by Kevin McLaughlin
Imani Winds has mastered the art of extemporized risk-taking. If most of the notes on Tuesday, October 15, were predetermined, the specialness was in what was not on the page. It’s what one aspires to hear from the best chamber music performances and in jazz: aligned individual and group invention, conversational interplay, courage of dynamics, tempos, and timbres edging on extremes — music-making never again to be heard in exactly the same way.
Flutist Brandon Patrick George, oboist Toyin Spellman-Diaz, clarinetist Mark Dover, horn player Kevin Newton, and bassoonist Monica Ellis were joined by pianist Michelle Cann — a potent spark of invention in her own right — in a program of varied, but logically grouped works by Paquito D’Rivera, Lalo Shifrin, Francis Poulenc, and Valerie Coleman. Ellis described the evening’s sequence as “concentric circles” coinciding in Paris, or at least in a French aesthetic.
The Quince Ensemble doesn’t specialize in instant gratification. The vocal quartet likes “slow music,” as soprano Amanda DeBoer Bartlett has explained in interviews, and she repeated that sentiment onstage on October 16. “Not slow in tempo, but slow in development.”
On October 5 at the Church of the Covenant, artistic director Daniel Meyer led the BlueWater Chamber Orchestra in an engaging program of new and familiar works, including David Biedenbender’s River of Time, with former BlueWater principal trumpet and co-artistic director Neil Mueller as soloist.
Creating something new can come with a lot of expectations. Founding an ensemble. Releasing a debut album. Recording a world premiere, or two. But whatever you might expect from the Poiesis Quartet, they want you to take them exactly as they are.
