Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

It’s Been a Typically Eclectic Year at Upper Manhattan’s Home for Adventurous New Classical Sounds

If new classical music is your thing, don’t let any possible twee, gentrifier associations scare you away from the Miller Theatre‘s series of so-called “pop-up” concerts. For almost a decade now, Columbia’s comfortable auditorium at the top of the stairs at the 116th St. stop on the 1 train has been home to an often spectacularly good series of free, early evening performances of 21st century works along with the occasional blast from the past. The name actually reflects how impromptu these shows were during the series’ first year, and while the schedule now extends several months ahead, new events still do pop up unexpectedly. Sometimes there’s free beer and wine, sometimes not, but that’s not the main attraction, testament to how consistently solid the programming here has become.

This past fall’s first concert was a revelatory world premiere of John Zorn’s new JMW Turner-inspired suite for solo piano, played with virtuosic verve by Steven Gosling; that one got a rave review here. The October episode, with indie classical chamber ensemble Counterinduction playing an acerbic, kinetic series of works by their charismatic violist Jessica Meyer, was also fantastic. Various permutations of the quintet, Meyer joined by violinist Miranda Cuckson, cellist Caleb van der Swaagh, clarinetist and bass clarinetist Benjamin Fingland and pianist Ning Yu began with the dappled shades of I Only Speak of the Sun, then brought to life the composer’s many colorful perspectives on Guadi’s Sagrada Familia cathedral in a dynamic, high-voltage partita. The most bracing number of the evening, Meyer explained, drew on a David Foster Wallace quote regarding how “ the truth will set you free, but not until it lets you go,”

There were many other memorable moments here throughout the past year. In February, Third Sound played an assured but deliciously restless take of Schoenberg’s Chamber Symphony No. 1 along with a mixed bag of material from south of the border. A month later, pianist Marilyn Nonken parsed uneasily lingering works by Messiaen and Tristan Murail.

Then in April, Rebecca Fischer delivered a fascinating program of solo violin pieces along with some new solo arrangements. The highlight was a solo reinvention of Missy Mazzoli‘s incisively circling Death Valley Junction. Fischer also ran through an increasingly thorny, captivating Paola Prestini piece, along with brief, often striking works by Lisa Bielawa, Gabriela Lena Frank and Suzanne Farrin.

Last month, Tak Ensemble tackled elegantly minimalist chamber material by Tyshawn Sorey and Taylor Brook. And December’s concert featured firebrand harpist Bridget Kibbey, who played the Bach Toccata in D faster than any organist possibly could, then slowed down for simmering, relatively short pieces by Albeniz and Dvorak among others.

The next Miller Theatre “pop-up” concert on the calendar is next January 21 at 6 PM with violinist Lauren Cauley.

December 23, 2019 Posted by | avant garde music, classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Subtlety and Savagery From the Rhythm Method String Quartet at Roulette

This past evening’s performance by the Rhythm Method String Quartet at Roulette was a stunning display of fearsome extended technique and fearless programming. The American avant garde has a long and sometimes painfully precious tradition of art strictly for art’s sake – and this all-female quartet seem hell-bent on changing that. Beyond the concert’s transgressive themes, from Margaret Atwood dystopia to the struggles of women and immigrants, the segues between the works on the bill followed as well musically as they did thematically.

To what degree was this music successful in translating those ideas? Circling, repetitive phrases stopped and started unexpectedly, with syncopation that defied any attempt to predict it. Slowly and methodically, the group built momentum, a vividly recurrent trope throughout a series of works, mostly by the group themselves. A reflection on, say, how the Metoo movement has reached critical mass, or how gains for human rights won by previous generations built a foundation for today’s movements? Maybe. Whatever the case, there was plenty of suspense punctuated by drama…and a savagely conflagrational payoff at the end.

All of this pushed the limits of how a stringed instrument can be played. If there was a central theme, musically, it was flickery, slithering, whispery, silken textures punctuated by more emphatic gestures. all of them requiring minute inflections within the most delicate high harmonics.

The centerpiece was Lewis Nielson’s Le Journal du Corps, whose sepulchral wisps and poltergeist accents engaged not only the violins of Leah Asher and Marina Kifferstein but also Wendy Richman’s viola and Meaghan Burke’s cello. Subtly but matter-of-factly, the group developed a theme and variations that relied more on attack than melodic shifts, an illustration of an Aime Cesaire poem giving voice to the horrors endured by slaves, and their resilience against those injustices.

Kifferstein’s An Alien with Extraordinary Abilities foreshadowed that piece, notably with its herky-jerky, off-kilter rhythms, although melodically it was closer to horizontal music. Likewise, Asher’s Hollux Rey relied on rhythmic variations for its dynamics, an almost punishing maze of glissandos, plucks, squirrelly shivers and the occasional siren or doppler effect.

Everyone in the group sang, cool and calm, in contrast to the music’s flashes of agitation. Burke spent more time on the mic than anyone else since she’d contributed two pieces to the program, driving the music to a crescendo midway through. Her work as a soloist and bandleader is closer to the subversive cello rock of Rasputina or the stark grooves of the Icebergs, and this pair of alternately atmospheric and incisively propulsive tunes had a similarly sharp sense of melody. The first, Siren Song, referred to The Handmaid’s Tale and was the more serious. The second, Hysterie, was inspired by primitive medical attempts to cure hysteria, once thought to be exclusively a female malady. Burke got the crowd howling by revealing that doctors once employed primitive vibrators as a treatment: “Everybody wins…or maybe doesn’t win,” she mused.

The quartet encored with the incendiary shrieks and jet-engine trajectories of Kristin Bolstad‘s And Nobody Gets Everything Right, screaming their way through the intro – literally – and concluding with a fierce swordfight, Asher and Kifferstein duking it out with their bows. Asher won; the audience basically didn’t know what hit them.

The next concert at Roulette is April 3 at 8 PM with new music chamber group Tak Ensemble – with Kifferstein on violin once again – playing an all-Mario Diaz de Leon program including a New York premiere for bassoon and electronics and his 2016 Sanctuary suite. Advance tix are $20; there may be some sonic extremes but probably no swordfighting. 

March 29, 2018 Posted by | avant garde music, concert, Live Events, Music, music, concert, New York City, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment