersweet trajectory, from a rondo to a sort-of-tango to a fullscale dance, the entire ensemble in and out of the melee, winding out on a puckishly ironic note. The longest work here, Erich Stem’s four-part suite Fleeting Thoughts juxtaposes a terse, balletesque pulse with icily moody piano-and-string interludes that eventually leads to a richly satisfying noir bustle on the way out. Frequently dark, challenging, compelling music utilizing an imaginative mix of devices and genres from across the decades to the present: watch this space for upcoming NYC concerts.