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SEQUENZA21/
340 W. 57th Street, 12B, New York, NY 10019

Zookeeper:   
Jerry Bowles
(212) 582-3791

Managing Editor:
David Salvage

 Contributing Editors:
Galen H. Brown
Evan Johnson
Ian Moss
Lanier Sammons
Deborah Kravetz
(Philadelphia)
Eric C. Reda
(Chicago)
Christian Hertzog
(San Diego)
Jerry Zinser
(Los Angeles)

Web & Wiki Master:
Jeff Harrington

Latest Posts
I Know You Wanna Hit That
It's Bash a Gay Person for Jesus Day. Are You Proud?
Concerts under the Oaks at Ojai
What's with those soft, high string cluster openings?
Taking the Long Way
The American Modern Ensemble plays Steven Stucky at Tenri Cultural Center
The Death of the Concert Hall?
A Salieri is commissioned to write a piece for Mozart
Mein Fuhrer, I Can Walk!
4 X 4 / Fresh Voices VI Festival in San Francisco


 

Record companies, artists and publicists are invited to submit CDs to be considered for review. Send to: Jerry Bowles, Editor, Sequenza 21, 340 W. 57th Street, 12B, New York, NY 10019

Tuesday, June 06, 2006
Philadelphia Sounds: Relache's Season Closer

Relache closed its season with a survey of the exotic--music from, and influenced by, faraway places.

Tangoso (1993) by Claudio Triputti opened the program, and definitely did not resemble the traditional Argentine tango, or even the modern Piazzola versions. While the first movement features a melodic theme in viola, piano, bass and percussion, runs in different rhythms and winds interrupt discordantly. Except for an occasional piano and bass riff, there was no music to dance to here. The second movement contained a lovely viola melody line with staccato piano, but the rhythms were syncopated and staccato.

The program featured the world premiere of a Relache commission--Pleides by Sylvia Serghi, a composer from Cypress. Serghi explained that the Pleides constellation is not easily visible straight on, but needs to be seen from different angles, so this composition is in seven short movements that need to be heard together to form a whole. It starts with a lively section for winds and marimba. As textures vary, there is a melancholy viola solo; then a passage for contrabassoon, bass clarinet and oboe with drums and piccolo, which certainly sounds exotic; another passage for viola and piano stands on its own with melody and varied accompaniment. A passage for vibes and bass with oboe had a jazzy sound.

Music of Bali was reflected in Claude Vivier’s 1977 Pulaw Dewata. Piano and vibes provided the percussion, while the rest of the ensemble was mostly unison and delicate in flute and oboe.

Turquoise has been performed many times by Relache. This 1996 piece by Kamran Ince shows the influence of Turkish heterophony or primarily unison sound. The percussion is intense, and augmented by synth piano and electric bass; the seven-note motif repeats and mutates at very high pitch and appears in the bass in jagged rhythms. (Reposted from Penn Sounds 6/6/06.)
posted by Deborah Kravetz 6/06/2006



 
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