David T Little: Speak Softly
Lynne Glasscock: Teamwork
Peter Saleh: In the Toybox
Christopher Rouse: Ogoun Radagris
The concert in the school hall of the University of Evansville in Indiana was a real shocker and hugely interesting. The percussion ensemble performed some very modern works with huge aplomb and everything came across as very striking indeed. One aspect of the concert which was perhaps overlooked by other critics during the event was the excellent level of acoustics which was prevalent throughout the whole evening. The percussion was extremely strong throughout and also included some innovative instrumentation
The concert began with Russel Peek’s ‘Lift Off’ composed in 1966. This work attempts to emulate the lifting off of an Apollo space rocket very much in keeping with the space programme which was being undertaken by the United States at the time. The percussion ensemble seemed to enjoy this work as the timpani were truly going off at all sorts of intervals and their playing was really quite out of this world in every department. Naturally enough there were some small lapses of ensemble especially with the triangle but all in all it was a fine performance which I really enjoyed. Peek’s music definitely deserves further scrutiny as he is rather unknown, at least he was to me before I encountered his work here but some more performances of his music should serve well to
Speak Softly by David T Little is a rather different work which portrays some sort of landscape and which is in keeping with the pensive nature of this composer who looks to the quieter side of the percussion ensemble to expose his messages. Naturally enough, the student percussion ensemble was faced with some daunting decisions especially in the central section but on the whole they attributed themselves quite well in every way. I enjoyed the soft strokes of the tom tom towards the end of the work as well as the menacing drum rolls as everything came through rather beautifully on all counts. Perhaps Little’s work could have been done better justice by a more professional ensemble but on the whole, I was quite pleased with the overall result.
The next work on the programme was Teamwork by Lynne Glasscock another contemporary composer with the work composed in 2007. Here one can observe the intricate nature of the percussion writing which goes along pretty well and the percussion ensemble immediately warmed to proceedings. There were some minor quibbles in the central part of the work which perhaps could have been attended to better but otherwise the work went along quite fine. I would like to once again mention the timpanist who really initiated proceedings quite brilliantly especially in the concluding part of the piece which shows that he has much promise for the future.
In the Toybox by Peter Saleh is another interesting work which deserves far wider currency both for its imaginative prowess as well as its sense of momentum and originality. The ensemble immediately took to the curious sound world of this piece which fairly leapt from the pages and which demonstrated that a toy sound world is truly a magical conundrum. Yet again the percussionist showed his mettle here and really got to the heart of the matter even in the quietest moments. I was also quite impressed by the whole ensemble’s art especially in the concluding part of the work which was definitely a real tough act to pull off.
Finally we had Ogoun Radagris by Christopher Rouse, a work composed in 1976 and which is very highly complex. Here one could sense that the percussion ensemble was struggling to find the true nature of the work which appears to mimic Stravinsky’s ‘the Rite of Spring’ in its motor rhythms and considerable intensity. However as a whole, everything turned out fine although there were also some wrong notes which could have led to a complete collapse of ensemble. I was quite enthused by the whole work and would very much like to hear it again but the ensemble performed very well for its relative youth.
Finally I would like to say that this concert was a true eye opener in the terms of percussion ensembles with a range and hue which is rarely found elsewhere. I look forward to further concerts by this excellent ensemble in this fine venue.
Tulsa Concert
1-Concert Etudes Op. 40 No. 1 Prelude by Nikolai Kapustin,
2- The days of Wine and Roses by Henry Mancini,
3-Triste by Antonio Carlos Jobim,
4-Misty by Erroll Garner,
9 Solace: A Mexican Serenade by Scott Joplin
10 Chopin: Etudes Op. 10 No. 3 in E major and No. 4 in C minor.
The Tulsa Performing Arts Center was quite larger from what I had expected it to be, there were about 70 people for the dimension of the chamber. I was seated on the last row halfway back in the hall. I arrived fifteen minutes before time and I was able to read the program and follow the techniques of the concert without much trouble.
Yes I was ready to witness the first piano concert ever of my life. I wasn’t aware of what to expect, my emotions were high, as the moderator approached the auditorium to help us understand about the program, after that he introduced Barron Ryan, telling the audience a little about his work and provenance.
Next, Barron entered the chamber quickly want to play his first work Concert Etudes Op. 40 No. 1`Prelude` by Nikolai Kapustin The notes on my program explained that this was a programmatic work based on the Shakespeare play which I had read later after the concert. It was easy to follow the melodies for the different characters. The first theme was played by the strings in a high range, very lightly. What I liked about this theme is that you can hear both the right and left hand in perfect harmony.
Henry Mancini’s work is slightly more effusive and Barron played the opening chords quite brilliantly in this respect. I almost felt the music pervading through me, especially in the closing part of the work which was very beautiful and very direct.
I have to confess that I was totally unaware of Antonio Carlos Jobim and his work Triste. However I was indeed pleasantly surprised by the proceedings of the work which is in triple time and which demonstrates that everything moves ahead irrespective of obstacles. The mournful and rather melancholy nature of the work was quite well captured by Bonell.
Erroll Garner’s ‘Misty’ was also quite well played and the chords fairly leapt out of the pages with Bonnell providing very effective mannerisms and fine character to this perhaps over exposed work.
Scott Joplin’s Mexican serenade also came across as quite ravishing and intrinsically beautiful although Bonnell did appear to be rather hasty in parts. I enjoyed Joplin’s music as he brings the harsh sentimentality of rock and mixes it with the virility of the classical genre quite well.
The Etudes by Chopin could be said to have been the highlight of the concert with their high points and intense virtuosity. One could almost compare the pianist with the composer in some stages especially in the 4th Etude with its defiant chords and the harmoniously concordant arpeggios which are truly a joy to listen to. The whole sense of élan for the occasion was rather palpable and one has to say that everything came together with intense brilliance. Barron Ryan is a pianist who has huge promise and will definitely make the grade and this concert in Tulsa is surely a testament to his rude strength and character as a concert pianist.
