Sequenza21/The Contemporary Classical Music Weekly

Philadelphia Sounds: Network for New Music's Flying Solo

The Network for New Music's "Flying Solo" program was built around pieces selected by the soloists themselves for the concert, so the styles and choices were eclectic and varied widely in style. The program included two world premieres.

Hirono Oka opened the program with two short pieces for violin by Augusta Read Thomas, Pulsar (2003) and Incantation (1995). Passion is the word Thomas uses to describe her work, and Pulsar has plenty, although at times it seemed on the verge of out-of-control. Incantation, on the other hand, is controlled commentary on a violinist�s struggle with cancer, with a more continuous line and logical arc in its ABA form.

Vincent Persichetti�s 1973 Parable XV for English horn, performed by Elizabeth Masoudnia, briefly explored the instrument�s range and tones. Snake (1990) by Michael Berkeley did the same in three movements that are improvisatory, dance-like, and highly technical, with a sense of motion from slides, leaps and dynamic contrasts.

Rachel Ku, viola, played Stratis Minakakis� Sonata for Viola(2004) in three movements based on geometric proportion, perpetuum mobile, and Greek dirges.

Halfway There (2002) by Adam Unsworth, which he performed on horn, follows a jazz structure of statement, improvisation and re-statement, and uses the half-valve technique for a compressed sound, with bluesy slides and fades. Think 1950�s film noir with a spice of New Orleans rhythm.

Dave Hollinden�s 1992 Of Wind and Water reflects the movement of wind on water through the marimba played by Angela Zator Nelson. The tones were mellow and soothing, even when dramatically dynamic.

Ohad Bar-David explored similarities and differences in his Intercultural Journeys for cello, blending Arab and Jewish themes of other composers.

Luceat eis (1984), a flute piece by A. John Felice performed by Edward Schultz, explores both singing and playing in delicate lines with sharp high pitches and vocalization through the instrument.

Ranaan Meyer knows how to make the double bass swing, and Harold Robinson can make it real. Jean Ray Sty Liszt (2005) combined blues, bluegrass, gypsy and jazz styles in a solo piece just as Meyer does for the Time for Three ensemble. It starts with a folk-like theme, adds a little Bach and variations, for a blast of fun.

Richard Belcastro wrote Caution, Rip Current (2005) for the entire ensemble, commemorating a sailing trip, alternating an ordinary, everyday business theme, with turbulent dynamics, and calm again, conducted by Jan Krzywicki. Flutes and violin add sprightliness, while cello and bass represent portent, and all come out even. (Reposted from Penn Sounds 10/12/05.)

posted by Deborah Kravetz 10/13/2005