Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Concert Review: Sospiro Winds at Music Mondays, NYC 10/19/09

The Sospiro Winds have quietly and methodically insinuated themselves as a particularly adventurous fixture in the New York music scene. It was particularly auspicious to see a good crowd assembled, on a Monday night no less, for the quintet’s program of exciting, obscure woodwind ensemble pieces (memo to other concert promoters: new music is commercially viable, especially if it’s this good!). The group opened with Viennese Romantic composer Alexander von Zemlinsky’s Humoreske, a little post-baroque style introduction (actually an etude, as one of the group explained) that set a convivial tone for the rest of the evening. In stark contrast, the great Hungarian modernist Gyorgy Kurtag‘s Quintetto Per Fiati was a stark and frequently disturbing, cinematic partita in eight sections that ran from an ominously minimalist intro through a series of boisterous and surprise-laden grapples with demons and syncopation. There’s a horror movie out there somewhere that needs this piece. Another partita, by the German post-Romantic Theodor Blumer moved from “fresh and fiery” to an insistently crescendoing conclusion.

The second half of the show was also replete with surprises. Contemporary American composer Derek Bermel’s Wanderings for Woodwind Quintet cleverly cached away a rousing klezmer dance within its first section, Gift of Life, turning plaintively percussive with Two Songs from Nandom, a particularly imaginative arrangement of an organ piece built on echo devices. Hector Villa-Lobos, a favorite of the group, was represented by the characteristically colorful, flamenco-inflected Quintette en forme de Choros. They closed with an Elliott Carter number that, even without a program (serves us right for getting to the venue at the eleventh hour) was obviously him, perversely atonal yet still managing to be cloying. Flutist Kelli Kathman gets top billing in the group, likely due to her Bang on a Can cred (she’s a member of SIGNAL); joining her with a swaying, passionate but precise attack was oboeist James Austin Smith. Clarinetist Romie de Guise-Langlois made her most difficult, sonically expansive passages look easy, as did the group’s newest member, French horn player Alana Vegter while Adrian Morejon gave a clinic in power and precision on bassoon, tackling all sorts of challenging staccato passages with fire and aplomb.

Music Mondays is an ambitious monthly series at the comfortably rustic old church at the northeast corner of 93rd and Broadway, currently home to two congregations, Advent Lutheran Church and Broadway United Church of Christ; watch this space for upcoming events.

October 21, 2009 Posted by | Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

QNG Live at Barbes, Brooklyn NY 3/9/08

At first glance, the concept seemed forced and contrived: four attractive, ponytailed women in matching black t-shirts and pants playing rigorously arranged music for recorder. But QNG (as in Quartet New Generation) proved to be much more than just the latest attempt to market classical music as theme-pop, playing an impressively versatile mix of classical and new music with equal amounts of passion, wit, playfulness and rigor. Without a program, it wasn’t always easy to tell precisely what they were playing, but there was a tradeoff: drinks and a nice waitress to bring them! Carnegie Hall suddenly seems boring by comparison.

They began with a baroque work: imagine Scherzo fur Krummhorn by Georg Bohm, if in fact it exists (probably not, but you get the picture). After that, they did a circular, hypnotic modern work, reminding a lot of Chicago downtempo improvisers Tortoise. They followed with the last, unfinished piece that Johann Sebastian Bach ever wrote, a fugue. It’s not one of his major works, but it’s still Bach, melodic with a slightly detached melancholy. The group stopped it cold where it ended, unexpectedly, and after a meaningful pause played the ending composed by one of his sons. The quartet had brought what seemed to be an entire factory floor worth of recorders in various sizes and types of wood, the players sometimes alternating between several within a single song. One was a large, boxy, rectangular wooden instrument capable of of playing chords on notes far lower than one would ever expect from a recorder. At times where the highs were matched by lows, it was as if an organ was playing, testament to the group’s tightly synchronous feel for the music.

They also did an arrangement of a medieval madrigal worthy of Bach along with a new piece by contemporary composer Paul Moravec on the theme of water heating to a boil, whose predictable, long crescendo was quite enjoyable until the end, which was painfully akin to listening to a roomful of teakettles screeching away at full steam. They also played another new piece that annoyed with an incessant pizzicato rhythm until a sudden macabre swell followed by a frenetic chase scene, and then it all became clear: the composer’s simply trying to be Mingus. The group ought to take some liberties with it and give it some muscle in the early going. But all in all, this show was a revelation, the last thing one would ever expect to hear in the back room of a Gallic-themed bar in Park Slope, Brooklyn where QNG earned a rousing ovation for a performance that was as adventurous as it was virtuosic.

The monthly classical series at Barbes, needless to say, is a welcome development. Here’s hoping that they continue with it: early Sundays are usually a wash as far as bar traffic is concerned, so it ought to bring some extra bodies into the place while maintaining Barbes’ reliably high standards.

March 10, 2008 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , | 1 Comment