Tuesday, May 29, 2012

Timo Andres gives a "summer movie" recital at Le Poisson Rouge in NYC

Tonight, Timothy Andres (“Timo Andres”) gave a recital at Le Poisson Rouge in Greenwich Village in New York City (Oct. 19, 2010).  (The Club 930 in Washington DC is a similar business.)

And, as with Timo's fun concert at "Bargemusic" in early June last year, there was a violent NYC thunderstorm outside during most of the concert.  (It stretched diagonally up the entire Eastern Fall Line.) We existed afterwards onto flooded Village streets.
Some of the pieces have been discussed here before.  He started with three pieces from Ted Hearne’s “Parlor Diplomacy” (a political nod to Hillary), and a single-piano setting of the eighth piece from “Shy and Mighty”, “How Can I Live In Your World of Ideas”. The soloist version seemed a bit more compressed – ending loudly – with the flirtatious piano part in the treble reminding me of Sami from “Days of our Lives” rationalizing her behavior with her son Will (the bass).  
He played the 15-minute rhapsody “Authentic Presence” from teacher Ingram Marshall (June 10, 2011), and this time I noticed the quintuple rhythms and episodic nature.  What followed would be a daring experiment. 
He played the 3-minute Intermezzo in B Minor by Johannes Brahms, Op. 119, #1. It seemed to host the theme that  Marshall had used.   (Hearne also uses it, according to Timo.) He then, without pause, played five of the movements of his own “It Takes a Long Time to Become a Good Composer” (it indeed does), and then went seamlessly into the Robert Schumann miniature “Vogel als Prophet” from Waldzenen, Op. 82. The effect of the concatenation was that of an extended rhapsody-sonata as if a single composition, as the music weaves in and out of the conspicuous and lush romanticism or Brahms and Schumann into polytonal modernism that sounds perfectly matched.   But I never knew that Brahms and Schumann could use some polytonality, like Mozart.  Some audience members said they really had trouble detecting the transitions.

The whole amalgamation was managed by software on a New IPad, which presents the music and turns pages. (I'm not far enough in my own experience with Sibelius to know how to do that.)
Timo concluded with a four-hand, one piano (Yamaha) performance of a new piece “Retro Music”, played with David Kaplan.  The piece would have fit into the soundtrack of “Men in Black”.

Was his suit made of corduroy?  That's what it looked like. 
Before the concert, the business served food and drinks (min of 2 items per table), while playing the complete recording of “Shy and Mighty”. The effect (during the table service) was an immersion into "Timo's world", which sounds almost cinematic.

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