CONTENTSCONTRIBUTOR BIOS: Evan Hause, 3 LIVE EVENTS
|
The Many Ways of Looking at a Blackboard David Cleary Sebastian Currier: Vocalissimus (1991); Tod Machover: Towards the Center (1989); August Read Thomas: Passion Prayers (1999) Collage New Music, David Hoose (cond.), Joel Moerschel (cello), Susan Narucki (soprano). Collage New Music. C. Walsh Theatre, Suffolk University, Boston, MA. October 27, 2002. Collage New Music’s season opener trained its spotlight on three of America’s most successful mid-career composers, Sebastian Currier, Tod Machover, and Augusta Read Thomas. It proved to be a highly enjoyable event filled with compelling music and fine performances. Poet Wallace Stevens is arguably best known for his "Thirteen Ways of Looking at a Blackbird." Currier’s Vocalissimus (1991), scored for soprano, Pierrot ensemble, and percussion, presents even more ways of looking at another of this writer’s classic works, "To the Roaring Wind." Here, the composer casts this short poem in a remarkably varied number of settings ranging from consonant to clangorous, boisterous to bashful, goofy to grave, and everything in between. The styles encountered show as much contrast as those found in John Zorn’s jump-cut assemblage essays such as For Your Eyes Only—but Currier gives his kaleidoscope of moods and techniques sufficient time to establish themselves and furthermore presents them in a long range construct that satisfies. And there’s loads of personality and polish to the writing. Eclectic? No doubt. But it works splendidly. Passion Prayers (1999) by Thomas, while employing the aforementioned Pierrot quintet with added harp and percussion, uniquely allows the cellist to step very much to the fore. This is in fact a miniature cello concerto with small ensemble accompaniment. The orchestration and instrumental writing here is wonderfully effective—everything sounds like the proverbial million bucks. And Thomas is mindful of structure as well, casting this work as a set of variations which exhibits the ideal pairing of maximal contrast and minimal motivic content. Expressive and passionate, it’s a fine listen. Surprisingly, Machover’s Towards the Center (1989) sounds as fresh as the day it was written despite relying on computer technology that’s over a decade old. It too presents a personal wrinkle on the classic Schoenberg grouping, replacing the piano and percussion with computerized counterparts. The music, while often densely textured, never sounds turgid—this is spry stuff with more energy than a hummingbird on caffeine. And its frequent use of pop music elements sounds integral, never forced, coexisting nicely with the post-Copland sound world that prevails here. It’s a pleasure to hear. Conductor David Hoose led his highly accomplished players with rock-solid assurance, expertly laying bare the essential core of all three pieces. Cellist Joel Moerschel gave a fine accounting of the solo line in Passion Prayers that ideally mixed heartiness and accuracy. And soprano Susan Narucki sang the Currier excellently, sporting a voice that sounded full and controlled no matter the register or vowel involved; her enunciation was fine. Even composers the caliber of Currier, Machover, and Thomas need fine players to realize their inspired creations. Bravos to Hoose and Collage for being every composer’s dream come true. |