The great Italian composer Luciano Berio once observed that “a musical work is never alone — it always has a big family to cope with, and it must be capable of living many lives.” That insight seemed to inform Joanne Pearce Martin’s extraordinary and elegiac Piano Spheres recital Tuesday at the Colburn School’s Zipper Hall.
The two premieres were both typical of a program filled with musical gestures and remembrances: Esa-Pekka Salonen’s “Pavane in Memory of Steven Witser,” the principal trombonist of the Los Angeles Philharmonic who died last April at age 48, and Gernot Wolfgang’s “Theremin’s Journey” for Theremin, piano and electronica.
The pianist, in her ninth season as principal keyboardist for the Philharmonic, began by boldly digging into a bright-toned Fazioli piano in four selections from Stephen Hartke’s “Post-Modern Homages,” which included a pleasing riff on Satie. More impressive was Pearce Martin’s finely shaped reading of “Distances” (1988), Meyer Kupferman’s moody memorial to a friend.
Read the full blog posting in The Los Angeles Times here.
Posted in Reviews
- Tagged Alberto Ginastera, Erik Satie, Esa-Pekka Salonen, Gabriela Frank, George Antheil, Gernot Wolfgang, György Ligeti, Joanne Pearce Martin, Los Angeles Philharmonic, Luciano Berio, Meyer Kupferman, Sibelius, Stephen Hartke, Steven Witser
In his brilliant Clarinet Concerto, Magnus Lindberg exploits myriad facets of what the instrument can do, from playing soaring melodic lines to making almost rude-sounding noises. He composed the work in 2002 for the remarkable clarinetist Kari Kriikku, who performed its United States premiere with the New York Philharmonic, led by Alan Gilbert, on Saturday evening at Carnegie Hall.
Mr. Kriikku, a physically flamboyant player of Olympian virtuosity, tackled with aplomb the athletic demands of this rewarding and rigorously constructed single-movement work, whose five sections have allusions to Brahms, Debussy and jazz. Making his debut with the Philharmonic on Saturday, Mr. Kriikku played with a glowing tone and sensual spontaneity in the rhapsodic interludes. He offered a breathtaking cadenza, performing acrobatic feats in the instrument’s highest range.
While some contemporary composers view the symphony orchestra as archaic, Mr. Lindberg (the Philharmonic’s current composer in residence) has called it “his favorite instrument” and “the perfect typewriter where you have all the keys.” In this concerto he gives the orchestra a workout that results in dense, shimmering soundscapes, whose kaleidoscopic colors were aptly illuminated by Mr. Gilbert.
Read the full review in The New York Times here.