Radical, Riveting Reinventions of Old Classics by New Talent: Xavier Foley and Kelly Lin at the Morgan Library
Anyone who might think that the Morgan Library wouldn’t necessarily be home to the most thrilling, cutting-edge music around wasn’t there earlier today for bassist Xavier Foley and pianist Kelly Lin’s exhilarating, genuinely radical performance. The two took all kinds of chances in a daring series of reinventions, in addition to a fascinating mini-suite by the bassist himself – and most of them worked.
To call the show hubristic doesn’t do justice to the pair’s achievement: in some classical circles, it’s still hubris to play Bach on the piano instead of the harpsichord or the organ. And beyond late Beethoven, classical music that makes strenuous demands of the bass tends to be rare. Foley seems fixated on making his axe as important a solo instrument, as, say, the violin, and it’s about time somebody did.
The two opened with Foley’s reinvention of Mozart’s Violin Sonata in E Minor. Transposing the violin part to a range comparable to a cello’s enhanced the almost Russian moodiness in the opening Allegro; one doesn’t usually speak of a bassist as having exceptionally nuanced vibrato, but Foley does, and used it masterfully. Lin, playing background that doesn’t give an artist much opportunity to display much personality, made the most of it with a steady, similarly nuanced attack, seamlessly playing Mozart’s ornamentation as glittering sixteenth notes.
Foley’s vast range, utilizing every bit of the bass’s actually vast sonic capability, came into jaunty focus throughout a playful take of Schubert’s Arpeggione Sonata, D 821. From the sly, faux-Romany dance they opened with, through often deviously fugal counterpoint, it made a very smart pairing with the Mozart. A lot of the exchanges between instruments are very funny, the duo playing their cards close to the vest for the most part…and then Foley accidentally took an extra repeat! Lin knew in a split-second what had happened and stayed perfectly in sync as the two wound it out, with an emphatic burst of a bass chord to cap it off.
Excerpts from Foley’s own Star Sonata, which he wrote in 2016 at age 22, made for even more agile interplay between piano and bass, from sudden, minimalist syncopation, through a jazz-tinged, solo series of bass cascades and climbs that seemed completely improvised, to rapidfire, baroque-tinged bowed phrases from the wispiest highs to pitchblende lows.
The two closed with Gliere’s Intermezzo and Tarantella, a miniature that brought all the previous idioms full circle with some breathtaking phantasmagoria. The crowd went wild. This was it for this spring’s Young Concert Artists series at the Morgan, although the museum has plenty of chamber music continuing into the summer.