Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

An Intriguing US Premiere and Some Nordic Rarities

Classical music fans in New York looking something more interesting than the same old standards have numerous options. Among the best of these is the New York Scandia Symphony, who dedicate themselves to reviving interest in lesser-known Nordic composers as well as premiering new works by emerging composers from the upper reaches of that hemisphere. Last night at Victor Borge Hall in Murray Hill, the highlight of the night, performed by a twelve-piece chamber version of the orchestra, was the American permiere of contemporary Danish composer Anders Koppel’s Symphonie Concertante. A triptych, it’s a characteristically enigmatic and absolutely fascinating work, something to get lost in if not for the endless tempo and stylistic shifts. Conductor Dorrit Matson, a Dane herself, led the ensemble seamlessly through a wary, pulsing first movement that evoked Astor Piazzolla’s later work before engaging Steven Hartman’s clarinet and Andrew Schwartz’s bassoon in a long round of animatedly crescendoing rhythmic hijinks over the swells of the strings and eventually a labyrinth of polyrhythms. And yet, the jousting stopped abruptly during the early part of the second, Largo movement and turned to apprehension, reaching near-horror proportions via the chilling, Bernard Herrmann-esque string motif around which the final Allegro appassionato movement was centered. A celebrity in his native land ever since his days in popular rock band Savage Rose, Koppel deserves to be much better known here.

Another highlight of the program was Symphony violist Frank Foerster’s Suite of Scandinavian Folk Tunes for string ensemble. Foerster is a very eclectic player and has a great wit – another suite of his, Summer in Fort Tryon Park, is a quintessentially New York tableau, packed with irresistible on-location references. This piece is more serious, a rugged hardanger fiddle-style sea motif linking a series of portraits of several of the Nordic nations: by this account, the Norwegians and Swedes are a serious bunch given to vivid dramatics, while the Finns and Icelandics are party animals. Opening the concert, Matson and the group took Swedish baroque composer Johan Helmich Roman’s Haydn-esque Violin Concerto and tackled its rather rugged, stern underpinnings with a muscular sway beneath violinist Mayuki Fukuhara’s spun-silk swirls; a bit later, Hartman was featured in a velvety version of the Adagio from the Clarinet Concerto, Op. 11 of Bernhardt Henrik Crusell, a Swedish contemporary of Mozart. They closed with enjoyably jaunty yet precise takes on the Prelude and Rigaudon from Grieg’s Holberg Suite. Concerts like this only add intrigue to the question: what have else we not yet heard from this particular part of the world that deserves to be known equally well over here – and when is this orchestra going to play it?

March 23, 2012 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , | Leave a comment

Concert Review: The Scandia String Quartet at MOSA 4/18/10

Like their big sister the NY Scandia Symphony, the Scandia String Quartet dedicate themselves to popularizing Scandinavian composers who are too frequently unknown here. Violinists Mayuki Fukuhara and Elizabeth Miller, cellist Lawrence Zoernig and violist Frank Foerster are the orchestra’s power hitters. Conveniently and fortuitously, Foerster also happens to be a first-rate composer. This program at MOSA uptown Sunday evening featured several of his stark, dramatic arrangements of folk songs from throughout Scandinavia in addition to the world premiere of his composition Summer in Fort Tryon Park. Whimsical but hardly shallow, it painted a lively, multicultural weekend afternoon scene with latin, klezmer and Polish flourishes (the latter an ode the joys of morphine), a brief, torrential downpour and an ice cream truck. The central theme took the shape of a surprisingly somber canon, the audio equivalent of a Time Out NY cover collage by Diane Arbus.

Foerster and the quartet gave the folk songs a majesty that transcended their humble origins. Finland was represented by a heroic theme, a wistful waltz and a carefree dance tune, Iceland by a handful of striking, otherworldly modal numbers, a “winter dance” that moved from a disquietingly modal march to Vivaldiesque revelry, and a potently staccato interpretation of the famous Dangerous Journey on Horseback. Another contemporary composer, Zack Patten was represented, his warily atmospheric, aptly titled Kierkegaard floating uneasily on a series of ninth intervals up to a powerful crescendo sung by contralto Hanne Ladefoged Dollase, and then out much the way it came in.

All this made the big finale, Grieg’s String Quartet in G Minor, Op. 27. somewhat anticlimactic, testament to the quality of what had preceded it rather than the Quartet’s inspired performance as they played up its tensions for all they were worth. Written after the composer had left the city for the famous country fiddling town of Hardanger, it’s a tug-of-war, comfortably convivial urbanity (which eventually wins out in the end) versus the wild lure of the unknown. Zoernig described it beforehand as something of a missing link between the late Beethoven quartets and Debussy or Bartok, which vividly made sense, notably toward the end in the evil gnomish stampedes straight out of the Mountain King’s cave. This along with the heroic central theme (an Ibsen song) gave Zoernig and Foerster their chance to blaze through the darkness and they seized each moment as it came along.

The Scandia String Quartet’s next performance is May 13 at Victor Borge Hall at Scandinavia House, 58 Park Ave. featuring many of the most appealing works from this bill including the Foerster original, the Patten and Grieg along with works by Sibelius. And as they’ve been doing for the past few years, the Scandia String Quartet will present a series of outdoors concerts in Ft. Tryon Park this June on Sunday afternoons.

The MOSA series at Our Savior’s Atonement at 189th St. and Bennett Ave. continues as well; the next concert features avant garde adventures Ensemble ACJW on June 6 at 5 PM.

April 22, 2010 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment