The featuredcomposer/performer was Du Yun (b. 1977), who was born and raised in Shanghai,China, but now works in the United States. She is part of a new trend ofcomposing and performing with laptop as a central instrument. Her Air Glow featured an ensemble ofinstruments in aleatoric episodes over a bed of vague electronic sound. In mostways it reminded a listener of the “chance music” of the avant-garde of the1950s and ’60s.
Other works by DuYun included Dream-Bend and Miranda, with the composer singing adense and cryptic poem. I came away thinking that though she achievesunconventional expression, it does not go far enough. We have experienced somuch in the concert hall that it takes more extreme composition and performanceto create a sense of edgy avant-garde these days.
Clarinetist WilliamHelmers delivered a pleasing and technically impressive performance of SteveReich’s bubbly, good-natured New YorkCounterpoint, played with a recording of clarinets and employing the subtlychanging syncopation of classic minimalism. Three movements for string quartetby Gabriel Prokofiev (grandson of the famous Russian composer Sergei) hadpromising substance and energy.
Two dance piecesrounded out the program. A tastelessly schmaltzy arrangement by NathanWesselowski of Caldara’s 18th-century song “Sebben, crudele” (badly recorded onan out-of-tune piano) served as score for a bland dance by choreographer/dancerKelly Anderson. Love’s Fodder haschoreography by Luc Vanier and music by Christopher Burns. It is not so strongas a composition, either musically or choreographically, but was saved by itstwo dancers, Steven Moses and Jaimi Patterson. Wearing black underwear, the twofound interesting, if disconnected, intricate duo poses.
