Even after a marathon of opera-going at Germany’s annual Bayreuth Wagner Fest, I got excited all over again about New Music Works‘ season-opening concert, coming up fast on Oct. 25. In Bayreuth I feasted on the final performances of Valentin Schwarz’s polarizing Ring of the Nibelungen, stressing obsession with youth instead of the original gold ring and its limitless power. Four long operas across six days requires discipline—limiting food and drink in order to last through 17 1/2 hours of flawless orchestra and crystalline acoustics.
But I digress.
New Music Works’ upcoming concert has a great title—Lullabies and Nightmares. Adventurous listeners will be able to interpret those opposing concepts by leaning in to the startling repertoire. Holding the spotlight at this concert is the Marea Ensemble, all of whose members you’ve doubtless heard performing together, separately, in trios or with major choral and instrumental ensembles. The firebrand expertise of Shannon D’Antonio and Samantha Bounkeua on violin, Rebecca Dulatre-Corbin on viola and Kristin Garbeff on cello form the very busy string quartet. Adding her uncanny vocals for this concert is guest artist Lori Schulman, who will join the Marea strings for various selections.
As ever with New Music Works, eclecticism powers the concert’s programming algorithm. White Man Sleeps, commissioned by the Kronos Quartet, was composed by South African-born Irish musician Kevin Volans. A student of Stockhausen’s, Volans often interweaves African tunings with Western minimalism. “His adaptation of the Neue Einfachheit [New Simplicity] is beautifully shown in this string quartet suite,” says NMW founder Phil Collins. Expect to be transported and perplexed.
On the program are works from Elvis Costello and the Brodsky Quartet. Costello’s diverse musical output came to national attention with his 1977 debut album, My Aim is True. Catch some Costello that isn’t on the social media bandwidth. The Marea players will dispatch a bit of magic by eclectic folk musician Rhiannon Giddens. Experimental composer Alex Temple straddles the Western classics and pop culture, tweaking both into new realms where electronica is often involved. Also on the program are works by controversial Argentine master Osvlado Golijov, whose range spans opera and soundtracks for Francis Ford Coppola films.
The concert is sponsored by the Rebele Family and Larry and Shelly Pearson. Larry Pearson has been a supporter of New Music Works for many decades since he and I were on the first NMW Board together (along with Gail Rich, Tom Breszny, Ann Parker, Tom Listman and Mary-Kay Gamel). Pearson happily admits that NMW’s avant-garde programming has grown on him over the years. “And the concerts just keep getting better and better,” says the Pacific Cookie Company founder. (BTW, Pacific Cookie Company is celebrating its 45th anniversary this year.) A great admirer of Rowland Rebele, Pearson says the late benefactor’s example continues to inspire his own support for New Music Works.
The Oct. 25 performance begins at 7pm at Peace United Church of Christ. Tickets are $40 general, $35 seniors, $10 students. newmusicworks.org
Get Ready for Espressivo
The irrepressible “small, intense orchestra” has given us three more reasons to get dressed and get ready. First up is a benefit concert with food, wine and music on Dec. 7 at 3pm in the German Cultural Center Santa Cruz, 230 Plymouth St. Next is a Jan. 17 concert with a new guest conductor at the helm: Salinas native Alan Truong will present a program of music by Francaix, Enescu and Wolf-Ferrari. On June 7, check out the intense conducting style of Santa Cruz’s beloved Michael (Mickey) McGushin, who will lead the orchestra through music by Copland, Sibelius, Mendelssohn and Milhaud. Always unexpected (except for the reliably magic flute of Lars Johannesson), always exploring outside-the-lines repertoire—that’s Espressivo. 7pm. Tickets available soon at espressorch.org.
