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| A quintet of reeds! (R to L) Jackie Glazier, Charles Du Preez, Melissa Olegario, Edward Goodman, Sara Fraker |
'REFRACTION' - Faculty Recital, Jackie Glazier
Fred Fox University of Arizona School of Music
12 September 2019 - Crowder Hall
We were tempted by a program of new music -- four compositions from living composers, and a fifth, by Karlheinz Stockhausen -- groundbreaking exploratory composer of the mid-20th Century. As well, each piece had a strong visual element, and the last work, a heavily pop-influence number. A colorful refraction indeed, of Western chamber music for clarinet!
We were tempted by a program of new music -- four compositions from living composers, and a fifth, by Karlheinz Stockhausen -- groundbreaking exploratory composer of the mid-20th Century. As well, each piece had a strong visual element, and the last work, a heavily pop-influence number. A colorful refraction indeed, of Western chamber music for clarinet!
Kay He's 'Heat It Up!', commissioned this year by Jackie Glazier, was remarkable and memorable. For clarinet and piano, this music was being electronically manipulated with synthesized ring modulator, digital delay, and other filters and distortions, all controlled by pedals fed into a laptop on stage, and executed by the composer, He (pronounced "Hu-a"), while playing the piano part of this duo -- very 21st Century virtuoso demands on the pianist! In addition, a film of stylized desert photos in motion accompanied the whole performance. The harmonic language was generally conventional, while high drama was delivered both in the timing of musical statements, and the exploration of electronically altered sonorities; some crashing, others sliding, and with a hot visual component -- including the Milky Way, hanging heavily over a sahuaro-silhouetted horizon. Brava, Kay and Jackie!
Stockhausen's 'In Freudenschaft', from 1977, is a striking post-Expressionist work for solo clarinet. Though constructed from a 12-tone formula, two elements, one musical and one dramatic, make it sound or seem not so. One, the tone row is broken into fragments of several pitches, and multiple iterations of elements within one fragment may take place before another row fragment ensues. Two, Stockhausen instructs specific physical motions to the performer, wherein one set of high pitches are played facing side stage, with the angle of the horn imitating the pitch frequency. Alternately, the performer faces the opposite side stage for a set of low pitches. In the middle, is a simple trill, all highlighting Glazier's supreme control of her instrument, gradation of tone, and dramatic timing -- superb. These musical elements are handled antiphonally, enhanced by the contrasting physical positions, which also alter the instrumental tone for the listener; the face-forward trill provided punctuation and intelude. This was an excellent performance, as Glazier both acted completely in character, and articulated the music dialogue seamlessly. What strikes me most about this performer's playing is her clarity of articulation, tonal variety, and dynamic control. Her pianissimo tone and tone gradations are beautiful and mesmerizing.
The whole second half of this concert was both rousing and fun, fun, fun! Libby Larsen's 'Corker' for clarinet and percussion is a mostly rhythmically driving, yet delicately scored virtuoso percussion piece with clarinet obligato. Morris Palter gave a lithe, masterly reading and in dialogue with the clarinet, as a tight exploration of clarinet/xylophone, clarinet/cymbal and drums, and clarinet/marimba sonorites ensued. Palter led the way, with mallets and body, through the taut sequence of sharp syncopations that drive the thrills of this little showpiece. This was the most virtuosic clarinet note-playing piece on the program -- fiery work from Glazier, and a very well-received duo performance.
The feature work of the evening, 'Refraction' by David Biedenbender, is a terse exhibition of cluster harmonies and choice extended woodwind techniques, as its thematic / rhythmic elements, alternately piled together and torn apart, produced a teaming mass of seemingly chaotic kinetic energy. Even the slow middle movement, pushing and pulling its own themes asunder, showed high compositional sophistication, and complete mastery of new reed instrument combinations and sonorities. A great gift to the mind and senses! Raw guttural sounds, by means of multiphonics, especially from the bass clarinet, but enjoined by all five instruments, integrated with the clustering harmonies and rabid rhythmic / thematic activity. 'Refraction' was easily the most demanding work on this program, casting a bright light on the instrumental virtuosity and versatility these UAFFSOM faculty artists: Sara Fraker, oboe, Eddie Goodman, alto sax, Marissa Olegario, bassoon, DMA candidate Charles Du Preez, bass clarinet, and Jackie Glazier -- a super talented quintet of reed instrumentalists! Each of these three movements were extremely effective and well-balanced. For me, this was easily the most gratifying and satisfying number of the evening.
The finale, 'Fun Fun Fun Fun: Techno Fun', by Asaf Perez -- complete with rotating, spotlighted disco ball! -- was, I think, a pop music parody for reed quintet. Jazzy, rhythmic, short, and VERY fun, the best of windy pop music did not outshine this composition or performance. The crowd at Crowder, of about 150, was treated to an unusual and spectacular performance. Yes, as I often say: FOOLS missed this concert! Bravi, tutti!!
~ Steven Gendel
HEAR IT - Humanity's Expressive Artists Reveal & Illuminate Truth
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