One of Sequenza 21’s friends is the “Diasporic Soprano” Candice Hoyes. A versatile vocalist and songwriter, she sings everything from opera to jazz to pop adjacent new music.
Her new single, “In the Upper Room (For Mary Winnifred)” for soprano, piano, and bass is out today and available on Bandcamp. Mary Winnifred was Hoyes’s grandmother and a mentor figure for her.
Just before the NY Philharmonic concert began playing Turangalila by Olivier Messiaen at David Geffen Hall on Saturday, the stranger sitting next to me asked if I thought he would like it. I told him it’s very different and very thrilling. Just keep an open mind.
For classical music enthusiasts of a certain ilk, a performance of Turangalila is a hotly anticipated special occasion. It doesn’t get performed all that often, perhaps because it requires additional personnel on stage (ten percussionists!), it takes up an entire program, AND you have to find an ondes martenot (an early 20th century electronic instrument) and someone to play it. Although it was written nearly 80 years ago, it still sounds radical.
Hearing the Philharmonic perform the 80 minute piece, led by Jaap van Zweden with pianist Jean-Yves Thibaudet and Cynthia Millar playing ondes martenot, was indeed a thrill. The music is full of contrasts, which the Philharmonic’s musicians brought out well. Sweet winds, acerbic brass, sharply staccato percussion and thunderous tympani. And that was just in the Introduction, the first of ten movements. By the end of Turangalila II, the seventh section, the ensemble was whipped into a frenzy, the music resolving into a massive major chord in a flourish of brass, strings and winds. Throughout the work, every section of the orchestra was used to maximum potential, practically a concerto for orchestra.
During the long and wildly enthusiastic ovation, the gentleman next to me turned to me and said he liked it! He described it as Holst fighting against Stravinsky, with Bartok poking at them. That sounded pretty accurate to me.
After the performance, I lingered in Geffen Hall’s lobby, sipping a cappuccino and admiring the sizeable crowd in a post-concert schmooze – a new experience since the recent renovation now boasted a comfortable space with generous seating and a cash bar that was still open after the concert.
Gamelan Dharma Swara at Lincoln Center (credit Gail Wein)
Next, I planned to attend the Philharmonic’s “Nightcap” concert, scheduled for 10:30 pm in the Sidewalk Studio, an intimate space created during the 2022 renovation of the building. Performing in this small space was Gamelan Dhamra Swara, a New York-based Balinese gamelan ensemble. The musicians gathered around two dozen gendèr (Indonesian xylophones), with four suling (flute) players and a couple of performers at drums and gongs. From the first rhythmic clanks of metal on metal, I was taken back to 2010, when I travelled with group to Bali (and filed this report on NPR).
It’s a lot of noise for the small space, and the sound of the percussion was loud and visceral. Once I got past the ear-pounding volume, the effect was mesmerizing. Through several selections, some modern, some traditional, the group showed off its musical mettle, along with performances by two dancers clad in ornate traditional costumes. Through the floor to ceiling windows looking out over Broadway, I could see passersby stopping to listen, gaze over the line of taxis on the street and hear the sirens of the inevitable emergency vehicles.
Like Glenn Branca, Rhys Chatham‘s fame will always be for his use of multiple electric guitars, often in non-standard tunings and often at just-about-ear-splitting volume. The slight shame is that the guitar stuff is only one part of Chatham’s long and restless musical exploration: there’s also all his work as a trumpeter, as well as works for everything from two gongs to just-tuned piano to wind ensemble to full orchestra. And while the massed guitar resources may be similar to Branca, I’ve always felt that Chatham’s clang/clash/drone carried something almost ‘lyrical’, compared to Branca’s body blows.
A major force in the 70s-80s ‘downtown’ NYC scene, Chatham has spent the last 20 years as an ex-pat in Paris, where he’s continued ramping up the ambition of his musical visions. One of those visions became reality in 2005, when the City of Paris commissioned Chatham to compose a piece for their all-night La Nuit Blanche Festival. The result, A Crimson Grail, gathered 400 guitarists (w/ bass and percussion) in a marathon, three-movement sonic assault focused on Paris’ largest church, Sacré-Coeur. 10,000 people watched live, and 100,000 more on national TV. A fuzzy audio snapshot of the performance has been released on CD, but this Grail was so much a spectacle of a specific moment that any future performance would likely be nearly impossible, and in any case would be a very different beast indeed.
Well, that ‘beast’ has arrived, and this time on our side of the Atlantic. Chatham has reworked A Crimson Grail, this time for a slightly more ‘modest’ 200 guitars (and 16 bass guitars), and is in town to present it (along with section leaders David Daniell, Seth Olinsky, John King, and Ned Sublette) this Saturday, August 8th, as part of Lincoln Center Out of Doors. The performance is from 7:30 to 10 pm, at Damrosch Park (Southwest corner of the Lincoln Center Plaza, 62nd Street near Amsterdam Avenue).
