Review of concert

Boston Modern Orchestra Project: Club Concert

Tuesday, February 7, 2006, 7:00 PM
Moonshine Room, Club Cafe, Boston, MA

Over the last year or so, the Boston Modern Orchestra Project has decided to let its hair down via a series of "Club Concerts," small ensemble presentations in an informal cafe setting where listeners are encouraged to arrive early or linger afterwards to enjoy a nosh or libation. It's Beantown's answer to the cabaret presentations of pre-war Berlin or Downtown based events at New York venues such as The Kitchen or La Roulette. The concert had its high and low points, but at its best was well worth checking out.

Surprisingly, most of the repertory encountered had a distinctly Uptown feel. For solo harp, Elliott Carter's Bariolage (1992) sprinkles the title effect (the quick alteration of static notes with changing pitches) throughout various points of this thoroughly Eastern Seaboard entry, though there are enough instances of extended technique use to make it a particularly colorful entry from this masterful composer's portfolio. Like all his work, it's an item both well-built and well-spoken. A second listen to the Duo for Flute and Percussion (1979) of Peter Child reinforced the notion that it's an especially charming and felicitous example of Atlantic Coast composing. Each of its four movements cleverly reinvents a classic genre such as the fantasy and two-part invention. By far the least starched-shirt entity heard this evening, Eric Moe's Teeth of the Sea (2003), gets plenty of variety out of its paired conga drum scoring. Starting out as an amiable and irresistible Caribbean-flecked toe tapper, it gradually gains drive and momentum as it unfolds. It's a delightful mix of appealing surface and subtle craft.

Black Anemones (1980) by Joseph Schwantner was less compelling. Heard here in a version for flute and harp, a further transcription of an arrangement for flute and piano from the composer's voice and piano original (got that?), it's languid and rhythmically square Impressionist music not far removed from the sonic world of Ravel and Debussy. Like a sheet of silver-colored wrapping paper, it's pretty but disposable. Ivan Patachich's Sonata for Flute and Harp (1978) is a three-movement selection that uneasily combines dissonant harmonies and the occasional special effect with straightforward rhythms and gestures that at times lean towards the Neoclassical. Despite a few attractive moments, the piece comes across as confusing and inconsistent.

Two of the three performers did extremely well this evening. Percussionist Robert Schulz combined exquisite ensemble sensitivity with virtuoso caliber execution in all possible circumstances. Sarah Brady's compelling flute presentation featured a solid sound, nimble fingers, and intelligent interpretation. The work of harpist Ina Zdorovetchi was of variable quality, generally good in ensemble work but often strident, twangy, and harshly toned in solo and other exposed situations.

With a few well-considered tweaks, this will be a most delightful and unusual addition to Boston 's new music scene.

--David Cleary