Fifty for the Future Commissioning Project — Kronos used Saturday February 11th’s concert to showcase some of the early entries in their “Fifty for the Future” project. Not only is Kronos recording all of the pieces for young quartets to hear; their website also includes free to download PDFs of scores and parts. Thus, they are creating a new repertory for quartets eager to learn about contemporary music.
Garth Knox — Some of the pieces, such as renowned violist Garth Knox’s “Dimensions” from Satellites, take on a didactic function. Knox features all manner of bowing techniques, including the surprisingly potent hissing sound of “air bowing.” It is a piece that is a catalog of special effects, but they are organically incorporated and the music is a brisk tour: it doesn’t overstay its welcome and stretch one’s appreciation of its charms.
Malian percussionist Fode Lassana Diabate’s Sundata’s Time: The master balafonist joined Kronos onstage for the first completed “Fifty For the Future” composition: Sundata’s Time. Each movement spotlighted a different instrument, along with a few extra cadenzas for balafon thrown in. These were most welcome. Diabate plays with an extraordinary grace and fluidity that not only was stirring in its own right, but brought out a different character entirely in Kronos’s playing. It was a most simpatico collaboration.
Kala Ramnath’s Amrit contains major scale ragas that craft a poignantly stirring work combining Eastern and Western gestures in a bold attempt to bring the two hemispheres’s musical traditions together.
Rhiannon Giddens’s At the Purchaser’s Option brought blues and roots music to the fore, genres that Kronos has played eloquently since their inception. Perhaps the most attractive piece on the program in terms of musical surface, its message went deeper, serving as a sober reminder of slave trade in 19th Century America. Giddens has a new Nonesuch CD out this coming Friday, titled Freedom Highway.
If Giddens’s piece was the most attractive on a surface level, Steve Reich’s Triple Quartet remained the weightiest in ambition and most thoroughly constructed of the programmed works. Written for Kronos, it features two virtual quartets on tape that accompany the live musicians (Kay and I are lobbying for more live performances of all three quartets, as that would really be something!). Overlapping ostinatos and stabbing melodic gestures provide a serious demeanor that resembles another piece played by Kronos with tape (of human voices): Different Trains. The rhythmic contours and syncopations provide ample amounts of challenges, but Kronos played seamlessly with the avatar-filled tape part. While “Fifty for the Future” is an important mission for Kronos, it is also heartening to hear some of their older repertoire being revived. The encore for the concert: an arrangement of “Strange Fruit,” the jazz protest song made famous by Billie Holiday.
Philip Glass turned eighty years old today. A celebration was held at Carnegie Hall tonight, a concert by the Bruckner Symphony Linz, led longtime Glass collaborator conductor Dennis Russell Davies in the premiere of the composer’s Eleventh Symphony and Three Yoruba Songs (with vocalist Angélique Kidjo).
In Nashville tonight, I’m not hearing any live Glass alas, but I am enjoying a brand new recording by Icelandic pianist Víkingur Ólafsson. Philip Glass – Piano Works, his debut for Deutsche Grammophon, features interpretations of the Études and excerpts from Glassworks. The Siggi String Quartet joins the pianist on some of the music, reworked to incorporate strings. Both here and in the solo selections, Ólafsson brings to bear a supple sense of phrasing and wide-ranging gestural palette. His playing stands starkly at odds with the seemingly irrepressible notion that ostinatos serve as motoric cogs in a supposedly limited minimalist vocabulary. He finds 1,000 flavors of repetition. Anyone who wants an point of entry to or refresher course on Glass’s music need listen no further than here to find bold, dramatic interpretations of his work.
This week, mezzo-soprano Joyce DiDonato has a new album out on Erato. InWar and Peace features arias by Handel, Purcell, and other baroque composers that deal with, as one might expect, bellicose and pacific themes. Her coloratura and ornamentation are impressive throughout, as is the purity and beauty of her voice. Il Pomo d’Oro, led from the harpsichord by Maxim Emelyanychev, provides supple and stirring accompaniment.
DiDonato is also using the album project as a springboard for conversations about ways to bring peace to our strife-torn world, with the hashtag #TalkPeace as its convergence point.
In addition to reviews of the album, making the rounds on the internet this week are two stirring stories. One, via NPR Music’s Deceptive Cadence, presents DiDonato in interview titled “On Why Art Matters in the Midst of Chaos” (listen via the embed below). The other is her series of inspiring masterclasses at Carnegie Hall (video via Medici.TV below). A consummate artist, skillful teacher, and a peace advocate? What’s not to like?
This Thursday at 8 PM, the Danish Piano Trio will make their US recital debut at Weill Recital Hall at Carnegie Hall. The group – Katrine Gislinge,piano, Toke Møldrup, cello, and Lars Bjørnkjær, violin – will present piano trios by Niels Gade and Felix Mendelssohn (one of my personal favorite chamber works, the swoon-worthy Piano Trio in D minor). The group will also present the premiere of Bent Søresen’s Abgesänge. Pianist Steven Beck guests, joining Møldrup in the world premiere of Geoffrey Gordon’sFathoms (Cello Sonata).
The group’s DaCapo recording Danish Romantic Piano Trios is out now.
Danish Piano Trio
Weill Recital Hall
December 17 at 8 PM
Student/Senior tickets: $10. available in person at box office only.
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