Lagniappe Recital: Gythfeldt-Watson- Myth-Science Ensemble

sundaymorning3It was no sleepy Sunday for ClarinetFest 2014 at Shaver Theater this morning, where another Lagniappe Recital showcased several excellent performers and their eclectic choices of music, including several works with electronics and visuals and a world premiere piece for solo bass clarinet. Marianne Gythfeldt, Anne Watson, and the Myth-Science Ensemble all performed for a supportive and patient audience despite the recital’s late start.

Dr. Marianne Gythfeldt, an Assistant Professor of Music at Brooklyn College, started the hour with Mikel Kuehn’s Rite of Passage followed by Gene Pritsker’s Modified #4. The audience was surrounded by stereo electronic sounds while Dr. Gythfeldt played live passages from the center of the stage. Her use of a laptop and panel of foot pedals enabled her to change the electronic sounds as the music progressed.

Dr. Anne Watson of Northeastern State University (Tahlequah, Oklahoma) continued the recital with the world premiere of Theresa Martin’s Grit n’ Grind for bass clarinet. Dr. Watson briefly described an intense exercise routine, involving crawls through the mud, which prompted Theresa Martin to compose the work. The piece’s call for steady technique throughout the bass clarinet’s registers was highlighted wonderfully by Dr. Watson’s playing.

The final works of the concert were presented by the Myth-Science Ensemble of Dwight Frizzell and Thomas Aber on bass clarinet, zwoom, and electronica. Their first work Slippages III was accompanied by brilliantly-colored visual presentations as a backdrop for the performers. Frizzell discussed the directional approach to the work’s amplification, where a unit of sound may be played live by Frizzell or Aber and then repeated behind them on electronics or vice-versa. The use of zwooms, a long circular tube with bass clarinet mouthpiece, produced a dark and shrill sound similar to a contrabass clarinet, though their movement of the instruments varied the timbre. The second work Oceans of Kansas was aptly named for the audio samples of certain reactive minerals and chemicals used in the piece. Aber provided whimsical bass clarinet sounds and passages while the visual and audio presentation of the piece carried on.

–Notes by Joel Auringer
Joel Auringer is a recent graduate of Southern Illinois University Carbondale. He currently maintains a private studio in the Dallas/Fort Worth, Texas metroplex, and will begin doctoral study at the University of North Texas in the fall.

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Filed under Day 5, Lagniappe Recital, Performances

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