Talea Ensemble spotlights immature composers in Contempo deteriorate opener
October 28, 2017 - table lamp
The University of Chicago’s Contempo garb launched a 53rd deteriorate Friday night during a Reva and David Logan Center for a Arts in Hyde Park. Formerly a Contemporary Chamber Players, Contempo altered march 13 years ago underneath then-director Shulamit Ran to turn a “new song collective”–one showcasing a talents of a university’s composers and proprietor ensembles as good as guest performers.
Contempo hosted a New York-based Talea Ensemble as one of a latter. Talea’s program, rather grandiosely dubbed “The Young and Brilliant,” was clinging to song of 5 European composers in their 30s.
In her brief opening remarks Contempo artistic executive Marta Ptaszyńska pronounced she sought “variety” above all in selecting a repertoire for this program. This she positively achieved, convention 5 works in a far-reaching operation of compositional idioms that done for an fascinating evening. Four of a 5 selections were being listened in their U.S. premieres, a shutting Ondřej Amámek work in a Chicago premiere.
The module non-stop with dual movements of Danish composer Nicolai Worsaae: “Griet’s Træ,” a final transformation of his WaWV (Wesenheit ab Wesenheit Vollendet, or, “Being from Being Completed”) and Du hast gesagt, Vol. 3, an addition to a former. Both are scored for soprano, drum clarinet, percussion, double bass, and electronics, “Griet’s Træ” takes as a content a poem by a East German view Jörg Meyer, combined while he was hold in unique capture in Denmark in a 1970’s, and Du hast gesagt, Vol. 3 sets a judgment from The Communist Manifesto.
Extended techniques everywhere in these dual brief extracts. When not singing succinct speechless phrases, soprano Alice Teyssier spent most time alternately floating tonelessly into a trumpet, clacking a valves, and smacking a mouthpiece, while percussionist Matthew Gold drew a crawl opposite divers equipment including bicycle spokes and a list lamp. Impossibly high harmonics on a double bass, serve pivotal clacking on a drum clarinet, and a recording of Meyer reading his poem dull out a textures. Conductor James Baker one these several elements into a constrained evocation of a penetrating gloom a spy-poet experienced.
Justyna Kowalska-Lasoń’s A Light exists in Spring for fibre party was subsequent to accept a U.S. premiere. The 4 players were heavily amplified, that authorised them to play with soothing timbres that nonetheless came opposite as forcefully present. Large swaths of a works are peaceful and loosely tonal. Upon loudness these textures combined an fragile stasis, uneasy usually by sickly, pointed slides called for by a Polish composer. Alternating vibrated sections supposing moments of contrariety in this worthy opus.
Vito Žuraj’s garb work Framed sealed a initial half. The work’s pretension refers to a unfortunate materialisation in tennis when a actor inadvertently hits a round with a support of his racquet, promulgation it in some erring direction, mostly a approach of spectators. The records Žuraj supposing for a work advise it is structured along swapping soli-tutti lines, though this form was not distinct on a initial hearing. Mostly a work consisted of pitchless pointillist sound — pivotal clacking, percussive effects on piano, and pizzicato flurries. While on initial confront Framed might come opposite as formless, there is an definite caprice to a rinse of “effects,” and again conductor Baker led an satirical and committed opening from a Talea players.
British composer Christian Mason’s Noctilucence non-stop a second half. Scored for an stretched Pierrot garb (including a second violin, viola, and percussion), Noctiluence takes a name and impulse from singular noctilucent clouds, that form in a tip reaches of Earth’s atmosphere. This is conveyed around an underlying, churning line distinct some-more or reduction from a singular movement’s commencement to end, ornate with angled interjections from piano, piccolo, and E-flat clarinet, as good as spastic gestures from a fibre players in their possess instruments’ stratospheres.
The dusk sealed with a Chicago premiere of Adámek’s Ça tourne ça bloque. The work is built around recordings Adámek done during a residency in Kyoto of his French friends watching informative differences between a Japanese and themselves. Adámek heavily edited and spliced a recordings, chopping adult difference and sentences. Translated supertitles plan a difference themselves, though even these, too, turn disorganized, angled and superimposed, eventually imitative an e. e. cummings poem in motion. Ça tourne ça bloque is innovative and palpably dance-like throughout, in moments sounding like a 21st-century Rite of Spring.
Baker had to stop conducting and take a work from a tip since of a malfunctioning monitor. That emanate was accurate quickly, and Baker and a Talea players gave a rousing comment of Adámek’s enchanting work.
Contempo earnings to Logan Center on Feb. 9 during 7:30 p.m. The jazz double-bill facilities a Imani Winds, Ensemble dal Niente, and pianists Daniel Pesca and Craig Taborn in works by Marta Ptaszyńska, Reena Esmail, and Augusta Read Thomas. https://chicagopresents.uchicago.edu/series/contempo