November 15, 2017
Weill Recital Hall
Works by Gosfield, Moravec, Machover, Lansky, and Ben-Amots
NEW YORK – Since 2013, pianists Susan Grace and Steven Beck have been performing together as the duo Quattro Mani. Their recent recital at Carnegie Hall’s Weill Recital Hall presented several New York premieres, including pieces by Annie Gosfield, Paul Moravec, Tod Machover, and Paul Lansky. Gosfield’s mix of dissonance with rollicking rhythms was winning in “Refracted Rhythms and Telepathic Static.” Lansky’s three Color Codas – “In the Red,” Purple Passion,” and “Out of the Blue” – indeed embodied multihued harmonies and sparking ostinatos. Moravec writes in an elegant, idiomatic style for the piano. His Quattro Mani contains a substantial amount of memorable material — dare one hope it is a sketch for a double concerto? The evening culminated in a scintillating performance of John Adams’ Hallelujah Junction, which was both fiery and superbly coordinated.
Quattro Mani’s latest CD recording for Bridge Records, Re-Structures, is an engaging outing. The title work, also heard at Weill Hall, is by Machover. Scored for piano and electronics, it juxtaposes frenetic acoustic virtuosity with correspondingly penetrating digital commentary. Lansky’s Out of the Blue, one of the Color Codas also on the New York program, is an attractive post-minimal exploration of small cells of material that gradually expand into boisterous passages in octaves and quick scalar runs.
The multi-movement work Cembal d’Amore, Book Two by Poul Ruders changes up the duo’s instrumentation: Beck plays harpsichord while Grace remains at the piano. Its corruscating textures, varying duplications and canons in a sequence of movements based in part on Baroque dance suites, revels in chromaticism and wry wit in equal measure. Yet another shift in approach is found in Életút Lebenslauf by György Kurtág. Basset horns, played by Andy Stevens and Sergei Vassiliev, accompany the pianists playing instruments tuned in microtones. Mysterious timbres bump elbows with thornily dissonant angularity in a piquant, unforgettable piece.
The CD’s closer is a bit more straightforward, but no less captivating. Tango for the Road by Ofer Ben-Amots is an eight-minute long exploration of traditional tango rhythms and gestures, with a few surprises and a left turn or two along the way. The piece gives Grace and Beck an ideal vehicle to showcase the supple phrasing and suavity they bring to bear whenever given a chance to swing.
Re-Structures is an adventurous exploration of many facets of 21st century piano music: highly recommended.