Music Reviews : An Evening of Bold, Eclectic Compositions

Because the latest Green Umbrella Concert also served as a finale to last weekend’s CalArts Spring Music Festival, expectations of experimentation, cutting-edge technology and bold cross-cultural statements may have scared away some less adventurous ears. But the braver listeners who did attend were probably not surprised by the boldly eclectic fare Monday evening at Japan American Theatre. Nor were they disappointed.

Six compositions performed by various ensembles made up of members from the New CalArts 20th-Century Players were highlighted by the world premiere of Nyoman Wenten’s “Crossovers.” This cleverly crafted work for several vocalists/percussionists, wind quartet, sitar, and African and Indonesian drums presents a series of well-conceived and compelling rhythmic episodes.

Admittedly, the idea of combining many different ethnic instruments into one ensemble portends confusion from clashing contrasting styles. But Wenten’s poetic adherence to Balinese forms and compositional techniques tastefully prevails over any stray Ravi Shankar licks on the sitar or jazz riffs on a Western flute.

In Robert Dick’s remarkable two-movement flute quartet “Eyewitness”(1990), flutists Pedro Eustache, James Newton, Asuncion Ojeda and Rachel Rudich collaborated impressively in a virtuosic study of extended techniques.

Pianist Bryan Pezzone gave dutiful attention to the first six movements from Jean-Claude Risset’s “Eight Sketches: Duet for One Pianist”(1989) for MIDI-grand piano and a remote computerized upright piano. This setup might have suggested more musical activity, such as in the player-piano works of Conlon Nancarrow, but Risset’s understated atonal style supplied some moments of interest and playfulness.

Another world premiere, Newton’s “The Suffering Servant” for tenor, bassoon and small chamber ensemble, offered a less fresh use of atonality and extended techniques. Bassoonist Julie Feves received an impressive workout, while tenor Joseph Golightly and conductor Paul Vorwerk each maintained the biblical setting adequately.

Vorwerk also conducted Libby Larson’s quirky mixture of tonal gestures and out-of-control improvising, “Black Roller” (1981), for chamber ensemble. A careful reading of Stockhausen’s pointillistic wonder of sound and notation, “Refrain” (1959), completed the program.