Word: violins
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...centuries, 12-tone music does not use a hierarchy of pitches and chords. The music configures and reconfigures arrangements of all 12 notes in a scale throughout any given piece. The result is a seemingly unpredictable array of sounds that are highly structured and self-reflexive. The piece--for violin, cello and piano--paired soft, slow sections with furious fortes. The instruments seemed to communicate with each other while establishing a fascinating harmonic tension...
After intermission, the EAR Unit played Morning Chill by Takashi Koto, a piece for flute, clarinet, cello, violin and piano. Koto achieves deep, dark tone in the piece with instruments often holding on certain notes and going sharp or flat. The rising and falling dynamics add to the jarring atonality of the piece, creating a sensual and disturbing composition...
Raqsa bal Kamangani: Dance for Violin and Cello by Riad Abdel-Gawad juxtaposes Middle Eastern and Western sounds. The lower strings of both instruments are muted, raising the pitches by one-third. The piece opens with plucked violin and cello. The instruments make a rhythmic and harmonic pattern upset by occasional individual sounds. A mix of bowing and plucking follows, which then blends into furious bowing. The timbre is fascinating; the drama of the piece is rich...
...final selection of the evening was Fanatical Dances by Andrew Rindfleisch. The piece is written for piano, violin, cello, clarinet, flute and much percussion. The beginning of the piece features everyone except the flutist playing some kind of percussion--the cellist plays the back of the cello...
...eight-member ensemble played these difficult pieces with considerable flair. All of the instrumentalists--Gloria Cheng on piano, Erika Duke-Kirkpatrick on cello, Arthur Jarvinen and Amy Knoles on percussion, Robin Lorentz on violin, James Rohrig on clarinets and Dorothy Stone on flutes--showed amazing versatility and intensity...