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... articles, new writing and a music blog from a washington post music critic ... — home about me contact portfolio: journalism articles foreign affairs investigative reporting essays commentary music architecture & the arts profiles travel & adventure business, trade & economics everything else music reviews photo galleries portfolio: photography strange worlds life in rangoon cambodian modern: architecture of vann molyvan photo galleries burma journal angkor house resources upcoming concerts music links login search this site margaret leng tan at the national gallery of art by stephen brookes • the washington post • may 8, 2017 m argaret leng tan — the formidable doyenne of the avant-garde piano — has built a career on upending tradition, pushing her instrument into fresh, no-holds-barred sonic worlds. that’s led her into collaborations with some of the most pathbreaking composers in the country, and in a remarkable program on sunday at the national gallery of art, tan explored some of the innovations that have transformed the piano over the past century — concluding with the world premiere of george crumb ’s “metamorphoses, book 1,” a striking new work from a composer who, at 87, shows no sign of slowing down. margaret leng tan tan opened the afternoon with john cage ’s “the perilous night,” a 1944 work for “prepared piano” — an instrument created by inserting bits of metal, felt and rubber between the strings, transforming it into a sort of percussion orchestra. it’s a nocturnal work full of shadows and dread, and tan played it with the restless, aching mystery of a dream. or, perhaps, of a sleepless night: cage, who was leaving his wife for the choreographer merce cunningham at the time, once said the work arose from “the terror that comes to one when love becomes unhappy.” four short and evocative works by the influential composer henry cowell — who, in the early 20th century, brought fists and forearms to the piano — followed, in an exuberantly physical performance by tan, who wrapped herself over the keyboard to create massive tone clusters, and plunged inside to brush the open strings. but the highlight of the afternoon was the crumb premiere, a ten-part piano cycle written for tan that, like mussorgsky ’s well-known “pictures at an exhibition,” transforms a series of artworks into music. crumb’s always-colorful imagination and palette of sensual techniques were on full display, from the darting, shimmering gestures of paul klee ’s “the goldfish,” to the brooding melancholy of van gogh ’s “wheatfield with crows” (in which tan showed her finely-honed cawing skills), to the galloping explosiveness of kandinsky ’s “the blue rider.” but these weren’t mere clever tone-paintings — “metamorphoses” felt intensely probing and often incantatory, as if conjuring up whole new worlds from the dark, elusive depths of the paintings. tan played through them as if the fate of the world depended on it, and navigated the battery of instruments (amplified piano, woodblocks, toy piano, wind chimes, red clown nose) with extraordinary focus — winning a sustained standing ovation for herself and for the composer, who was in attendance. posted on monday, may 22, 2017 at 04:29pm by stephen brookes | post a comment | email | print jupiter string quartet at the phillips collection by stephen brookes • the washington post • march 27, 2017 n ame yourself after the biggest planet in the solar system, and you’d better be ready with some pretty celestial playing. that — at least at times — was what the jupiter string quartet delivered sunday at the phillips collection, in a program that contrasted shimmering works by mozart and schumann with bela bartok ’s driving, intense and darkly explosive quartet no. 4. the evening opened with mozart’s quartet no. 14 in g major, k. 387, a piece inspired by haydn ’s pathbreaking op. 33 quartets. it’s an effusive work that lays on the charm from beginning to end, and the jupiter players gave it a playful, lighthearted reading — with a slight glitch. the closing movement builds to a furious pitch, and in a teasing haydn-esque touch, mozart offers what seems to be the triumphant ending — before revealing the real, much quieter close. but the audience burst into such enthusiastic applause at the “false” ending that the players, after waiting for a moment with bows poised, finally just shrugged, smiled and ended the piece right there. “we rehearsed it that way!” cellist daniel mcdonough said with a laugh, before giving a quick introduction to the mix of folk influences and deep-reaching symmetry in the next work, bartok’s quartet no. 4. there’s little discernible playfulness in this vast-feeling quartet — perhaps bartok’s greatest — and its intricate web of motivic connections, mirror-images and constant reweaving of material is both daunting and fascinating. opening with a dense and driven opening, it sweeps across an arc of two scherzos and a shadowy middle movement, before dancing itself nearly to death in the full-throttle close. the jupiter gave it a characterful, illuminating and utterly committed account. robert schumann wrote only three string quartets before giving up the form — not (to these ears, anyway) a terrible tragedy for this most pianistic of composers. but there’s a lot to like in the lyrical quartet in a major, op. 41 no. 3, which closed the evening. an engaging work full of beethoven-ian echoes, it stays in easily fathomable depths and is undeniably lovely. the jupiter turned in a stellar — planetary? — reading that had the audience on its feet by the end. posted on thursday, march 30, 2017 at 02:53pm by stephen brookes | post a comment | email | print composer anders hillborg at the phillips collection by stephen brookes • the washington post • march 11, 2017 n ot to stereotype or anything, but are swedes the most civilized people on the planet? thoughtful, open-minded, reasonable to a fault, they may not always set the world on fire, but they contribute more than their fair share of sanity to the global psyche. so perhaps it wasn’t surprising that thursday night’s smorgasbord of chamber music by anders hillborg — part of the phillips collection’s “leading international composers” series — was both intellectually engaging and warmly approachable, marked by a kind of playful, inclusive modernism that drew on everything from renaissance music to the driving pulse of rock. anders hillborg less bleeding-edge individualism, in other words, than an embrace of musical community — even down to the phillips’ seating arrangement, which exchanged the usual strict rows for an intimate, communal semi-circle around the performers. and while the first work of the evening was a rather stately “opening fanfare” (written for the swedish parliament, hence the stately) played by the axiom brass ensemble , the sense of open-minded curiosity that runs through hillborg’s music quickly emerged. the 1998 “brass quintet,” for instance, contrasted passages of lazily smeared notes with others of punchy, hard-driving power, while two fine works for string quartet drew intriguingly from composers from stravinsky to bach. in the “kongsgaard variations” (built around the gorgeous “arietta” theme from beethoven ’s last piano sonata, op. 111), hillborg channeled beethoven’s dramatic lyricism in a free-flowing meta-style that slipped effortlessly from renaissance dances to the ultra-modern coda that closed the work. the calder quartet turned in an expressive and deeply felt performance, as they did with the seven dark, meditative movements of hillborg’s 2007 “heisenberg miniatures.” the kongsgaard variations was, to these ears, the most revealing and impressive work of the evening. but there were other delights as well. clarinettist moran katz turned in high-powered performances of several short works, from the spare staccato lines of “tampere raw” to the darting, birdlike gestures of “the peacock moment.” her reading (with violinist andre

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