![]() Muted glissandi in the solo violin perfectly smeared the dysfunctional but infectious melodies, and the low strings punctuated the menacing and agitated affect that ends the work with a satisfying power. Ramírez skillfully controls a harmony that functions, but barely. Thick, murky chords fall over one another to emerge, as the work moves fitfully from one state to the next. The dancer here is off-balance, clumsy, like an out-of-kilter automaton. This is a fascinating work, one which refers to dance in something of a broken fashion. Classique, il est le restaurant de gnrations de. ![]() The “Danza Morena” from Mexican composer Juan Ramírez’s “Suite Latina,” is, as the name suggests, dark. Pizzicato est spcialis dans les pizza fines, ptes et salades depuis 1994. Plaza’s string writing is detailed and fine, and the ensemble’s sections took turns parading their synchrony, intonation, and bursts of dynamic force. This felt like a missed opportunity, as one imagines that more interesting string works can easily be found in South American music.īetter, for example, was Juan Bautista Plaza’s “Fuga Criolla,” a racing, excited fugue that sends the motivic subject ricocheting around the ensemble, with lush oases of rolling tutti crescendos as momentary episodes that interrupt the work’s otherwise restless agenda. The two movements, “Allegro vivace” and “Tempo di marcia” are derivative character sketches that aim low and hit squarely, lumbering through a series of vaguely familiar dance textures and salon melodies. ![]() Venezuelan pianist and composer Teresa Carreño’s “Serenade for Strings” was a weak link. The ensemble made the most of the final, raucous section of the work that combines rugged and angular repeating riffs with precise, high-register syncopated melodies. Montgomery has an interesting harmonic palette, and in “Strum” she paints broad melodic arcs that are both austere and bucolic. New York composer Jessie Montgomery’s “Strum” explored all the possible meanings of its title, at times turning the entire group into a single, plucked instrument, then using groups of pizzicato rhythms against and with each other in Latin cross-rhythm patterns. The performance space at Southwestern College is elegant and acoustically superb, and was filled to capacity for Sunday’s event. ![]() The last movement Rigaudon was silken and elastic, with expert playing by concertmaster Kathryn Hatmaker. The compact ensemble brought a bracing tempo and surprising strength of sound to the galloping Prelude. This smaller group was perfect for Edvard Grieg’s “Holberg Suite.” The Holberg is Grieg’s Nutcracker Suite - made up of nothing other than delightfully crafted, evocative scenes, small in scale and generous with their melodic materials. ![]()
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