The Rouse Effect: The Next Generation

Back in 1980, when I had slender ties to the composition department at University of North Texas' music school, I attended a What-can-I-do-with-my-degree workshop. The takeaway answer was "Go West, young composers. Write for Hollywood's film industry." As distasteful as that was to some in the room, it was prescient advice. Not only has that industry provided many composers with a good income, but it has also been the primary conduit through which Americans have been exposed to innovative, contemporary music. For example, choose Philip Glass on Pandora.com, and you'll primarily hear excerpts from his score for The Hours. Producers must judge the music serves their purposes well; otherwise, they would eschew these innovative compositions. And yet, I'm certain that a poll of the American public would reveal that a significant majority does not like contemporary 'art' music.

The attendance at the non-popular music events at Arts and Ideas bears out these observatiosn out in several ways. These are the events most challenged to produce audiences, and yet I often think find myself thinking that I'm listening to a film score, music film audiences regularly listen to with nary a complaint. With this in mind, I shouldn't have been (though I was) surprised when discussion with the three composers at tonight's performance encouraged this association between their music and storytelling.

Tonight's wonderful, wonderful evening of chamber music featured works by three of Christopher Rouse's former students: Michael Torke, Marc Mellits, and Kevin Puts. All four composers were in the audience (which was seated cabaret-style in Longwharf's Stage II), and between pieces, they provided some background and one or two elements to listen for. Though Torke did mention that "Yellow Pages" goes through the harmonic circle of 5ths using the same notes, the predominant guidance was much more programmatic: "optimistic sound of my youth," "cycle of life and death doesn't depend on humans," and "the power to transcend during times of tragedy and personal crises." I mention this not to complain about the music or the composer's elucidations, but to wonder aloud why this music, which suits the American populace so well in the background to a film, is so quickly dismissed and ignored when the moving images and popcorn are absent.

To my mind, these works did not require either visuals or narratives to be enjoyed. Highly complex (within the limits imposed by small chamber works), they exuded a vibrant energy. In part, this energy was the result of the performers, Real Quiet--Felix Fan (cello), Andrew Russo (piano), and Danny Tunick (percussion)--plus Benjamin Jacobson (violin), Andrew Bulbrook (violin), Tara O'Connor (flute), Michael Byerly (clarinet), and Ji Hye Jung (percussion). The performances by the ensemble Real Quiet were extraordinary because the musicians obviously love and enjoy these pieces. And particularly notable was the performance of Ji Hye Jung on the marimbas. Being privy to her grace and athleticism is worth the price of the ticket.

Even the musicians alternatively tossing and dropping the music sheets to the floor added to the drama of the performance.

What an evening!

Highly recommended.

06/25/2010: This was the highlight of 2010 Arts and Ideas New Haven.