Sequenza21/The Contemporary Classical Music Weekly

Harrison Birtwistle at Zankel Hall, New York

The idea behind the great Making Music series at Zankel Hall is to present programs of the works of living composers. In addition to the musical performance, there is a discussion between a moderator and the composer and--at times--other guests. On Monday night, the English poet and sometime Birthwistle collaborator David Harsent joined the discussion after intermission.

As someone in the S/21 composers forum suggested not too long ago, I can't recall who, "talking about music is like dancing about architecture." There is an irony to be found here as we attempt to talk about and try to give meaning to something that, in the context of the moment, has no aural or visual example. We talk about an abstract form in abstracts. Or even more ironic; something is created that is intended to be abstract, then we discuss it to try and give it meaning.

Nevertheless, talking about music is an accepted and even necessary practice. (Indeed, the subject of much debate). The accomplished British composer Harrison Birtwistle was an engaging, fun and candid subject this evening. Ara Guaelimian, the moderator, was good as "straight man" for Birtwistle as the composer talked and answered questions. Hearing him talk about his music and musical process with ample amounts of (British) wit and humor, was insightful and inspiring. Birtwistle, whom I found to be lucid and casually articulate, talked about the process of composition, which he likened to that of a dry, stone wall builder; (just using what material you have around you knowing intuitively which pieces should go where but really hard, exhausting work), and about the pieces on the program; for instance, how he conceptualized writing for wind quintet in "Five Distances" and about his milestone work "Tragoedia" and the ancient Greek meaning of tragedy as a ritualistic dance where the dancers would adorn themselves with goat skins (the word tragedy comes from an ancient Greek word meaning goat). He talked about reading and gaining inspiration from poetry, in particular, reading verse in the "small room", as "they seemed to be just the right length" for the composing occupation.

The music itself was an eye-and-ear opener starting with the aforementioned "Five Distances" a lively and playful wind quintet in which the distances of the instruments, i.e. their timbral un-connectedness is the play. Next was "Nine Settings of Lorine Niedecker", a piece for soprano and cello. It is a difficult piece for the vocalist in that the accompaniment of her angular lines by the cello, grows further and further disparate and sparse but Susan Narucki did very well as did cellist Priscilla Lee. The "Woman and the Hare" is a Birtwistle trademark piece, characterized by its staged expressiveness and musical drama incorporating a female reciter (Heather Gardner) and soprano with a nine piece ensemble. For this piece he called on David Harsent as his librettist. This is the story of two voices; different, yet the same; at once plaintive hysteria and ecstasy.

"Tragoedia", a work from 40 years past, was clear and concise showing the interplay and blurring of the lines between drama, austerity and primal instinct. Throughout the program I found several ideas reoccurring to me. Birtwistle has found a way to handle dissonance harmonically; to effectively create harmonic dissonance in chords and melodic line. His structure, while not always clear, has a distinct cadence and rhythm. And, his work's dramatic arc and the interplay of the characters and the musicians are a big part of his sensibility and creative process. Cheers, Sir Harry!

posted by Duane Harper Grant 2/04/2005