Deep Sky Objects: Musiqa’s Season Opener
For more than a decade, Houston’s Musiqa has presented a sort of artistic cornucopia for its audience. Music, dance, and the spoken word come together with other art forms in dynamic multifaceted presentations that keep the audience engaged and on its toes.
For more than a decade, Houston’s Musiqa has presented a sort of artistic cornucopia for its audience. Music, dance, and the spoken word come together with other art forms in dynamic multifaceted presentations that keep the audience engaged and on its toes. Their recent opening night featured a new commission supported by a major grant from Chamber Music America in the form of a collaborative work by composer Sebastian Currier and poet Sarah Manguso. Also featured were works by Lera Auerbach, Musiqa’s Pierre Jalbert, and the world premiere of choreographer Tina Bohnstedt’s work Divided and Scattered featuring music from Currier’s 1995 piece Quartetset.
Houston, like many large cities, is a work in progress and, as such, is regularly being torn apart and rebuilt in one way or another. After a slightly late start to accommodate an Escher-like parking situation, the evening began with several movements from Lera Auerbach’s Twenty-four Preludes for Violin and Piano. Using Bach’s Well-Tempered Clavier as a starting point, Auerbach’s piece explores a variety of styles and techniques that have been developed and become common since the composition of that seminal work. Violinist Lisa Burrell deftly negotiated the syncopated rhythms and chunky double stops of No. 9 in E major, trading hocketed figures with pianist Tali Morgulis. No. 3 in E major wandered in childlike, tonal, and innocent, lightly colored with dissonance around the edges. The stage was lit in bright swaths of red, blue, and green, which changed with each movement. I don’t suppose that there was any intention or suggestion of synesthesia here, but it was a nice visual reset between sections and pieces.
Currier’s Deep Sky Objects is described as “a cycle of love songs set in the distant future, exploring intergalactic longing and desire.” In ten movements and scored for soprano, electronics, and piano quintet, Currier manages to incorporate the electronics without being ruled by them. Each movement begins with an electronic incipit which created a “micro-composition” based on the title of each song, sort of an electronic calling card complete with a nonplussed female voice announcing the title, sounding ever so slightly like HAL from 2001:A Space Odyssey. Incorporating actual elements of signals generated by pulsars, man-made satellites, and Currier’s own creations suggestive of deep space, the electronic elements of the work serve for the most part a largely textural role; and they do it well. At times the incipits approached a suggestion of actual sci-fi fare, but never crossed the line and always set the stage acting as aural illuminations for the sound-text that followed. Soprano Karol Bennet delivered every syllable with finesse and passion, providing a perfect foil for the somewhat cold electronics of deep space.
I go to a fair number of new music concerts, and while I enjoy shows that feature exclusively recent fare, it’s also compelling to see presentations that combine the old and the new. The experience of seeing a concert programmed with music from a variety of eras is similar to seeing a concert programmed with a variety of arts. There is something refreshing about hearing everything all mixed together, and the combination resented by Musiqa on this and other concerts has a similar impact. Overall, the effect is one of “the whole is greater than the sum of its parts,” and when the parts are this good by themselves, together they make for a particularly remarkable experience. The extremely high level of artistic presentation, the relaxed and welcoming attitude, and the diversity of programming come together to show why Musiqa plays such an important role in Houston’s new music scene.