The ten tracks of Unknown Shores—an album from the quartet of bass clarinetist João Pedro Viegas, bass clarinetist/clarinetist Luiz Rocha, pianist Silvia Corda and double bassist Adriano Orrù—trace an arc from a fully realized, introverted exchange of lines that would be at home in a piece of Modernist chamber music, through a variety of abstract, acoustic musique concrète, and back to vigorous melodic interplay. It’s improvised music that’s well-thought out and consequently plays like a suite of intimately related parts.
From the opening moments, when Corda introduces a set of atonal motifs which she develops with variations and ornamentations, the music’s basic vocabulary is established. In a gradual, additive process the other players enter, ushered in by Orrù’s arco bass. The combination of instruments makes for intriguing contrasts and coincidences of sound, with the two reeds and bowed bass often fusing to one side and the piano offering creative opposition from the other. The four keep the textures open and polychromatic, breaking at times into changing configurations of twos and threes, and leavening conventional playing with episodes of extended techniques. All get solo space as well, which adds a further level of color affects to an already finely calibrated group sound. Recurring thematic material, much of it derived from atonal pitch sets introduced by the piano and picked up, replicated, refigured and refined by the reeds and bass, gives the music local cohesion and global continuity. If the music seems composed at times it’s largely due to the adept listening and apt responses of these four highly accomplished improvisers.
Source: The Free Jazz Collective.
The Drones of Michael Zerang
Robin Hayward, Hilary Jeffery, Elena Kakaliagou – Words of Paradise (Edition Telemark, 2019) ****
DKV Trio & Joe McPhee – The Fire Each Time (Not Two, 2019) ****½
Tony Buck & Massimo Pupillo – Time Being + Unseen (Trost, 2018) ***½
The Comet Is Coming – Trust In The LifeForce Of The Deep Mystery (Impulse, 2019) ****
John McCowen – Mundanas I-V (Edition Wandelweiser Records, 2019) ****½
William Parker – Flower in a Stained Glass Window/The Blinking of the Ear (AUM Fidelity, 2018) *****
Source: Ensemble Dal Niente.
DAL NIENTE PRESENTS: UNDERSEA
SUNDAY, MAY 5, 2019 @ 3:30PM
1700 N. Halsted, Chicago, IL
Tickets $20 general admission/ $15 student
CHICAGO: On May 5, the Dal Niente Woodwind Trio presents a program that is at once virtuosic, joyful, and strange, featuring the world premiere of Victoria Cheah’s luminous Undersea for piccolo, english horn, and bass clarinet. The trio will explore the full array of sounds available to contemporary woodwind players, from the evocative gestures of Brian Ferneyhough’s In nomine a 3 to the shimmering, shifting textures of Hans Abrahamsen’s Flowersongs to the squeals, sucks, and sibilance of Carola Bauckholt’s Zopf , whose language is “laden with extended techniques that demand intense concentration” (-The New York Times). Also included on the program is Meditation on Collision by Ruby Landau-Pincus, who created this interactive electronic score for Dal Niente while still a high school student, after working with members of the ensemble at the Walden school.
Undersea is presented as part of the LookOut Series – Steppenwolf’s performance series that presents the work of artists and companies across genre and form.
Victoria Cheah, Undersea (world premiere 2019)
Hans Abrahamsen, Flowersongs (1973/2012)
Carola Bauckholt, Zopf (1992/94)
Sandra Lemus Hernandez, II (2011)
Alex Temple, Thick Line (2012)
Joël-François Durand, In the Mirror Land (2003)
Brian Ferneyhough, In nomine a 3 (2001)
Franco Donatoni, Triplum (1995)
Ruby Landau-Pincus, Meditation on Collision (2019)
Featuring: Emma Hospelhorn, Flutes; Andrew Nogal, Oboe and English Horn; Katherine Schoepflin Jimoh, Clarinets