Concert Review: Composer Portrait Frames Little As Social Interlocutor

April 23, 2019
by Xenia Hanusiak

This season, the Miller Theatre’s signature Composer Portraits series celebrates its 20th iteration. This vital and well-patronized series showcases the musical influencers of our time – composers and performers who are moving the needle of contemporary composition with assured and individual voices. The reputations of the featured artist are well validated.

In the current season, the six composers have earned prestige awards ranging from the Pulitzer Prize to the MacArthur Fellowship: soprano/composer Kate Soper, performance artist/composer Du Yun, drummer/composer Tyshawn SoreyWang LuJohn Zorn, and David T. Little. The supporting musicians are integral, and for this season executive director Melissa Smey has snared the marquee names of contemporary musicInternational Contemporary EnsembleYarn/WireJACK QuartetAmerican Contemporary Music Ensemble (ACME), and Third Coast Percussion. The synergy between composer and performers is essential to the enterprise.

The portrait experience is multi-layered. Each presentation features the composer as curator and spokesperson (an onstage conversation is part of the concert experience). Lara Pellegrinelli’s program notes provide another indispensable contribution.

The programs generally focus on small-scale and chamber music repertoire. For the final concert of this season on April 18, the American composer David T. Little, most known for his operatic works JFK, Dog Days, and Vinkensport, chose two chamber works that demonstrated his acuity for theatricality. Onstage, the 40-year old Little spoke about his reputation as a political composer. He said he does not see himself as a propagandist but views his role as an interlocutor who leverages his music either to ask questions or to document historical incidents.

Little’s Socratic approach was realized in the first work of the evening: Haunt of Last Nightfall for percussion quartet and electronics. Described as a ghost play in two acts, the nine-movement through-composed work was commissioned in 2010 by the extraordinary Chicago-based Third Coast Percussion. The piece considers America’s role in the 1981 massacre in El Mozote. Little composed the quartet at the same time as his post-apocalyptic opera Dog Days. The similarities between the percussion quartet and the opera are most evident in the electronic soundscape of grunge, distorted electric guitar bass lines, and an insistent pulse as a watch-keeper.

Haunt of Last Nightfall is a landmark work that deserves as much airplay as his publisher can muster. Little’s background as a drummer tells in his masterful writing for percussion. He organizes his orchestration via tuned and untuned instruments. He elicits shimmering, heavenly textures with his juxtapositions of crotales, glockenspiel, and vibraphone lines and creates foreboding and danger with the full gamut of drums tuned to offer a harmonic consensus. Without text, Little offers the listener a narrative journey much in the vein of a silent-film score. Our attention never falters. Little’s agility across the range of percussion instruments is evident in his color-driven soundscapes. We are compelled to imagine the mass slaughter of the Salvatorian people and reflect on the questions that Little offers in program notes.

The success of this performance owed everything to the blistering virtuosity of the members of Third Coast Percussion. Their playing was distinguished in its unanimity, pinpoint accuracy, and collective ability to make percussion instruments sing. One hopes for a second collaboration between Little and the quartet. The combination is indefatigable.

Click here to read the full concert review.

 

 


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