MOONSTRUCK (11/14/2010)

One measure of the greatness of a musical work lies in the degree of influence its exerts on other works.  Arnold Schoenberg's cycle of melodramas, Pierrot Lunaire, paved the way in numerous ways for future works.  The instrumental and vocal techniques employed in this revolutionary work opened doors of exploration; the unique instrumentation broke away from traditions of standardization; the subject matter crossed the line of what might be considered "proper;" and the musical language delved into the potential of non-tonal music.

The Argento Chamber Ensemble, in conjunction with the Austrian Cultural Forum in New York, has been presenting a series of concerts called Lunar Movements: A Constellation of Contemporary Music Orbiting Pierrot Lunaire.  The series takes as its premise the idea that Pierrot Lunaire exhibits three approaches to contemporary (post-tonal) composition:  Inventions (structurally rich and "processual"), Rhapsodies (intuitive works) and Allusions (references to other music).

On Sunday, November 14 the group performed the third part of Pierrot Lunaire, identifying where the three modes of can be found in the program and also demonstrating aspects of these modes before performing the work. The work was brilliantly performed and, in the hands of the performers, seemed as natural and as powerful as a Schubert cycle.  I am sure that having particular modes of composition to focus on provided the performers with a strong point of departure. 

Four other works were presented.  The first of these, Aural Hypothesis by the young Chinese-American composer Lei Liang, makes extensive use of the idea of extended instrumental techniques. For example, at one point the vibraphone is bowed rather than struck.  The next work, Loops II for vibraphone by Phillippe Hurel is a very busy work!  deja for instrumental ensemble by Bernard Rands is an example of what I call "onionskin music," that is, music that is so soft and delicate that it could have been notated on onionskin paper. While the piano provides a very soft and tinkly ostinato much of the time, the vibraphone often punctuates the piece with loud single notes or small groups of notes.  There is a notable flute solo at one point.  There is also a place where the conductor ceases conducting and the performers play short riffs at their pleasure.  The concert concluded with another fast-paced piece by Hure, o mesure.  A surprise came in this piece when the cello launched into a slow, very expressive solo.

There was supposed to be a short discussion session following the concert for audience members to comment on the works and for the three modes of composition to be discussed.  Unfortunately, for some reason this could not take place, which is a shame as these works seemed to merit further consideration.  However, the concert by itself was quite fascinating.

The building in which the concert took place, the Austrian Cultural Forum, is interesting in itself. A narrow 25 feet wide, the building, surrounded either by much older buildings or modern glass-box buildings,makes a bold and unique impression on the viewer, inside and out.