Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

A Dreamy, Hypnotic Holiday Celebration with Roomful of Teeth and Tigue at the Guggenheim

Last night Roomful of Teeth sang a cocooning, dynamically pulsing, brilliantly conceived site-specific program, beneath and sometimes on the rotunda at the Guggenheim Museum. Conductor Brad Wells marveled at the space’s natural reverb, whose benefits were bolstered by the presence of percussion trio Tigue on several numbers.

The night’s most striking and hauntingly memorable song was Sarah Riskind‘s 2016 Hanerot Halalu, based on a stark melody in the chromatic Jewish freygish mode. Tynan Davis introduced that one from the second level of the balcony, the rest of the octet gathered on the ground-floor stage, Esteli Gomez eventually tossing the melody back up to her with similar elegance. Counterintuitively, the choir reconvened and followed with Gustav Holst’s wistful, folksy 1906 song In the Bleak Midwinter.

To open the evening, Tigue held the ground floor with their subtle, snowy accents while the choir, gathered four flights up on the balcony, delivered an emphatic, minimalistic new arrangement of Praetorius’ 1609 motet Lo, How a Rose. Caroline Shaw, who seems to have become the ringleader of this merry band, explained that the night’s bill was “A mix of the familiar and the unknown, by design,” works selected to rise up and ripple around the space. The two ensembles would come full circle at the end with more stately, reverent Praetorius, Tigue up on the balcony this time with handbells to add delicate tingle to the mix.

The night’s most dramatic, dynamically charged piece was Caleb Burhans‘ 2010 partita Beneath, ascending and falling with catchy, simple riffs punctuating slowly crescendoing, tectonic layers. Shaw described the world premiere of On Snow, which the Guggenheim’s Works and Process series (of which this concert was a part) had commissioned from her, as being “Music of the 17th century melting bit by bit.” The ensemble couldn’t conceal the fun they were having with the music’s coy, loopy, swoopy motives, bolstered by an elegant, slow crescendo by Tigue, from a ripple to a rumble.

Jeremy Faust’s Jubilo came across as a purposeful blend of minimalism and Renaissance polyphony. The choir followed the dreamy counterpoint of the 16th century Coventry Carol with the steady wave motion of Wells’ 2014 composition Render. Then Tigue built a matter-of-fact yet playful thicket of polyrhythms, the choir eventually interpolating airy swells and gentle gusts.

After the rhythmically pulsing variations of Judah Adashi‘s 2014 Bjork-inspired piece My Heart Comes Undone, the whole crew – also including baritone Jason Awbrey, bass Cameron Beauchamp, tenor Eric Dudley, baritone Jeffrey Gavett, sopranos Abigail Lennox  and Sarah Brailey – seemed to relish the wryly dipping, undulating quasi-mordents of Shaw’s Sarabande, from her Pulitzer Prizewinning 2011 suite.

This was the final concert at the Guggenheim this year. The museum’s events series continues next year with plenty of dance, opera and theatre as well.

December 17, 2019 Posted by | avant garde music, classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Roomful of Teeth Take Choral Music to the Next Level

It’s hard to imagine a more exciting vocal group than Roomful of Teeth. Friday night at Lincoln Center, at the release show for their new album – just out from New Amsterdam – it became clear that to be a part of this band, it’s not only necessary to have powerful pipes and spectacular range, and soul, but also an aptitude for Tuvan throat singing, yodeling, microtones and Balkan music. The nine-piece ensemble, directed with casual assurance by Brad Wells, wowed the crowd with their command of techniques from around the globe, but also with their passion and acuity for a series of almost cruelly difficult, often absolutely gorgeous works by contemporary composers that bring out every octave worth of these singers’ talent.

They opened with a Judd Greenstein piece titled Montmartre. Greenstein is a showy composer and this piece was characteristic, but it had melody to match the theatrics: the women punching in contrapuntally against the mens’ low, oscillating, pulsing throat-singing. The group switched nimbly to lushly shifting ambient harmonies with intertwined call-and-response, soprano Virginia Warnken bringing its central crescendo to a vivid peak. The men ended it with a triumphantly flangey swirl of throat-singing – it’s one thing to do that individually, it’s another to do it in harmony and with the kind of precision they showed off here.

There were two Missy Mazzoli compositions on the bill. The first, Vesper Sparrow, was written just a couple of weeks ago. The women swooped with distant echoes of birdsong which gave way to Mazzoli’s signature swirls of attractively consonant melody with just the hint of apprehension. The women in the group displayed unexpeced power in their low registers, soprano Caroline Shaw lighting the way as the piece took on a considerably somber, plainchant aspect, pulsing richly with every available harmony. The second number, The Shield of the Heart Is the Heart playfully switched from a half-yodeled round to another intricate thicket of shifting polyphony and counterrythms thinly disguising a jaunty doo-wop theme.

The most striking composition on the bill might have been Sarah Kirkland Snider’s The Orchard, sung with vivid uneasse by bass Cameron Beauchamp over rhythmic insistence from the women and warily shifting textures from the rest of the crew. In its dark heart, it turned out to be a pensive, folk-tinged art-rock anthem for choir. After a descent into moody ambience, the ensemble let it linger austerely at the end. In its own understated way, it was a showstopper.

The night’s wildest momehts came during William Brittelle’s dramatically shapeshifting Amid the Minotaurs. Brittelle has great musical wit, and this triptych was loaded with it. Inspired by famed Alabama coach Bear Bryant, who died barely a month after retiring from football, it juxtaposed a deadpan, sarcastic hymn with faux-operatic cheerleading and finally a power ballad of sorts that had Warnken namechecking Louis Farrakhan at the top of her register at full gale force: as Brittelle’s lyrics made clear beyond any doubt, death is not the least bit subtle.

Other works on the bill included a Shaw composition, Courante, its rustic, hymnal melody featuring vivid high/low contrasts speckled with unexpectedly jarring accents and bookended by whispery, breathy rhythmic interludes. Rinde Eckert’s Cesca’s View also explored rustic Americana, setting leaping, yodeling motifs against a warmly nocturnal backdrop punctuated by clever echo effects.

A piece by mErRiLl gArBuS, tHe oNcE aNd fUtUrE tUnEyArDs, wAs A sIgNaL tHaT iT wAs tImE tO lEaVe [sorry, couldn’t resist]. With groups like these, the obvious stars are found at the extremes: high soprano Esteli Gomez, with her effortless, spun-silk timbre; Shaw with her powerful, crystalline delivery; Beauchamp, who’s not afraid to go down low for laughs as well as power; and baritone Dashon Burton, who not only matched Beauchamp for lowdown impact, but also showed off a dazzling falsetto. Tenor Eric Dudley, soprano Martha Cluver and baritone Avery Griffin also had dazzling moments of their own, particularly when it came to throat-singing. For sheer thrill factor, on a good night for music, Roomful of Teeth were impossible to surpass.

October 7, 2012 Posted by | avant garde music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , | 1 Comment