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Tag: Danish String Quartet

How Does the Danish String Quartet’s New Album Compare with Their Transcendent Beethoven Cycle?

The Danish String Quartet‘s marathon performance of the Beethoven cycle at Lincoln Center over the course of barely two weeks last year was arguably one of the most breathtaking and rewardingly ambitious feats any ensemble has ever tackled, let alone pulled off in this city. They may be known for their dazzling technique, but it was their dynamic range, and attention to the most minute details, and ultimately their passion for the music that made that series of concerts so unforgettable. How does their new album Prism III – Beethoven, Bartók, Bach, streaming at Spotify, match up against that wild artistry and erudition?

The point of their ongoing Prism series is to trace the influence of Bach on an ensemble style which didn’t even formally exist in his lifetime. The group put their somber, lusciously cantabile performance of Emanuel Aloys Forster’s arrangement of the Bach Fugue in C-sharp minor, from book one of the Well-Tempered Clavier, at the end of the album. In their hands, it’s practically a chorale. Presumably, by this point you haven’t cheated and are looking for foreshadowing of what’s already appeared in Beethoven’s String Quartet No. 14 and Bartók’s String Quartet No. 1.

And there’s plenty of that. The Bach influence in the late Beethoven quartets is vast, as is the late Beethoven influence on Bartok, so it’s not hard to watch the bouncing ball here. What makes this album stand out is the players’ intuitive sense of the works’ emotional architecture, even more than their grasp of their technical challenges.

They open with Beethoven. The sense of foreboding in the first movement is visceral, which may explain why it seems rather muted in the beginning and the end, and on the slow, stately side. Violinists Frederik Øklund and Rune Tonsgaard Sørensen, violist Asbjørn Nørgaard and cellist Fredrik Schøyen Sjölin give the second movement a playful swing, even in the midst of so many flickeringly ominous portents.

The fleeting ghosts of the third “movement” give way to a guarded lustre fueled by Sjölin’s incisive bassline. Hushed echoes get switched out for sotto-voce humor, tentative jauntiness and a remarkable expanse of dynamics, more so than most quartets give this. Call it a cliche that a tortured artist watches a turbulent life flash back through a wine haze, but that’s a lot of this picture. The presto movement is aptly bittersweet and hallucinogenic, right down to different dynamic levels from individual voices; the stoic calm and delicate vibrato of the adagio leave a mighty impact. As does the coda, the group leaving a chill as they leap and reap everything left in their path.

After that, where can you go? They play the first Bartok with similar insight; you might want to make your own playlist and hear this album in reverse order. There’s definitely a fugue, and a firm embrace of the third movement of the Beethoven, but also Debussy in the group’s steady quasi-stroll through the enigmatic first movement. Bartok may not have grown into who he became yet, but the quartet focus on all the omens: the close harmonies, the refusenik defiance of any sense of resolution.

The sullen ballet of a second movement is rich with lingering sustain but also flickers and flares. The miniature of a third is devilishly portentous; the fourth is where the quartet dig in the hardest on this album, for tense bustle, and echo variations, and pure grim noir. It will give you goosebumps.

The 20 Best New York Concerts of 2020 Which Can Be Publicly Discussed

When Andrew Cuomo declared himself dictator and ordered a lockdown of the state of New York on March 16, that didn’t stop musicians from playing, or prevent crowds from coming out to see them. Chances are that most of the players you know have been doing underground shows since then. But because a lot of those performances were forbidden under lockdown regulations, careers could be jeopardized if the Cuomo regime were to find out about them.

Someday the whole story can be told and those artists, and their supporters, can receive due credit for their heroism, for helping to keep hope alive when it seemed there was none. For the time being, here’s a salute to the artists who played the year’s most entertaining shows before the lockdown, as well as a handful who played dictatorially approved gigs in the time since.

There were three multiple-night stands this past year that deserve special mention. Over the course of barely a couple of weeks in February, the Danish String Quartet played the entire Beethoven cycle at Alice Tully Hall. The group’s chops are world-class, but it was their insight, and attention to detail, and flair for picking up on both the hilarity and the angst in the immortal works as well as the more obscure parts of that repertoire that made those sold-out evenings so unforgettable.

At the end of January, Juilliard staged an equally memorable series of concerts featuring mostly obscure works by women composers from over the past couple of centuries. The quality of the material, as well as the student ensembles’ performances, were astonishingly strong. Much as it was rewarding to see some better-known works like the Ruth Crawford Seeger String Quartet, and Grażyna Bacewicz’s withering second Cello Concerto on the bill, it was even more fascinating to discover pieces like Israeli composer Verdina Shlonsky’s phantasmagorical 1949 piano suite Pages From the Diary. along with dozens of chamber and symphonic pieces, practically all of them New York premieres. Juilliard’s Joel Sachs, who programmed the shows and tracked down the material, deserves immense credit for what was obviously a mammoth job. Too bad concerts at Juilliard no longer officially exist – and unless we get rid of the lockdown, the continued existence of Juilliard itself is imperiled.

