Above: Nicole Mitchell
Author: Oberon
Thursday March 30th, 2023 - Another adventurous evening in the Miller Theatre's ongoing Composer Portrait Series as we were introduced to the multi-talented Nicole Mitchell: composer, flautist, bandleader, educator, and the first woman president of Chicago’s Association for the Advancement of Creative Musicians (AACM).
Ms. Mitchell brought her flute along with her this evening, joining members of the International Contemporary Ensemble, vocalist Lisa E. Harris, and violinist Mazz Swift in works she has composed from 2015 thru 2023.
On the Miller Theatre stage, a magic garden had been created with towering plants and clusters of candles; as the program progressed, the back panel was illuminated in varying hues. The musicians were distinctively dressed, creating the feel of a casual family gathering where every member had an invaluable place in the musical scheme.
The evening opened with Whispering Flame, co-composed by Nicole Mitchell and Lisa E. Harris in 2017. From a busily insectuous opening instrumental passage, Ms. Harris's rich, warm tones engaged us in a slow-rising vocal line. Ms. Mitchell's flute playing was pristine, and she also presided over the electronics. Percussionist Clara Warnaar struck a summoning gong, and the music took on a windswept feeling, with trumpeter Jonathan Finlayson producing sputtering effects, and duetting violinists Mazz Swift and Gabriela Diaz adding a touch of lyricism. This kozmic work made for a perfect introduction to the program.
Above, playing Procession Time: Cory Smythe, Katinka Kleijn, Isabel Lepanto Gleicher, and Joshua Rubin; photo by Rob Davidson
Bringing new sounds into the evening's musical sphere, a quartet of artists played with such a wide range of colours that they created an impression of hearing a larger ensemble for Procession Time (2017). In the work's first section, "Ritual Conception", deep violet tones from Katinka Kleijn's cello were matched by Joshua Rubin's velvety bass clarinet. The music has a hesitancy about it, with Cory Smythe at the piano joining Isabel Lepanto Gleicher's purring flute. Ms. Gleicher then takes off on a melodic flight, interrupted by the bass clarinet sounding rather ominous. Flute and standard clarinet harmonize to calming effect.
The second section of Procession Time, "Carnival at the Cliff", features quirky piano and cello motifs, and more harmonizing from flute and clarinet. A heavy rhythm develops, with squealing and screeching from the flute and clarinet.
Transitions Beyond (2021) is a quintet for Ms. Harris (voice), Mr. Rubin (clarinet), and Mlles. Gleicher (flute), Diaz (violin), and Kleijn (cello). Although the program listed five movements, I could only detect four (perhaps I missed a transition along the way); but, at any rate, the work is a finely-woven sound. It starts with wordless vocalizing from Ms. Harris from which a text emerges over the sighs of a drooping cello: "I don't want to leave you..." A violin solo turns into a dialogue for violin and cello, and soon their sounds begin to ooze, whereupon the winds take over. Ms. Harris sings a vocalise of uncanny sounds and pitches.
The bass clarinet burbles and stutters, the violin take on a wispy feel, the singer continues to summon an array of colours. Cello and clarinet mingle, the winds sounding whimsical and the singer's lines turning edgier. Now there is a flow of lyricism from the instruments, and a shimmering quality hovers over the singer's low-range phrases. There is lots of beauty here, doled out so that each participating artists shines.
The program's first half concluded with the big hit of the evening: Building Stuff (2015, rev. 2023). This irresistible music had the whole place jumping, and provided wonderful opportunities for each of the nine players involved to shine. To a jaunty rhythm, Mr. Rubin's clarinet sings out, followed by Ashley Jackson's captivating harping and a sparkling xylophone motif from Clara Warnaar.
A fantastic sway develops, steered by double-bass phenom Brandon Lopez. Mazz Swift reels off a vivid, jazzy violin solo, pianist Cory Smythe and Ms. Warnaar's drumming combine in high style, and Ms. Mitchell's flute adds a bright lustre. There are intriguing textures, with Sara Schoenbeck's vibrant bassoon playing grabbing our attention, and Ms. Kleijn's cello ever aglow with resonance. Mr. Smythe reaches into the piano to pluck some steely notes, and Ms. Jackson's harp sounds sweet and sure. As Mr. Lopez's fascinating rhythm steered the music to its finish, the crowd erupted in a burst of applause and cheering.
Above, the ensemble playing Inescapable Spiral; photo by Rob Davidson
Following a charming interview of Ms. Mitchell by The Miller's Melissa Smey (and beautifully signed by two young people at the edge of the stage), the evening concluded with Inescapable Spiral (2017, rev. 2023) which brought together all the artists save for the composer, who listened from the hall. This long work seemed rather tame and aimless at times, especially after the fabulousness of Building Stuff, but it did let us continue to savour the individual playing of everyone involved.
~ Oberon