Review Oberlin Artist Recital Series: Imani Winds with Gilbert Kalish

Review Oberlin Artist Recital Series: Imani Winds with Gilbert Kalish

Review Oberlin Artist Recital Series: Imani Winds with Gilbert Kalish (February 9) by Daniel Hathaway Downsizing seems to be one of the buzz concepts of our era, but the ever-game-for-a-challenge Imani Winds took the idea to a new level of miniaturization on Sun- day afternoon in Oberlin's Finney Chapel, when that ex- cellent woodwind quintet, performing on the Artist Recital Series, impressed the sox off a good-sized audi- ence with their ear-boggling performance of Stravin- sky's The Rite of Spring in an arrangement by Jonathan Russell. Well, OK, not the whole piece, but Russell gives the quintet a good twenty-minutes worth of Stravinsky's 2".1$1$#$/+.8$#%.1?43$ -#/("".+..!.$"+ 1(-$3 horn and bassoon, and it worked. In her introduction, oboist Toyin Spellman-Diaz noted that the audience would be able to hear inner details that had heretofore been "covered up by loud percussion and obnoxious brass — you know who you are!" she joked to the bal- conies where some of those blushing conservatory of- fenders were sure to be found. The Rite 6 2 %.1,(# !+$$-#41 -"$3$23%.1>5$6(-#/+ 8$12!436' 3(,/1$22$#,.1$ 3' -3'$2'$$123 ,(- .%?43(23 +$1($ .+, -.!.(23/$++, -( 9"+ 1(-$3(23 Mariam Adam, hornist Jeff Scott and bassoonist Monica Ellis was the vast range of col- ors and the many subtle effects the players were able to bring to the score. Scott and Ellis ".-31(!43$#/ 13("4+ 1+8 , 9(-&2.+.,.,$-32 $18+(33+$.%3'$$22$-"$.%3'$/($"$ went missing. 31 5(-2*8" ,$>%3'.-, -(2/1.&1 ,.%2(7/($"$26'("'!$& -6(3'$%%".332 Startin' Sumthin, an energetic overture that raised the curtain with jumpy motives and ".+.1%4+"'.1#2 -#& 5$, -((32>123.//.134-(383.(,/1$22!.3'6(3'3'$(-#(5(#4 + prowess of its members and its collective ensemble and blend. After noting that two of the group — Spellman-Diaz and Ellis — were Oberlin alumnae enjoying a homecoming to the Conservatory that afternoon, Imani continued with MacArthur fellow and jazz pianist Jason Moran's Cane, a suite of pieces chronicling the - 11 3(5$2.%2+ 5$2+ 3$1%1$$#+(*$ 1($':1;2$:3.8$16'.2$+(5$2' #3 *$-3'$, 3'1.4&'3'$ -$(5$1 1$ .%.4(2( - '$1 3'$1#(%%42$>123,.5$,$-3+$#.-3. three more whose musical direction became increasingly focused and coherent, though all four mini-tone poems were lyrical and pleasant to listen to. $3$1 -/( -(23(+!$13 +(2').(-$#, -(%.136.6(-# -#/( -."+ 22("2.4+$-"2 Sextet and Mozart's Quintet. 1 2' -#2 228 33'$!$&(--(-&3'$.4+$-">-#23'$".,- /.2$16(3''(23'4,!>1,+8/+ -3$#-$73'(2-.2$ 2'$3 4-323'$ 1(2( -,42(" +$23 !- lishment with his bad boy antics. Later, he turns cabaret-maudlin then festive with a side- 31(/3'1.4&'.-3, 131$>- ++8$-#(-& 2.4+$-"2..%3$-#.$26(3' +81(" + -#2$,( contrite denouement. Imani and Kalish played it with relish and panache. '$.9 131$/+ "$# 31(.".,/.2$#!8 +$1($ .+$, - -#& 5$, -(3'$.//.134- -(383."$-3$13'$,2$+5$2(- 6$++!$' 5$#($--$2$"+ 22(" +/($"$!$36$$-.4+$-" -# 31 5(-2*8 '$%.416(-#23'$?43$2 33'(2.-$.43/+ 8$#(36(3'+$ -!1(&'33.-$ -# +(2' #.1-$#(36(3'"1823 ++(-$14-2 '$/($"$,(&'3' 5$/1.>3$#%1., -.3'$11$- hearsal to more sharply hone its details. '$".-"$13$-#$# 22., -8#.3'$2$# 826(3'( 99.++ 3'$-4$5.3 -&., 23$12 Libertango, in a spiffy arrangement by Jeff Scott that gave several musicians important solo licks during a slow section and sent a happy audience out among the snowbanks probably wanting more but wary of putting Imani's seemingly indefatigable chops through an encore, Published on ClevelandClassical.com February 11, 2014.

View Full Text

Details

  • File Type
    pdf
  • Upload Time
    -
  • Content Languages
    English
  • Upload User
    Anonymous/Not logged-in
  • File Pages
    2 Page
  • File Size
    -

Download

Channel Download Status
Express Download Enable

Copyright

We respect the copyrights and intellectual property rights of all users. All uploaded documents are either original works of the uploader or authorized works of the rightful owners.

  • Not to be reproduced or distributed without explicit permission.
  • Not used for commercial purposes outside of approved use cases.
  • Not used to infringe on the rights of the original creators.
  • If you believe any content infringes your copyright, please contact us immediately.

Support

For help with questions, suggestions, or problems, please contact us