Continuum in Review

Continuum
Merkin Concert Hall, New York, NY
May 1, 2011
 

Top: Elliott Schwartz, Ileana Perez Velázquez, Carman Moore; Bottom: Ursula Mamlok, Roberto Sierra, Wang Jie

 

You can be fairly sure you are at a Continuum concert when the “earliest” music on the program dates from 1998, when everything else is a New York or World Premiere, and when you hear music differently for at least several days afterward. Such was the case recently at Continuum’s 45th birthday concert. They continue, as they have indefatigably for decades, to bring us fascinating music by relative newcomers and composers of international stature.

U.S. composer Carman Moore (b. 1936) was featured first, in a work entitled “SHE”  (An Appreciation – 2010) scored for an ensemble of four, including soprano, violin, clarinet, and piano. Organized according to what the composer describes as “the five archetypes of female life,” (from infancy through old age), this imaginative and involving work weaves quotes of Lord Byron, Lucretius, Sun Bu-Er, and Basho into the composer’s original text, a paean to women. An intriguing conception, its was brought to life appropriately by the four extremely gifted female performers.

Veteran Continuum violinist Renée Jolles shone next in a virtuoso performance of Sonata para violin y piano (2010) by Roberto Sierra (b. 1953). A tour de force requiring sensitive dovetailing with the pianist, precision in what Sierra calls “my own versions and transformations of Caribbean rhythms,” and tireless technique for just about every violin challenge in the book, it was handled with an ease that was impressive, especially considering that Ms. Jolles was engaged onstage for all of the roughly seventy minutes before intermission.

Using the same instrumentation as “SHE,” Continuum concluded its first half with “A Longing for Spring, A Multi-language Song Cycle” (2011) by Shanghai-born Wang Jie (b. 1980). Set to a Tang Dynasty poem by Tu Fu (712-770 AD) the work’s evocations of nature, war, torment, and tears were enhanced by super-titles and calligraphy projected onto a screen. There were so many ways to appreciate this composition, through sight, sound, and meaning, that interest never lapsed. One could not possibly grasp it all in a single hearing, but Ms. Wang’s multi-faceted work will undoubtedly earn future performances. She is certainly an artist to watch.

Some of my favorite music of the evening was in the opening of “Idolos del sueño”  (“Dream Eidolons” – 2010) by Cuban-born Ileana Perez Velázquez (b. 1964). Soprano, clarinet, violin, cello, and piano conveyed the transparency of water and ephemeral reflections in an almost miraculous way, drawing the mesmerized listener into the world of Cuban poet Carlos Pintado. Not all of the work held me quite as strongly as the beginning, but I do look forward to hearing more by this talented composer.

Continuum paid tribute next to the 75th birthday of Elliott Schwartz (b. 1936) with a performance of his “Vienna Dreams” (1998), an appealingly nostalgic trio for clarinet, viola, and piano using fragments of Mozart, Schubert, and Brahms (and as the notes suggested, the presence of Mahler and Schoenberg hovering nearby). It was given a winning performance, as was the finale of the concert Mosaics (2011) by Ursula Mamlok (b. 1923). Mosaics, a four-hand piano work composed with a particularly artistic use of serialism, combined the forces of the ensembles founders, Joel Sachs and Cheryl Seltzer, in a fitting close to a celebration of 45 great years.

All works benefited from excellent performances of Mary Elizabeth Mackenzie, soprano; Moran Katz, clarinet; Renée Jolles, violin; Stephanie Griffin, viola; Christopher Gross, cello; Joel Sachs, piano; and Cheryl Seltzer, piano.

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Continuum in Review

Continuum in Review
Northern Exposures II: Canadian New Music—The Trailblazers
Americas Society
December 13, 2010 

Left to right: R. Murray Schafer, John Weinzweig, Ann Southam, Claude Vivier, Barbara Pentland, Gilles Tremblay, Diana McIntosh

In the second concert of a series featuring Canadian music, Continuum went back into time to present music from an older generation (works mostly from the 70’s and 80’s) and entitled the program “The Trailblazers”.  (The first concert in this series featured Canada’s more contemporary composers.) This program—like the first—did not disappoint, as the music was gripping, daring or sweetly pastoral; and it was once again varied, enlightening and well-prepared.

The concert opened with harpist Bridget Kibbey’s magnificent performance of R. Murray Schafer’s “The Crown of Ariadne”. The work, which asks the harpist to play percussion in addition to the usual duties, was as captivating as the performance itself; it was innovative from start to finish. Barbara Pentland’s Caprice for solo piano was short but sweet—superbly rendered by pianist Cheryl Seltzer. Next on the program was John Weinzweig’s monumental “Trialogue” for soprano, flute and piano. Although composed without any sense of real tonality (whispers, laughter and shrieking abound), this entertaining theater piece laced with psychological undercurrents engages the audience as well as a classic Broadway show. The audience loved the performance, which was presented in a memorable comic-dramatic style by soprano Mary Mackenzie, flutist Fiona Kelly and Pianist Joel Sachs.

Ann Southam, who sadly passed away about two weeks prior to this performance, wrote a haunting piano quintet seemingly in her own memory, as its hypnotic and tender opening piano chords seem to ring in eternity. Seltzer did a lovely job of letting the music speak simply and lie in its own serenity. The work fades repeatedly as it began, but in the middle, the string writing is contrapuntally complex, and violist Stephanie Griffin, violinists Renee Jolles and David Fulmer, and cellist Claire Bryant played with technical finesse and commitment.

Diana McIntosh’s appealing and more conventional “Nanuk” was a workout for violist Griffin—who played it with conviction and superb command of the instrument, while Gilles Tremblay’s “Cedres en voiles—Threne pour le liban” is much more cutting edge modernity—with marvelous effects for the solo cello. It was played brilliantly by Bryant. Claude Vivier’s “Pulau dewata” for variable ensemble—this time in an arrangement for piano trio by Henry Kucharzyk—is completely original in concept and material.

With this marvelous program of Canadian composers, Continuum has once again proven that we should be more and more exposed to the music of the North.

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