Posted by David Pearson »
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When I discovered that the International Contemporary Ensemble (ICE) was putting on an all-Gubaidulina program at Columbia University’s Miller Theatre on February 9, 2013, I jumped at the chance to attend. Sofia Gubaidulina certainly stands as one of the best and most original composers of the last several decades. Using cutting-edge instrumental techniques to great effect, Gubaidulina’s music is painted with innovative strokes of sound. Add to this canvas a compelling sensibility for solo voices that gives each composition different characters to work with, and the result is always fascinating. ICE, with its large pool of solid instrumentalists, seems capable of pulling off anything, no matter how difficult the score and how wacky the instrumentation. This makes them well-positioned to bring to life Gubaidulina’s always interesting selections of instrumentation, chosen with a deep knowledge of what the instruments are capable of and how to push their limits. Indeed, ICE’s Composer Portrait concert of works by Gubaidulina at Miller Theatre proved the prowess of composer and ensemble alike.
Bassoonist Rebekah Heller of International Contemporary Ensemble (photo credit: Larry Dunn)
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Posted by David Pearson »
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Despite it being the year 2013, the notion of art music is generally equated exclusively with the Western classical tradition. The American debut of I Sing Beijing at Lincoln Center’s Alice Tully Hall in NYC this past Saturday, however, exemplified the rich operatic tradition in China with excerpts from several works composed within the last century. Just as exciting as the music performed was the fact that the concert was the result of intensive training in Mandarin diction and rigorous vocal coaching of a number of young up-and-coming singers from around the world.
(photo credit: Chris Lee)
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Posted by David Pearson »
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The New Zealand String Quartet has shown much care and attention to detail in bringing to life the music of four Asian composers on their latest recording for Naxos. The CD, Asian Music for String Quartet, presents disparate sound worlds influenced to varying degrees by Asian music and instruments. The techniques, timbres, and stylistic nuances demanded of the performers would be a challenge for the best of ensembles, and it is testament to the New Zealand Quartet’s hard work, expressive sensitivity, and diligent interpretation that each composition’s unique qualities shine.
New Zealand String Quartet, image © Robert Catto, www.catto.co.nz, all rights reserved.
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Posted by David Pearson »
Add Comment »While there is perhaps an over-abundance of saxophonists capable of playing blaring high notes, blazing fast runs, and numerous other technical feats, there are few who have attempted to attain the more difficult accomplishment of blending with other instruments, let alone the human voice, with sensitivity and taste. Entering this abyss is saxophonist Zach Herchen, who has teamed up with soprano Elisabeth Halliday to create Emerging Voices. They commissioned three brand new pieces for their new CD, and included their inspiration for the sax / voice duo, Lori Laitman’s I Never Saw Another Butterfly. The naked combination of saxophone and soprano proves a success, creating excellent moments of blend and dialogue. I never felt like the pieces lacked an anchor despite the lack of a harmonic instrument.
Emerging Voices – Zach Herchen, saxophone & Elisabeth Halliday, soprano
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Posted by David Pearson »
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The new music scene in New York offers plenty of premieres, ensembles, and concerts, yet there are still many voids left to fill. One deficit is performances outside of hip neighborhoods and well-established venues in Manhattan and Brooklyn. Another is organic collaborations between musicians and choreographers, dancers, playwrights, actors, and filmmakers (you know, real multimedia, not just the obligatory laptop piece). Another is fostering young talent that isn’t yet established in the scene. And yet another is how infrequently you can walk away from a concert and say “that piece was really beautiful.” The Multicultural Sonic Evolution (MuSE) Sounds of Arts Festival, held November 28 through December 2, 2012, at The Secret Theatre in Long Island City, Queens, succeeded in filling all these voids with five vastly different programs.
MuSE Sounds of Arts Festival: “Welcome to New Yawk” finale with Rony Stav, Christopher Tefft, Josephine Patane, Mallory Keith, Eva Marie Mastrangelo, and Jonathan A. Perez (photo courtesy of MuSE)
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I’m not sure I’ve been to a solo instrumental recital as wide-ranging in its exploration of sounds and intriguing in its ideas as cellist Seth Woods’s performance on Friday, Nov. 16, 2012, at the DiMenna Center in New York City. Woods’s selection of music for the evening, all composed within the last decade and some in the last year, presented different techniques, timbres, and musical content in a way that was compelling and thought-provoking. What made this program succeed was how the musical ideas were allowed to develop, breathe, and come to life in Woods’s capable hands.
Cellist Seth Woods
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