Fred Ho, Fanfare for the Creeping Meatball: This brief yet buoyant brass fanfare got played at the beginning of every FCM concert. But its jazz noir ambience, jocular rhythms, and even its campy “B-movie scream” (which, on Sunday night, caused unsuspecting Tanglewood fellows assembling onstage to leap out of their seats!) never wore out their welcome. New music gatherings tend to take on a somber demeanor and earnest programming needs to be leavened with a bit of humor. Ho’s piece fit the bill perfectly.
Milton Babbitt, It Takes Twelve to Tango and No Longer Very Clear: During the Festival of Contemporary Music, Tanglewood celebrated recently deceased composer Milton Babbitt (1916-2011) with several performances in his honor. Alas, we arrived too late in the week to get to hear Fred Sherry’s rendition of the late cello composition More Melismata. But judging by Babbitt memorials earlier in 2011 at which Sherry has shared the work, we would have gladly heard it again.
It Takes Twelve to Tango (1984) was Babbitt’s contribution to Yvar Mikhashof’s tango collection. Pianist Ursula Oppens included it on her FCM solo recital on August 7th. The piece is more explicitly referential of a regular dance rhythm than is Babbitt’s usual wont; even more so than the veiled references to swing era jazz that sporadically occur throughout his catalog. Still, the piece provides plenty of twists and turns that upend the usual tango form in favor of bustling counterpoint and playful misdirection. And yes, true to the punning title’s promise, Babbitt doesn’t dispense with dodecaphony, allowing his rigorous approach to commingle with a bit of witty humor in this occasional work.
At the morning concert on Sunday, August 7th, Soprano Adrienne Pardee and a small ensemble led by conductor Stefan Asbury performed Babbitt’s No Longer Very Clear (1994), a setting of a poem by John Ashbery. This piece isn’t heard as much as some of Babbitt’s other vocal pieces: a pity, as it a thoughtful and nuanced treatment of an intriguing poem, with shimmering instrumental textures and a delicately spun vocal line. Pardee, a TCM fellow, demonstrated a lovely tone, impressive control, and rapt attention to the score’s myriad details: wide-ranging dynamics, tricky rhythms, varied articulations, and abundant chromaticism. Both she and the instrumentalists did so well that Asbury, remarking that it was, after all, a short piece, asked them to repeat it; which they did, making the work’s charms even more abundantly clear.