More convincing was Frank’s Quijotadas for string quartet. Stolper and Frank gave the work fizzing and bravura advocacy. Also while Frank’s writing is polished and imaginative, I’m not sure a strong individual voice is palpable beneath the Bartokian elements and the numerous iterations of folk styles and various native instruments. Sueños de Chambi is an undeniably well crafted work, but a bit long and unwieldy and would likely prove more effective in somewhat shorter form.
Sueños de Chambi closes with a rollicking marinera dance and a throwaway Rhapsody on a Theme of Paganini coda. The third section is a pastoral flute solo while the lively fourth is inspired by Peruvian dance steps and native folk instrumentsĪ piano solo in movement five evokes a photo of a deceased child in a casket while the solemn sixth movement–a self-portrait of Chambi- has an air of solemn dignity. The first section segues directly into a hard-driving movement inspired by a dancer in a devil’s costume and reflected in black-note clusters and diablerie for both players. Originally written for violin and piano, Tuesday night’s performance presented Frank’s alternate flute transcription with Mary Stolper taking the flute part and the composer at the piano.įrank said Tuesday that Bartok is her “personal hero,” and her music clearly reflects that both in his thorny writing as well as her fascination with researching folkish musicological esoterica. The opening movement is a plaintive solo for alto flute with an unmistakable Latin-American contour, painting a portrait of activist Miguel Quispo. Born into a Peruvian Indian family, Martin Chambi (1891-1973) was a pioneering photographer and Sueños de Chambi draws its inspiration from seven of Chambi’s extraordinary photographs of unromanticized Peruvian life. The evening led off with Frank’s Sueños de Chambi: Snapshots for an Andean Album. But if Golijov’s music sometimes seems a bit calculated and eclectic for its own sake, Frank’s style is tougher, more astringent and closely wrought and less concerned with playing to the galleries. That diverse lineage is reflected in music that draws on a welter of international influences, as reflected in the two works heard Tuesday night.Īs noted by an audience member in the pre-concert discussion, Frank’s varied heritage and inspiration from Latin and other ethnic elements is outwardly akin to the Argentinian composer, Osvaldo Golijov. Born in California, the 38-year old composer is the product of a heterogenous background with a mother of Peruvian-Chinese descent and a Lithuanian-Jewish father.
Tuesday night at Roosevelt University’s Ganz Hall, it was the turn of Gabriela Lena Frank. For a decade, these concerts have brought composers to Chicago to curate a program of their music and others who have influenced them, working closely with the CCM members for the performances.
Franky's theme one piece violin sheet music series#
One of the finest ongoing initiatives on the local music scene is the Composer Perspectives series presented by Chicago Chamber Musicians. Gabriela Lena Frank's music was spotlighted in the Chicago Chamber Musicians' concert Tuesday night at Ganz Hall.
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