Betty Olivero’s Six Yiddish Songs and Dances began as ascore for a silent film, later adapted as a chamber work for clarinet andstring quartet. Clarinetist William Helmers was given the opportunity to dosomething he has always done well: mournfully moan the instrument, then cutloose in a chattering wail, all with a Yiddish accent. The “songs” ranged fromdoleful to manic. Olivero writes very effectively and richly, unselfconsciouslymarrying klezmer style with art music.
Kamran Ince’s Istathenople (a melding of Istanbul and Constantinople)was commissioned by PM and premiered in 2003. For eight players plus a femalevoice, without words and treated instrumentally, the piece is built on shortmotivic phrases, like most of Ince’s music. Pensive contemplation suddenlybursts forward with roaring aggression. Of the many Ince pieces I haveencountered, this is one of his best, sustaining interest throughout withdramatic contrasts. Music such asIstathenople, with so much detailed texture and layers, is greatly helpedby the clearer and warmer acoustics of Turner Hall when compared to other PMvenues of the past.
Amir ElSaffar, born toan Iraqi father and American mother, was a jazz trumpeter before becomingthoroughly interested and trained in maqam, the classical music tradition in Iraq.Playing the santoor (a hammered dulcimer), he was joined by Dena ElSaffar ondjoze (a bowed spike fiddle) and Tim Moore on the dumbek (a goblet drum). Thetrio, Safaafir, first presented a traditional maqam, lengthy and mesmerizing,its vocal line a melisma-filled ramble through poetic reflection and exuberantpleading. Amir ElSaffar sang as expertly as he played. This trio is an amazingcombination of musicians. ElSaffar’s originalcompositions, mixing jazz and maqam style, were exotic and seductive, featuringhim in elegant and expressive trumpet solos. For the final selections PMmusicians joined the trio to continue the hypnotic spell.
