Review: Percussionist Steven Schick brings a delightful farewell to Fresh Sound-The San Diego Union-Tribune

2021-12-14 08:55:30 By : Mr. Xuesen Xue

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For 24 years, Bonnie Wright's Fresh Sound series has curated local talent and brought new music experts to San Diego. On Friday night, adventurous listeners came to the White Box Theater to watch Wright's last performance before his retirement.

She chose the tireless Steven Schick to end her series and created a series of works for a percussionist who gave a speech.

For the combination of spoken language and music, you will find that there is no more persuasive interpreter than Schick. Playing percussion is dramatic in nature, and Schick is one of the greatest people. He is also a good actor and has a good relationship with the audience.

The concert opened with Frederic Rzewski's "To The Earth". Schick sang an ancient Greek hymn and accompanied himself on four tuned clay flower pots. The charm of this work lies in the contrast between the enthusiastic praise of the earth by the nameless carol and the humble red pottery. Rzewski's resourcefulness in creating works with only four pitches is admirable.

Schick has been playing for decades, and then he played another favorite Vinko Globokar's "Toucher". Bertolt Brecht's play "The Life of Galileo" provides the text.

The score is on a seven-line staff. Each line corresponds to a percussion instrument, which is chosen by the performer. The text appears below the staff without any rhythm. Play an instrument to match the French vowels of the text.

The accompaniment is related to the rhythm of the lines, and the instrumental part sounds like signal-processed speech. The instrument becomes the language, which is emphasized when the spoken language is overwhelmed by percussion, or when the voice is completely replaced by the instrument.

At the American premiere of Erik Griswold's delightful "One Liners", Schick sat behind the drum and complained that "I don't get any respect." This may mark the first time someone has paired the words of comedian Rodney Dangerfield with music. The premise of this work is that the drummer interrupted the stand up joke "Ba-dum-TSSSS" and became more confident until the drummer took over the routine. Combine drum sounds with spoken language materials. "Disrespect" answered with the kick drum and bass drum at the same rhythm. Dorothy Parker's motto is read aloud on Impressionist vibraphone chords, and a series of jokes about death is slowly accompanied by cymbals, gongs, and other loud metal percussion. The final movement brought Schick back to the drum kit, imitating the Groucho Marx and building a punch line with expanded drum solo. "One Liners" is fun and smart, and I doubt that percussionists will want to add it to their show.

Roger Reynolds's "Here and There" is an excerpt from Samuel Beckett's "Nothing To Do Nothing 9". For more than 25 minutes, Schick repeatedly thought about the possibility of "there is a way out, there is a way out". "Here" is represented by a pitchless percussion instrument. The score explores many different ways to make a bass drum or tam-tam sound-with wooden sticks, fingers, ceramic cups or snare drums. A few feet away from "here" is "there", the exclusive domain of the vibraphone. If Beckett's meaning is elusive, Hick's performance-both musically and theatrically-is enough to attract our constant attention.

Sick cheered for granted, but the biggest applause of the night was that Sick encouraged Bonnie Wright.

Thank you, Bonnie, for opening our ears with a fresh voice. As your last concert ends, the new music scene in San Diego becomes less interesting.

Hertzog is a freelance writer.

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