Firebird Ensemble
Oct. 8th, 2008 07:51 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
kenjariOn Monday I went to the Firebird Ensemble concert at Longy School of Music. They are a young and relatively new contemporary music group. Luckily, despite the T being not at all my friend that night, I made it on time.
Now and Then - Earl Kim
This set of four songs for soprano, flute, viola, and harp started out quite spare and angular and then became more melodious. The set was overall very lovely and evocative. It convincingly created its own space and atmosphere, becoming a little world unto itself. According to Kim's program notes, this piece was inspired by his experience as a combat intelligence officer during WWI flying over Nagasaki the day after the bombing, so the the piece's feeling of being in a strange and separate world was very fitting.
Divine Detours - C. Bryan Rulon
I found this piece very beautiful in its overall design. The first two-thirds consisted of a series of shimmering sound masses punctuated by percussion. The sound masses gradually became more chorale-like and then moved towards greater cacaphony. After a brief interlude involving music boxes and percussive noises, the piece finished with chorale-like and contrapuntal treatment of a gregorian chant melody.
Twilight Music - John Harbison
This dark and moody piece for violin, horn, and piano recalled late 19th century romanticism without being too conventional or sentimental. There were a few dull moments, especially at the beginning, but the piece was primarily passionate and compelling.
Court Studies from "The Tempest" - Thomas Ades
This piece had lots of contrast and variety of texture. There were serene moments, places of timbral density, delicate sections, animated stretches, and a few places that sounded a little like surreal 18th century chamber music.
Torrid Nature Scene - Nicholas Vines
This piece for soprano, mezzo-soprano, and large chamber ensemble was a setting of a long, suggestive pastoral poem by contemporary poet Andrew Robbie. It was teeming and abundant to the point of sensory overload. There was a lot of great imitation of natural sounds, particularly those of insects. The vocal writing was original and gorgeous. At times the instrumental textures seemed a bit overstuffed, and there were moments when it seemed as if too much was going on at once. I do hope I get another chance to hear this piece at some point, because it's quite overwhelming and multiple listenings would really help me to understand it all.
Now and Then - Earl Kim
This set of four songs for soprano, flute, viola, and harp started out quite spare and angular and then became more melodious. The set was overall very lovely and evocative. It convincingly created its own space and atmosphere, becoming a little world unto itself. According to Kim's program notes, this piece was inspired by his experience as a combat intelligence officer during WWI flying over Nagasaki the day after the bombing, so the the piece's feeling of being in a strange and separate world was very fitting.
Divine Detours - C. Bryan Rulon
I found this piece very beautiful in its overall design. The first two-thirds consisted of a series of shimmering sound masses punctuated by percussion. The sound masses gradually became more chorale-like and then moved towards greater cacaphony. After a brief interlude involving music boxes and percussive noises, the piece finished with chorale-like and contrapuntal treatment of a gregorian chant melody.
Twilight Music - John Harbison
This dark and moody piece for violin, horn, and piano recalled late 19th century romanticism without being too conventional or sentimental. There were a few dull moments, especially at the beginning, but the piece was primarily passionate and compelling.
Court Studies from "The Tempest" - Thomas Ades
This piece had lots of contrast and variety of texture. There were serene moments, places of timbral density, delicate sections, animated stretches, and a few places that sounded a little like surreal 18th century chamber music.
Torrid Nature Scene - Nicholas Vines
This piece for soprano, mezzo-soprano, and large chamber ensemble was a setting of a long, suggestive pastoral poem by contemporary poet Andrew Robbie. It was teeming and abundant to the point of sensory overload. There was a lot of great imitation of natural sounds, particularly those of insects. The vocal writing was original and gorgeous. At times the instrumental textures seemed a bit overstuffed, and there were moments when it seemed as if too much was going on at once. I do hope I get another chance to hear this piece at some point, because it's quite overwhelming and multiple listenings would really help me to understand it all.
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no subject
Date: 2008-10-13 03:05 am (UTC)On a separate note, I have a friend who attends Longy.
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Date: 2008-10-13 02:29 pm (UTC)