Cleveland
Museum of Art
May
3
Making the case for modern American music. |
“What
a week!”
That
was the reaction of the principals involved in the Cleveland
Orchestra’s “California
Masterworks” series after the concluding concert on Friday night,
an expression of both relief and achievement. By any measure, it had
been an enormous amount of work: two full programs of difficult
pieces staged during a week the orchestra maintained its regular
schedule at Severance, including a concerto requiring a string
quartet instead of the traditional soloist. And that was before
five harpsichords and a cloud of noise started blasting away in the
atrium.
The
results more than justified the effort. Focusing on domestic
composers working on the West Coast in the 20th century, the most
European of American orchestras made a strong case for the
significance of their sonic innovations, and their influence in
shaping modern music worldwide.
By
virtue of his work with the Metropolitan Opera and San Francisco
Symphony, John Adams may be the best-known of those composers. His
Shaker Loops (1978) was originally written for seven strings.
In a later arrangement for full string orchestra, the minimalist
effects shimmer even more brightly, starting with a great humming
like bees hovering and building to a pulsating intensity. Extending
compositional techniques pioneered by Terry Riley, Steve Reich and
Philip Glass, Adams opened up the dynamics to create what he called
an “epiphany of physical and spiritual transcendence.”
Conductor
James Feddeck put an electric charge in the music, building the
volume and density in fine gradations that reached a vibrating pitch
so penetrating it had visceral impact. The middle movements were
light and delicately textured, seeming to float over exotic
landscapes before segueing to a pounding finish of contrasting and
complementary lines. Other than a few moments when the orchestra
slipped back into a conventional sound, it was a riveting
performance.
As
NewMusicBox
Senior Editor Frank Oteri noted in his opening remarks, James
Tenney’s Clang
(1972) is one long note (E) put through a series of mesmerizing
harmonic variations. This marked the first time the piece had been
performed outside of California, and it was expertly done. The waxing
and waning harmonics melted into each other, creating a seamless
sound from front to back, at times very much like taped music being
played backwards. (Which is a compliment – the Beatles, among
others, used that technique to great effect.)
And
who would have thought that heaving groans from the low
strings could sound so musical? They added to the inexorable feel of
the piece, as it grew from carefully crafted tones with fine edges to
cosmic proportions.
For
Terry Riley’s concerto The
Sands, the orchestra was
joined by the Calder Quartet, a group that specializes in
contemporary and crossover music and has studied with Riley. In
contrast to the composer’s minimalist works, The
Sands, written the night
the U.S. launched the Gulf War in 1990, is a descriptive narrative
piece that portrays a military invasion and its aftermath, laced with
Mideastern motifs that gradually coalesce into what Riley describes
as “a celebration of singing and dancing on this mysterious
planet.”
While
the music is compelling, ranging from dread to lyrical repose, it is
interesting mostly for Riley’s unconventional use of a string
quartet in place of a soloist. Even the traditional roles are
upended, with the orchestra often following the quartet’s lead, or
carrying on a conversation with the group. The Calder players were
sharp and showed virtuoso skills in their solo lines, adding
poignancy to the gentler passages and infusing the late melodies with
optimism and vitality. Feddeck kept the flow smooth while weaving a
colorful mix of references and atmospherics into the piece.
For
an encore, the museum staged John Cage’s HPSCHD
in the atrium. A multimedia work that combines random scores for
seven harpsichords (five in this performance) playing simultaneously
with taped random noise and abstract visual projections, HPSCHD
was a perfect fit for the space – detailed enough to merit close
attention near the stage, expansive enough to provide ambient
accompaniment to a party crowd drinking and socializing. It was a
bold programming move that worked beautifully, far and away the most
successful music event in the atrium to date.
Do
we really have to wait another two years for a collaboration between
the orchestra and the art museum? Let's hope not. As good as they are
independently, the two institutions working together can produce more
than the sum of their parts – breathtaking work that informs,
entertains and inspires.
For
more on the Calder Quartet:
www.calderquartet.com
For
more on Shaker Loops: http://www.earbox.com/W-shakerloops.html
For
more on Terry Riley: http://terryriley.net
Photo by Roger Mastroianni
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