Thursday night at Greenwich House Music School in the West Village marked the US debut of composer Marco Missinato‘s orchestral suite Unfolding Secrets: A Symphony of the Heart. For those who might see the title of the piece and assume “Hallmark Channel,” it’s not like that at all. Missinato has built as career as a film composer, and true to form, this is a suite of dreamy, cinematic soundscapes built on slowly unfolding, anthemic themes. Juilliard-trained soprano Kristin Hoffmann, who is best known as a purveyor of moody, soul-searching piano-based chamber pop, delivered mostly wordless vocals with both a stunning nuance and an unexpected power that took the piece to surprisingly forceful heights. That they played seven of the work’s thirteen movements out of sequence only added to the intrigue. Missinato wrote the score; Hoffmann wrote the vocal charts, and quite possibly improvised some of them: she can jam with anyone, which became even clearer at the end of the show.
Hoffmann and Missinato share a birthday, and they were celebrating that and the album release for this project together, Hoffmann backed by a chamber ensemble of pianist Assaf Gleizner, bassist Scott Collberg, cellist Alex Cox, violist Timothy Maufe and violinists Marielle Haubs and Caitlyn Lynch. This was an electroacoustic performance, with a backing track including the woodwinds, synthesized orchestration and occasional percussion missing from the group onstage, plus visuals shot by filmmaker Ashley Rogers (whose short documentary tracing the development of the collaboration between Missinato and Hoffmann was screened before the concert) .
A sweeping, slowly shifting main theme of sorts was followed by an optimistic, occasionally suspense-tinged interlude: “Come with me,” Hoffmann sang brightly, an open invitation. She aired out her lower register during a more dramatic, somewhat more anxious sequence. Hoffmann varied her approach considerably as the music unwound, sometimes with a bell-like clarity, other times with a carefully modulated vibrato that she unleashed for a pillowy touch and then pulled back in, and then back and forth, adding a welcome dynamic charge to Missinato’s soothingly enveloping, warmly major-key shades. A minor-key canon lit up by Gleizner’s judiciously minimialist upper righthand work introduced a brooding interlude closer in spirit to Hoffmann’s songwriting. And then the music slowly rose to practically operatic heights.
Hoffmann ended the concert with a trio of her own songs: Ghosts, a pensive but ultimately triumphant trip-hop contemplation of overcoming being haunted by the past; Temple, a slowly and passionately rising anthem, and Falling, a bracing but again triumphant exploration of having the courage to let go and take a plunge, emotionally speaking. Then most of the string section exited, leaving Hoffmann, a guest digeridoo player and the rhythm section to improvise what might have been the night’s most exciting number. Gleizner began with a simple variations on a, gleaming, saturnine riff as Collberg worked around a steady pulse, the digeridoo almost a loop, Hoffmann writing a wounded, angst-fueled anthem on the spot, a vivid portrait of alienation amidst chaos and the struggle to achieve some kind of balance despite it all.