Celebrating an Eclectic, Dynamic Force in Venezuelan Classical Music

“I’m having a great time up here,” bassist Gonzalo Teppa told his bandmates with an unselfconsciously grin. He’d been exchanging sly rhythmic riffs all night with the Jimi Hendrix of the cuatro, Jorge Glem. Not something you might expect at a concert celebrating the work of a pioneering classical composer.

Friday night at the Baruch Performing Arts Center, an all-star chamber orchestra played the first-ever career retrospective of music by Aldemaro Romero, a 20th century Venezuelan counterpart to Ernesto Lecuona. Romero came to New York at age 34 with his family and worked prolifically as an arranger in both classical and jazz before returning to found the Caracas Philharmonic Orchestra. His 1955 symphonic album Dinner in Caracas, focusing on his signature mashup of neoromanticism and a wide array of styles from across the Americas, was a huge global hit. His son Aldemaro Jr., a biologist and dean of the college, conducted a shapeshifting ensemble which also comprised the Alexander String Quartet, pianist/singer Selene Quiroga, pianist Gonzalo Grau and drummer Fabio Rojas.

In an eerie stroke of fate, the concert took place on the exact spot on 25th Street that housed the RCA studio where Romero Sr. recorded his famous album. The younger Romero, who also contributed a couple of witty cameos on melodica, did not know this until shortly before the performance. “It gave me goosebumps,” he admitted. That the energy and vitality of the show was as fresh as it was testifies not only to the liveliness of the music but also the fact that the group had come up with some of the charts only a couple of days beforehand.

And the concert was anything but stuffy. This music is full of life, and color, and much of it was made for dancing. Subtle rhythmic shifts were everywhere, referencing grooves from the Romeros’ home turf to Cuba, Mexico and ultimately, Spain. The most striking of the instrumental numbers was Capriccio for Viola and Piano, a world premiere given a vigorously incisive workout by Quiroga and Alexander Quartet violist Paul Yarbrough.

Another world premiere, the second movement of the Concerto for Teresa (a dedication to a Venezuelan New York Philharmnoic member ) rose from starkly elegaic into a lush, majestic remembrance. And the entire string section closed with Fuga Con Pajarillo, the most widely performed piece on the bill, an expansive bit of neoromantic dancefloor indulgence that brought to mind Astor Piazzolla’s late work.

When’s the last time you saw a classical pianist move to the mic for a display of vocal power and versatility? The elder Romero probably would have gotten a kick out of the fact that global audiences probably know Quiroga best as a member of irrepressible ska-punk band Desorden Publico. With dramatic flair and often plaintive nuance, she delivered a series of moody, crescendoing ballads, through the expectancy and longing of Quien to the bouncy, salsa-tinged El Musiquito to the uneasily lilting Lo Que Paso Contigo (What’s Up with You), backed by Glem and Teppa’s erudite jousting. Baruch’s choir the Blue Notes, strolling down the stairs on both side of the audience, added harmonic enhancement.

As is across the various CUNY campuses, diversity rules at Baruch. This is the real New York. The next concert in this year’s eclectic season is a holiday show on Dec 5 at 8 PM with pianist Eugene Marlow’s Heritage Ensemble, who blend acerbic klezmer and latin jazz sounds. Cover is $26/$11 stud.

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Brooklyn Rider Redefines What a String Quartet Is in the 21st Century

For the past few years, Brooklyn Rider have pushed the envelope pretty much as far as a string quartet can go, and in the process have raised the bar for other groups: they transcend any preconception about what serious composed music is all about. Their latest album, The Brooklyn Rider Almanac – streaming at Spotify – is their most ambitious effort yet, and may well be the one that most accurately captures what the group is all about. They draw on a wide composer base, including their own members, an A-list of mostly New York-based players and writers across the musical spectrum, from indie classical to Americana to rock and now even jazz.

It’s also a dance album in many respects – pianist/flutist Diana Wayburn‘s similarly eclectic Dances of the World Chamber Orchestra also comes to mind. Beyond the rhythms – everything from funky grooves to waltzes and struts and the hint of a reel or a stately English dance – dynamics are everything here. The pieces rise and fall and shift shape, often with a cinematic arc. The first track is Rubin Kodheli‘s Necessary Henry!, the group – violinists Johnny Gandelsman and Colin Jacobsen, violist Nicholas Cords and cellist Eric Jacobsen – establishing an ominous/dancing dichotomy out of a stormy intro. It may have originally been written for Kodheli’s snarlingly majestic cello metal band Blues in Space.

Maintenance Music, by Dana Lyn shifts from a lustrous fog with distant echoes of Pink Floyd’s Wish You Were Here to a slow waltz and then a chase scene – it’s the most cinematic piece here. Simpson’s Gap, by Clogs‘ Padma Newsome makes a good segue, an Appalachian ballad given bulk and heft with fluttering echoes, as if bouncing off the mountain walls and down into the valley below.

The Haring Escape, by saxophonist Daniel Cords veers from swaying, echoing funk, to slowly shifting resonance, to an aggressive march. Aoife O’Donovan’s Show Me is akin to something Dvorak would have pieced together out of a gentle Hudson Valley dance. Jazz pianist Vijay Iyer‘s Dig the Say gives the quartet a  theme and variations to work, a study in counterrythms, funky vamps bookending a resonantly atmospheric interlude.

There are two pieces by indie rock drummers here. Deerhoof’s Greg Saunier – most recently witnessed  trying his best to demolish the house kit at Glasslands a couple of weeks ago – contributes the most minimalist piece here, Wilco drummer Glenn Kotche’s Ping Poing Fumble Thaw being more pointillistic. The album continues on a kinetic path from here until the very end, through Ethan Iverson‘s Morris Dance – which blends contrastingly furtive and calm themes – then Colin Jacobsen’s Exit, with Shara Worden on vocals, a triumphantly balletesque, swirling, rather Reichian piece. The most rhythmically emphatic number here is by Gonazlo Grau, leader of explosive psychedelic salsa band La Clave Secreta. After Christina Courtin’s raptly atmospheric Tralala, the quartet ends with a warmly measured, aptly pastoral take of John Steinbeck, by Bill Frisell.