The Da Capo Chamber Players Unveil a Stunningly Diverse, Global Mix of Sounds at Merkin Concert Hall
The Da Capo Chamber Players have an enviable track record performing a vast stylistic range of lesser-known works that deserve to be heard on a much wider scale. Wednesday night at Merkin Concert Hall, the theme was global.
The coda was a richly noir, relentlessly shifting narrative that frequently resembled Bernard Herrmann’s best work. But Reinaldo Moya‘s Cronica de una Muerta Anunciada was much more of a horror soundtrack than a suspense theme. The full ensemble – Steven Beck on piano, Chris Gross on cello, Curtis Macomber on violin, Patricia Spencer on flute, Nuno Antunes on bass clarinet and clarinet, and Michael Lipsey on vibraphone and percussion – reveled as much as a group can revel in a story about a grisly murder. Fleeting quotes from a couple of familiar wedding themes appeared early on. before a couple of chase scenes and a sharp, stomping finale illustrating the savage public stabbing immortalized in Gabriel Garcia Marquez’s Chronicle of a Death Foretold. Aptly, a recurring, dancing riff for the violin and piano spelled out the name of the murder victim, Santiago Nasar, who’d been the illicit lover of a young woman in a rural Colombian village.
The opening piece – for cello, violin, flute and piano – was Chinary Ung‘s Child Song, interpolating several Asian modes around a lively pentatonic theme based on a surrealistic Cambodian nursery rhyme. The quartet wove a series of graceful exchanges punctuated by sudden dramatic bursts and a moody cello solo as the tonalities cleverly drifted further into western territory. Historically, this 1985 piece was a triumphant return to composition for Ung, who’d spent much of the previous ten years simply trying to stay alive in his native Cambodia while so many of his colleagues were murdered.
While Chou Wen-chung‘s Ode to Eternal Pine celebrates a Korean longevity archetype , it’s written in a western idiom. The ensemble rose from spacious, spare exchanges to a serene majesty in tribute to rugged mountaintop greenery, mysetrious ambience alternating with echo phrases and a sudden, striking coda.
Gabriela Lena Frank’s four-part suite Cuatro Bosquejos sent a shout out to now-vanished civilizations on the Peruvian and Colombian coast. Gross’ cello, in particular, stood out through acerbic chromatic passages in lively, shapeshifting depictions of an ancient, insistent group of flutists, the contrasting cascades in a portrait of a pre-Colombian man-bird, seaside calls into a desert wind, and a methodical disassembly of a panpipe-influenced tune.
Also on the bill were also a brief, elegant partita for solo flute by Noel Da Costa, and a persistently unsettled, steady, occasionally noirish Second Viennnese School trio for clarinet, violin and piano by Pablo Ortiz.