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What we also have to find is justice.
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Chicago Sinfonietta: Sound Waves review
Monday, 01 June 2009

REVIEW OF SOUND WAVES by siohban gregory
As a newcomer to Chicago, I am discovering a specific kind of boldness in its creative culture and artistic production.  I feel incredibly fortunate that my introduction to musical reviewing is for the dynamic and memorable season close for the Chicago Sinfonietta.  The May 11, 2009 performance of Sound Waves was my second experience with the Sinfonietta.  The first was Global Voices which unabashedly combined traditional Indian music and the vocals of Kiran Ahluwalia with opera sung by mezzo-soprano Carolyn Sebron.  I left with the impression that this is an orchestra not afraid to stretch the boundaries of their field, and one that you can expect a degree of vibrancy and surprise.  This impression was reinforced with Sound Waves.

The water themed program opened with Handel’s Water Music, lead by conductor Paul Freeman and accompanied by guest pianist Anton Kuerti.  Beethoven’s Piano Concerto No.1 followed.  I was immediately drawn in by the endearing demeanor and warmth of Freeman as and then by Kuerti who entered the stage with tousled white hair, velvet jacket, and the intense look of a master.  The music, emotive and encompassing, was echoed in Kuerti’s demeanor at the piano: his bowed head concentrated, constantly adjusting his body on the seat to be positioned right over every key as he played it.  All the while his playing remained light and agile; his hair became slightly wilder as the composition progressed while each note was played with precision.

As I settled into the music, I observed this same intensity echoed in fellow audience members around me.  The bowed head of the lovely young African American woman a few empty seats down from me almost mirrored the slightly bowed head of the pianist.  With hands clasped resting in her lap, she appeared to be almost singing along, nodding in a forward motion and smiling the whole time.  Knowing that I needed to write about what I heard, I listened harder and more intently than I would have normally.  Being forced to listen with complete attention, to observe my own emotions to the music like a narrator, was a difficult pleasure for me.  I bowed my head slightly like the woman down the row from me…and forced myself to listen deeply and purposefully.

During the second piece (Beethoven) I realized that music can have opposing effects on different members of the audience.  Unlike the young woman down the row who listened intently, the man in front of me took a snooze.   I couldn’t blame him for feeling totally relaxed and I counted at least 3 people in repose.  I contemplated that one of the qualities of the classical music experience is the ability to enliven and engage some listeners and soothe others.  Anton Kuerti did just that.

At the conclusion of the first half of the program, the applause was a mild roar.  I looked again to the woman down the row to see her reaction.  She clapped a little harder than the rest of the crowd and laughed with a huge smile.  She was so happy!  Witnessing her joy and being able to write about it was my favorite part of writing this review.

The second half of the program opened with Debussy’s La Mer lead by guest conductor William Eddins.  My impression of the conductor confirmed again my impressions of the energy and expressive style of the Chicago Sinfonietta.  I noted that as Eddins began conducting, he planted himself with feet wide apart, once even appearing to lose his footing and step one step down off the platform.  He conducted with his whole body and took up as much space as he could.  There was no break in the intensity of the music or his performance.

The program concluded with the premiere of Michael Abels’ Aquadia, commissioned for the Oceanarium exhibit at the Shedd Aquarium.  The piece is contemporary, dynamic, and, dare I say it, fun.  In combining fresh Tropical Island sounds from the xylophone and rhythmic drums, the music had a truly aquatic feel. Mirroring the function and experience of aquariums, the music seemed to reflect the distance and wonderment associated with our human relationship with ocean life, while allowing us a view into the teaming life deep in the waters.

In this piece, Eddins’ demeanor again expressively communicated the tone and feel of the music.  In contrast to his earlier of pose, he began directing Aquadia by leaning back casually against the banister, one foot resting over the other.  His body again reflected the mood and intention of the music while adding to the entertainment.  Later in the piece he was almost dancing, all the while leading the orchestra with ease and grace, with these delightful touches of Chicago showiness.

The musical performance was accompanied by an underwater video presentation on a massive screen installed above the stage.  The video showed images from the Shedd aquarium and provided underwater scenes to parallel the theme of the music.

Unfortunately, the production quality of the underwater montage was not as polished and refined as the musical composition.  Although full of the magnificent color, form, and movement that keeps us in awe of underwater worlds (and going to aquariums), the visuals frequently did not always match up with the timing of the music.  At some points, speeding schools of fish was beautifully timed with a rising build in the music.  At other times, the piece was almost epic in intensity while the fish appeared to be just hanging out in a fish tank.  This critique aside, I can’t wait to hear Aquadia when I visit the Shedd Aquarium this summer.

The experience of this performance confirmed my newly found assumptions of the potential for boldness and creativity that comes with a Chicago Sinfonietta performance.  As I continue to explore this fabulous city, I look forward to my next season of classical music in Chicago.

 

siobhan gregory is an industrial designer, who moved to Chicago last September to attend the University of Illinois.
 
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