Interludes

VIEWPOINTS – Classical music highlights: A new work by Thomas Adès and Steve Reich’s iconic masterpiece returns

• By drediman
• May 7, 2024
• No Comments

This past week was a memorable couple of days for contemporary classical music. Over at Carnegie Hall, music fans were treated to an anticipated new work by a major composer. Then at the Brooklyn Academy of Music, they were further served with the return of an iconic classic. As per usual, read on for my thoughts.

BAVARIAN RADIO SYMPHONY ORCHESTRA
Carnegie Hall

Last week on two consecutive evenings, Carnegie Hall presented the Bavarian Radio Symphony Orchestra in two discrete programs. Led by esteemed maestro Sir Simon Rattle, arguably the centerpiece of the orchestra’s visit transpired on the second night — the American premiere of Thomas Adès’s Aquifer (HIGHLY RECOMMENDED), a dense single movement score spanning approximately 17 minutes. I found it to be a sonically ravishing score, harnessing the ensemble’s maximum orchestral resources as it swirled forward with momentum and intensity (the swooping, sweeping strings were particularly alluring and unsettling). Despite the seamless nature of Aquifer, the piece articulated varied, clearly delineated musical thoughts as it flowed inevitably to its exhilarating climax, indicating a composer in firm control of their considerable talents. The Adès premiere was sandwiched between a pair of warhorse compositions, the Prelude and “Liebestod” from Wagner’s Tristan und Isolde on the front end, and Beethoven’s “Pastoral” Symphony on the back end. Both were played with the conviction and confidence of an orchestra well-versed in the oft-performed staples of the German repertoire.

BANG ON A CAN ALL-STARS AND FRIENDS
Brooklyn Academy of Music

Then over the weekend for one-night-only, the Brooklyn Academy of Music presented a concert performance of Steve Reich’s iconic 1976 work Music for 18 Musicians (HIGHLY RECOMMENDED), which made for a thrilling and inspired conclusion to BAM’s jam-packed Long Play festival, an eclectic celebration of world music spread across BAM’s campus and beyond (artists who participated included the likes of Patti Smith and Steve Mills). Performed by Bang on a Can All-Stars at the Gilman Opera House, Reich’s rhythmic, minimalist score was a mesmerizing experience, casting a trance-like spell over the sold-out audience (most of whom were great admirers of the piece, including yours truly). Glacially unfolding over the course of just over an hour, the terrifically diverse Bang on a Can ensemble performed with exuberance, concentration, and consummate teamwork, expertly bringing out the work’s shimmering, ethereal qualities and making a strong case for its legendary status. At its conclusion, the piece was deservedly met with massive ovations (unsurprisingly), especially when Reich himself joined the players onstage. It seemed as if the music world was recognizing his extraordinary achievement.