And, of course, in the middle of January there was Golden Fest, New York’s wild, annual Balkan and Balkan-adjacent music event, which always raises the bar impossibly high for the rest of the year. Slashing, female-fronted Russian Romany party band Romashka, slinky brass band Slavic Soul Party, the volcanic Raya Brass Band, the even louder rembetiko heavy metal band Greek Judas, agelessly soulful Armenian jazz multi-reedman Souren Baronian, a rare New York appearance by the Elem All-Stars, Lyuti Chushki – Bulgarian for “Red Hot Chili Peppers”  – romping original klezmer band Litvakus and the Navatman Music Collective – this hemisphere’s only Indian carnatic choir – were highlights among dozens of other acts over the course of about ten hours of music.

In keeping with the annual tradition here, the rest of the concerts are listed in chronological order. 2020 was looking so good until the lockdown, wasn’t it!

Andrew Henderson at St. Thomas Church, 1/5/20
The organist played a sometimes stately, sometimes thrilling program of works by Buxtehude, Howells, Reger and others

 Linda Draper at the American Folk Art Museum, 1/10/20
With her calm, resonant chorister voice, the eclectic songwriter mixed up edgy earlier material as well as several characteristically, pensively intense, lyrically brilliant new songs.

Sara Serpa at the Zurcher Gallery, 1/11/20
This era’s most luminously haunting jazz singer/composer aired out a soaring, immersive mix of new material featuring brilliant guitarist Andre Matos and keyboardist Dov Manski

The Susan Alcorn Quintet at Winter Jazzfest, 1/11/20
This era’s great jazz pedal steel player mixed up a set full of new material, by turns immersively haunting, raptly atmospheric and sometimes riotously funny

Mames Babagenush in the Curry Hill neighborhood. 1/12/20
This supremely tight but feral Danish klezmer band started out in the afternoon in a church basement and ended the night with a crazed coda at a scruffy hotel. A lot of aquavit was involved: it didn’t phase them. And they’d just played Golden Fest the previous night.

Souren Baronian and Big Lazy at Barbes, 1/24/20
The octogenarian king of Middle Eastern jazz followed by the similarly slinky, minor key-fixated, chillingly cinematic and strangely danceable noir soundtrack band at the top of their game. Best twinbill of the year.

Saawee at Flushing Town Hall. 2/21/20
Violinist Sita Chay and percussionist Jihye Kim’s all-female Korean dance-and-ritual group summoned the spirits via a witchy, hypnotic, delicately shamanic performance

Ben Holmes’ Naked Lore at Barbes, 2/22/20
With his otherworldly, crystalline trumpet, edgy Balkan chromatics and wry sense of humor, Holmes’ trio with guitarist Brad Shepik and percussionist Shane Shanahan built biting variations on subtly familiar klezmer themes.

Alicia Svigals and Donald Sosin play a live movie score at Temple Ansche Chesed, 2/23/20
The iconic klezmer violinist and her pianist collaborator delivered a dynamic mix of haunting traditional tunes, spirited originals and some coy classical interludes as a live score to E.A. Dupont’s irrepressibly sweet, groundbreaking 1923 German silent film The Ancient Law

Lara Ewen at Rockwood Music Hall, 2/24/20
Well known as the impresario behind the amazing, mostly-weekly Free Music Fridays concert series that ran for years at the American Folk Art Museum before being put on ice by the lockdown, Ewen is also a songwriter of note. And a hell of a singer, and a storyteller, and she’s really come into her own as an acoustic guitarist.

Jackson Borges at the organ at Central Synagogue, 2/25/20
Another excellent, long-running performance series that bit the dust when Cuomo’s insane lockdown regulations were imposed was organist Gail Archer’s semimonthly Prism Organ Concerts in midtown. Borges was the latest of a long line of global performers to play there, with a dynamic mix ranging from a majestic Mendelssohn sonata, to many more obscure works

Nicholas Capozzoli at St. Thomas Church, 3/1/20
What, another organ concert? Hey, this past year officially got cut off in mid-March. And this was a rousing one, with another mighty Mendelssohn sonata plus airy modern works by Leguay and Peters

Slavic Soul Party at Barbes, 3/3/20
Their mainstage show at Golden Fest was all the more traditional, blazing Balkan stuff. This one had the hip-hop, and the funk, and the James Brown and the Ellington. With breaks for European tours, they played this little Brooklyn boite just about every week for fifteen years until the lockdown.

The Vienna Yiddish Duo at the  Austrian Cultural Center, 3/10/20
A rare mix of edgy, Moldovan-flavored versions of klezmer classics as well as some ubiquitously familiar sounds from extrovert pianist Roman Grinberg and virtuoso clarinetist Sasha Danilov

Dolunay at Barbes, 3/12/20
Another one of the many Golden Fest bands on this list, playing an undulating, plaintive set of Turkish laments and originals…with just three people in the audience for most of the night.

The Pedro Giraudo Tango Quartet at Barbes, 3/14/20
The possibly last-ever indoor crowd at the historic Park Slope venue gathered for a sweeping, gorgeous set of originals and a couple of Piazzolla classics.

The American Symphony Orchestra String Quartet at Bryant Park, 9/14/20
The first of two outdoor shows featuring works by black composers was an alternately stirring and stark mix of material by Florence Price, Jessie Montgomery and William Grant Still.

And that’s where it ends. Get ready for some fireworks in 2021!