A Hypnotic, Soothing Beehive of Avant Garde Activity at the Mostly Mozart Festival
Last night’s performance of Michael Pisaro’s A Wave and Waves at the Mostly Mozart Festival began with a single, momentary trill from one of the roughly hundred performers seated within the Lincoln Center audience. A woman with her back to one of them turned in her seat indignantly: hadn’t her neighbor heeded the reminder to turn off her phone?
As another, more muffled sound flitted from the other side of the atrium space, the look on the woman’s face was priceless. That little ripple wasn’t a phone. It was a percussion instrument: bells on a string.
There were other comedic moments during the roughly 75-minute diptych, but those were limited to pregnant pauses – the ready-to-pop kind – along with dropped instruments and scores. For the most part, the piece was calm, a minor-league take on John Luther Adams’ vast, enveloping Become Ocean. The effect was like a Soviet Realist poster come to life, a steady bustle of happy worker ants.
The composer introduced the work as a landscape where no perspective is identical. Obviously, no perspective at any concert is exactly the same, sonically speaking, irrespective of one’s proximity to a particular instrument. Here, these really ran the gamut, from bowed bells and a couple of huge bass drums, to a repurposed coffee can, an upside-down kitchen drawer and what appeared to be a wok with a chain inside, whose player rattled and clinked as she raised and lowered metal against metal.
In general, the sold-out audience’s reaction was rapt attention. More than one person assumed a yoga position (one of them ended up falling asleep, or so it seemed). One of the very few people to leave during the performance did that at the break between pieces – but only after videoing the entire first half.
Where the first part was a calm beehive of rustling. swooshing activity juxtaposed with a series of high, keening textures from the bowed bells, the second half was more animated. Ostensibly a series of shorter waves, those bursts of activity began suddenly and ended cold – and were considerably louder than the hypnotic ambience of the first half of the show. It was here that the musicians – percussionist Greg Stuart and members of International Contemporary Ensemble, along with a motley assortment of performers who ranged from gradeschool age to maybe six times that – were able to cut loose, at least to the extent that they could. Frenzies were hinted at, but never quite emerged, although the maze of stereo effects grew much more lively, with hints of call-and-response.
The remainder of the Mostly Mozart Festival at Lincoln Center is sold out. However, there is a free concluding event, a spatially arranged world premiere by four choirs singing John Luther Adams‘ ecological parable In the Name of the Earth at the Cathedral of St. John the Divine on Aug 11. The concert is at 3 PM; doors open at 2. Get there early if you want to get in.
And the next performance at the Lincoln Center atrium space on Broadway north of 62nd St. – where almost all of the most ambitious programming on campus takes place – is on Aug 16 at 7:30 PM with the Jimi Hendrix of the cuatro, Jorge Glem. The show is free: get there early if you’re going.