~ Author: Oberon
Thursday February 22nd, 2024 – American composer Amy Williams (photo above by John Mazlish) was the guest at this evening’s Composer Portrait, a popular ‘interview and performance’ series offered by the Miller Theatre at Columbia University. Read the composer’s bio here.
Tonight the illustrious JACK Quartet were with us to perform Tangled Madrigal (the world premiere of a Miller Theatre commission) and other works by the composer, who, as an accomplished pianist, joined them for a trio and a quintet.
The evening opened with Cineshape 2 for piano and string quartet, composed in 2007. This was a compelling introduction to the composer’s music. It starts off with a sizzling motif from John Pickford Richards’ viola; as the music turns somber, the viola is joined by Jay Campbell’s distinctive cello, with the composer providing pizzicati from the piano. Suddenly there’s an explosive crash, followed by a passage for skittering piano and chirping violins. Another crash, and then the music turns dreamy, becomes agitated, and stutters before a third crash. The strings descend, the music pulsing, then shivering, before it fades magically away.
For Bells and Whistles (2022) the composer was joined by violinist Christopher Otto and Mr. Campbell. The gentlemen tap their strings whilst Ms. Williams reaches into the piano to pluck the strings. It’s quite hypnotic! The music grows louder and becomes turbulent, the piano part is very active, with swirls of notes running up and down the keyboard. A trudging motif arises, churning and relentless. An eerie postlude ensues, develops a dense quality, and then turns other-worldly.
One of Ms. Williams’ most highly regarded works, Richter Textures (2011), was inspired by the paintings of Gerhard Richter. Listed as being in seven movements, my companion and I both detected five: some of the subtle transitions seem to have eluded us.
From an agitato start, the music turns high and spacey, with brilliant interjectory phrases from Jay Campbell’s cello. As the cello goes low and ominous, the unison violins and viola take up a slow, descending theme, which the cello eventually joins. Then things ascend to the heights.
Slashing bows evoke a painter’s aggressive brush strokes; these are quietened, and the cello sings low, whist the violins linger on high. Insectuous, insistent buzzings give way to ethereal, kozmic high harmonies. The music becomes driven – and rather jazzy – before a sudden stop.
Following the customary interview of the composer, the world premiere of Tangled Madrigal was magnificently played by the JACK Quartet. Early Music influences colour this music, which is so beautifully written…and written with these specific players in mind. From a high, squeaky start, the composer takes us on a time-warp journey back to the Renaissance. Mr. Richards’ viola is gorgeously prominent, Mr. Otto’s violin shines, Jay’s cello has a song to sing, and violinist Austin Wullmans floats in the high register. There is a cadenza from the viola, but it’s the cello that has the last word. I think I could have derived even more pleasure from this piece had not the two girls sitting in front of kept whispering and checking their phones.
The program was a fine introduction to the composer’s work, though a certain sameness prevailed as the evening progressed. It would have been interesting to hear Ms. Williams in a solo piano work, since her playing is truly captivating. So…the Miller will have to have her back at some point. Meanwhile, having the JACK Quartet for the whole evening was its own reward.
~ Oberon
Oberon's Glade 