Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Caroline Shaw and the Attacca Quartet Rock Their New Classical Sounds at Lincoln Center

Why did the Attacca Quartet‘s performance of an all-Caroline Shaw program at Lincoln Center last night seem so much more vibrant, and ablaze with color, compared to a meticulous concert of much of the same material at National Sawdust back in 2016? This time out, the group seemed to size up the sonics and decided to go for broke – the atrium space on Broadway just north of 62nd Street is much more of a “live room” than the Williamsburg venue.

The fact that they’ve had so many months in between to get the music in their fingers was obviously a factor. And the composer was out in front of the ensemble, singing, channeling a jubilant rapport together that comes from years of collaborating.

Introducing the group, Lincoln Center impresario Jordana Leigh entreated the audience to stay off their screens and get lost in the music. And this was a sold-out, standing-room-only crowd; it’s as if the hordes of people who come out for the monthly salsa dance concerts here had come out for this one too. Anybody who thinks that classical music is dead wasn’t here.

The quartet opened with Valencia, a shout-out to a particularly juicy orange, an increasingly intricate interweave of subtly morphing, circular phrases contrasting with warmly emphatic riffage, a lot of spiky pizzicato handoffs between group members – violinists Amy Schroeder and Keiko Tokunaga, violist Nathan Schram and cellist Andrew Yee,

Shaw then joined them for a couple of art-songs: Stars in My Crown, where they pushed the boundaries of a calmly wistful Appalachian ballad further and further toward the edge, and Cant Voi L’aube, a stately, increasingly complex reinvention of a medieval French minstrel tune with a “forget me not” theme. Shaw has sung here before, as part of energetic indie classical choir Roomful of Teeth, and she was electrifying then. But getting to see her singing lead out in front of the quartet was a revelation. What a powerful, expressive, nuanced voice, completely in command as the harmonies grew more adventurous and the volume rose and fell. She was good when she used to play with Robin Aigner‘s oldtimey Americana band at Barbes back in the zeros; she’s a force of nature now.

She hinted that the seven-part suite Plan & Elevation – a guided tour of Washington’s Dunbarton Oaks garden – would be a thrill ride: “It gets pretty attacca,” she deadpanned. It’s a modern-day DC counterpart to Respighi’s Fountains of Rome: wild and crazy things seem to happen there, as Shaw seems to see it, juxtaposed with moments of hushed, verdant rapture.

She returned to the mic for a plaintive reinvention of the old hymn I’ll Fly Away: the poignancy in her delivery as she sang, “Take these shackles from my feet” was shattering. The song after that sliced and diced riffs from a couple of unfamliar top 40 songs beneath a familiar, rosy Gertrude Stein quote, a friend of Shaw’s joining the ensemble and playing daunting counterrhythms on a bowl of water tuned just a hair off, enhancing the persistent unease.

The quartet danced through the joyous anticipation and technical challenges of Entr’Acte, with plucks and harmonics and the occasional devious glissando. They closed the concert on a counterintuitive note with And So, fading down to an extended hush.

The Attacca Quartet are playing the album release show for Schram’s new electroacoustic record at the second-floor space at 1 Rivington St. on Nov 23 at 8 PM; cover is $20/$10 stud/srs. The next concert at the Lincoln Center atrium space is tonight, Nov 15 at 7:30 PM with percussionist Edwin Bonilla and his oldschool salsa band. Get there early if you want to get in and dance.

November 15, 2019 Posted by | avant garde music, children's music, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , | Leave a comment

The Attacca Quartet Play a Seriously Fun Caroline Shaw Program at National Sawdust

Considering that string players ought to be ideally suited to writing string quartets, Caroline Shaw is not only a capable violinist but also a strong singer with a background in choral music. So the cantabile quality and sheer catchiness of her string quartets were hardly a surprise when the Attacca Quartet played a grand total of five of them at National Sawdust Sunday evening.

Shaw won a Pulitzer Prize for a piece whose ambition trumped content. The works on this bill made for a far more accurate and rapturously entertaining survey. The Attaccas chose well in championing her, and she deserves champions as committed to and capable of tackling her often dauntingly challenging if reliably tuneful and ever-growing repertoire.

The influence of Bach shone clearly throughout several of these pieces, but through the prism of Philip Glass, in terms of elegantly circling, hypnotic, subtly shifting motives and arpeggios. Distant echoes of late Beethoven and a “nested Bach cantata,” as Shaw grinningly put it, were present. There were also flickers of composers as diverse as Kaija Saariaho and Per Norgard, particularly during the music’s most shimmery, atmospheric moments, most of them a setup for Shaw’s next surprise. None of these pieces followed the traditional four-part mold. The most expansive was Plan & Elevation, an uninterrupted, seven-part suite inspired by the greenery at Dunbarton Hall, a Washington, DC area landmark. The shortest and most overtly triumphant was Valencia, the concluding number, its lithe, loosely tethered, balletesque flourishes celebrating the virtues of a particularly juicy orange, bursting with flavors both sweet and acidic.

Shaw writes very generously for string quartet. Second violinist Keiko Tokunaga got plenty of time in the spotlight, as did first violinist Amy Schroeder and violist Nathan Schram, as Shaw’s kinetic phrasing lept from voice to voice. She makes maximum use of a cello’s most stygian resonances, delivered exuberantly by cellist Andrew Yee. The opening work, Entr’acte, featured all sorts of hushed, muted harmonics, microtones and the occasional devious glisssando. Each member of the quartet seemed pushed, if quietly, to the limits of their extended technique with volley after volley of pizzicato, in addition to gentle doppler or siren effects.

One number explored a Roland Barthes concept about the perception of a particular tone. Punctum, the next-to-last piece, Shaw averred, means both “point” in Latin and also the opening of a tear duct: it turned out to be more of a pensive pavane than a cavatina. The sold-out audience was drawn in raptly and finally exploded in applause: nobody knew when the concert was going to end since there was no program printed or online, at least at the venue’s page. It’s hard to think of an ongoing string quartet cycle that’s going to be more fun to keep in touch with than this one.

The Attacca Quartet’s next New York concert is on January 20 at 7:30 PM featuring Beethoven’s String Quartet No 10, Op 74, “Harp” in E-flat Major, and String Quartet No 9, Op 59 No 3 in C Major, plus Michael Ippolito’s Big Sky, Low Horizon, at Church of the Holy Trinity, 3 W. 65th St.

December 13, 2016 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , | Leave a comment