Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Album of the Day 9/23/11

Pretty much every day, our 1000 best albums of all time countdown continues all the way to #1. Friday’s album was #495:

Robert Sirota – Triptych – The Chiara String Quartet

Arguably the most powerful, intense musical response to the horror of 9/11, composer Sirota’s anguished, horror-stricken suite for string quartet draws on artist Deborah Patterson’s triptych depicting the detonation of one of the towers, the death of NYFD chaplain Mychal Judge and the sky over the smoking hole at Ground Zero. The Chiaras premiered this at New York’s Trinity Church, barely two blocks away, in October, 2002. The frenzied horror of the first movement attempts to replicate sirens, a devil’s choir of car alarms and the chaos following the crash of the planes; the second is a grief-stricken lament; the third reaches for some sort of peace or closure. The only audio for this that seems to be on the web seems to be at cdbaby, where the album is still available, but terrific performances of this piece by the American String Quartet have made it to youtube in three segments, here, here, and here.

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September 24, 2011 Posted by | avant garde music, classical music, lists, Music, music, concert | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

The Chiara String Quartet Revisit a Moment of Terror

One can only imagine the emotional challenge the Chiara String Quartet faced when they premiered Robert Sirota’s 9/11-themed Triptych on September 26, 2002 at New York’s Trinity Church. Sirota was in New York on 9/11, and the Quartet also belong to this city: to evoke such themes as this piece explores must have been nothing short of overwhelming, notwithstanding the year that passed between the tragedy and the premiere. As an evocation of terror and dread, the Triptych ranks with any other work in the classical or avant garde repertoire, including any of the Shostakovich symphonies or string quartets. Again at Trinity Church last night, the Quartet revisited the premiere with a riveting performance of that piece along with another 9/11 requiem of sorts, Richard Danielpour’s String Quartet No. 6, “Addio,” from 2009.

Both works combine narrative and more abstract themes, Danielpour’s being the more melodically accessible. The crash of the planes is alluded to, but the frantic activity in the wake of the impact gives way to a vividly cinematic chase scene of sorts, desperate footfalls across the bridges leading out of Manhattan, perhaps? It was a showcase for the entire quartet and particularly violist Jonah Sirota, whose biting, often fierce pizzicato lit up a surprisingly rock-influenced second movement, alongside cellist Gregory Beaver’s funereal, sometimes aghast, wounded inflections that made a stark contrast with violinists Rebecca Fischer and Julie Yoon’s eerily shimmering, often stratospherically high atmospherics. Several warm, gently contemplative passages gave way to foreboding and fear and eventually terror. As with Sirota’s piece, it closed with a quietly pleading ambience, reaching for solace but fully aware that for those who have lost loved ones, very often there is no consolation: the pain may recede, but it’s always there, always a millisecond away from returning with a paralyzing intensity.

Behind the Quartet, artist Deborah Patterson’s gray-tinted Triptych – which Sirota meant to interpret with this piece – stood in chilling relief against the back of the church. The first panel depicts one of the towers through a plume of smoke; the second, NYFD chaplain Mychal Judge – one of the first victims of the disaster – being attended to by members of his department; and the third sort of a black-and-white Turner painting, light beaming down eerily on the smoking hole at Ground Zero. Sirota unforgettably depicts all that via frenzied tritones, an evocation of a hellish choir of car alarms, several sirens and their doppler effects, and a bit later, a handful of trucks making their way through a silent desolation. That stricken stillness packed a quiet wallop in contrast to the incessant, rapidfire attack of jarring atonalities that prededed it. This is a cruelly difficult piece to play, but the Quartet rose to the challenge, all hands on deck, with a visceral intensity.

Sirota’s second movement offers brooding, morose, absolutely depleted ambience followed by more anxiously shifting, interwoven segments that were delivered delicately, receded and eventually rose to the most grief-stricken point of the night. As with Danielpour’s piece, Sirota’s concludes on a quietly anguished, prayerful note. As if on cue, the second the piece was over, a siren began to wail outside the church, making its way up Greenwich Street. Perhaps as stunned by this strange stroke of fate as by the music, the audience waited until the sound began to fade before breaking out into applause. Was this the best concert of 2011? Possibly: without a doubt, it was the most intense.

September 9, 2011 Posted by | avant garde music, classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Concert Review: The American String Quartet Plays Robert Sirota, Irving Fine and Others at Bargemusic, Brooklyn NY 4/26/09

The American String Quartet had played the Brooklyn debut of Manhattan School of Music President Robert Sirota’s 9/11-themed Triptych suite the previous night. Looking across the river at Manhattan from inside the barge the following afternoon, the Twin Towers’ absence became more and more striking as the first movement built to a frantic, chaotic, horror-stricken crescendo of tritones and dissonance. From an audience perspective (particularly as witnessed by someone who was three blocks away when Tower Two blew up), the music was viscerally harrowing. Lucid Culture puts up a year-end “best New York concerts” list, and while being far from definitive, you can bet this performance will be on it.

 

Sirota was in New York on 9/11 and over the following months, writing the suite in tandem with Deborah Patterson’s painting of the same name – the artists’ intent was for the music to reinforce the painting and vice versa. To say that both are impactful would be a ridiculous understatement. The suite’s first movement, Desecration began with a shock, immediately followed by frenetic anguish that eventually fell apart, leading to a mournful solo by violinist Peter Winograd and eventually an evocation of car alarms (Sirota imagined that the destruction of the towers would have set off every one of them in Manhattan, an insult added to injury that thankfully didn’t occur) followed by a brief, single siren played on violin, fading into the distance.

 

The second movement, Lamentation began stark and modernist, growing more insistent, anguish finally turning to outrage, the impossibility of being able to fathom the enormity of the event intensely and vividly captured by a tentative cello line eventually passed to the other instruments, ending with a simple, defeated fade to solo violin. It’s not known how deeply the composer was able to investigate the mystery surrounding the tragedy, or whether this is simply a rendering of the city’s collective emotional state.

 

At last, some consonance appeared in the final movement, Prayer, reaching for solace and not finding it, interestingly with less of a feeling of communion and inclusiveness than there was at the time. While the months afterward brought out in many respects a beautiful and unforgettable period of camaraderie and compassion among New Yorkers, the conclusion of Sirota’s work rightfully maintains a persistent and unavoidable sense of loss. As riveting and heartbreaking as the piece is to witness in concert, one can only imagine how difficult it must be to play, especially for a New York group such as this, but the musicians didn’t let on.

 

The rest of the bill was a thicket of knotty cerebrality, but the Quartet accentuated its emotion and also its frequent good humor. They’d opened with Irving Fine’s 1952 String Quartet, an astonishing and powerfully Stravinskian work delivering many of the tropes of Romanticism in a completely different language, jeweled with suspense, horror-movie cadences and complete defiance in places. Winograd related an amusing anecdote about how his father, also a noted musician, knew Fine, who was notoriously prickly. After hearing the piece, the story made perfect sense. The ensemble also tackled Henry Cowell’s strange and often boisterously witty, improvisationally-driven String Quartet No. 3, the “Mosaic,” named for its interwoven, deceptively simple themes designed to be repeated as the performers see fit. They closed with Walter Piston’s String Quartet No. 1, another work which cast numerous codas and cadenzas straight out of Brahms or Beethoven straight into the drink where they landed dazed. Did Mingus know Piston’s work? One would think so from hearing this piece.

 

Shock of shocks, the barge wasn’t sold out, either. Fault of the depression? Maybe. The challenging nature of the program? That would be strange – Ives and his ilk don’t usually scare the crowds off. From the looks of it these days, Bargemusic could be something you could decide on at the spur of the moment, a wonderfully romantic idea.

April 28, 2009 Posted by | Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , | Leave a comment