Sequenza21/The Contemporary Classical Music Weekly

Bang on a Vibe

The Cabrillo Music Festival continued Saturday night, and all we can say is (insert positive expletive here). Last night’s program included Laura Karpman, Kevin Puts, Askell Masson, and Michael Daugherty.

And let us not forget Evelyn Glennie.

Every piece was communicative and effective, starting right from the first second, but let me focus (for this post, more tomorrow!) on my personal favorite; the Kevin Puts.

Puts’ style has changed dramatically over the recent years. Post college, he was righting standard, albeit good and exciting, post-minimalism. He had not yet found a style that was uniquely his own. However, in recent years, he most definitely has.

The piece is scored so that the soloist plays exclusively pitched percussion. Glennie explores each instrument for long period before moving onto the next. Each instruments’ section (Vibes, Glock, Crotales, Tubular bells, and marimba) opens with a ritornello theme. This theme is not developed or altered much at all, but its presence shows the form of the piece, and each time it returns brings a satisfaction to the listener. Frequently I found myself anticipating the theme as he delayed its return, playing with the mind of the listener and surprising our expectations.

The second theme he uses is a series of chords, first in the winds, but heard in almost every instrument. The chords are fascinating in their construction, as they can express (depending on rhythm and orchestration) anxiety, comfort, beauty, sorrow and other powerful emotions. His light textures were ethereal, his heavy textures passionate, and all was aided by the marvelous musicianship of Evelyn Glennie.

In recent years, more and more unusual ensembles and instrumentations have been rearing their heads. No longer do people have to write violin concertos and string quartets. Now they can write music for Clarinet, violin, cello, and piano, or saxophone, drum kit, guitar and bass or (my favorite) Piccolo, guitar and bass trombone. These percussion concertos that have been emerging of the previous several years (including this, the Rouse Der Gerettete De Alberich, and the MacMillan Veni Veni Emmanuel) have been some of the most interesting to come out in recent times. Percussion, due to its nature as many instruments rather than one, has so many possible sounds that it is hard to imagine the medium ever becoming an uninteresting one.

And the ending, Oh! Once the marimba enters with the ritornello, everything is fated to be. The ritornello turns into a gorgeous, winding melody above the chord progression that flows smoothly into the cellos and violas taking it over. The elegance and beauty leads Glennie to now use all her resources, playing all the instruments rather than exploring one, and build to a climactic ending that burns a whole right through the ear and into the memories of the audience.

Man he’s good.
—Matthew Cmiel out—

posted by Matthew Cmiel 8/07/2006