June 4 marked the close of Nova Linea Musica's inaugural season with a flourish of whimsy and music that, for me, evokes stories and visions of Chicago. NLM is the creation of Michele Mohammadi, who envisioned an incubator for classical and new music from, about, and for Chicago. Artistic director Desirée Ruhstrat curated an impressive first season that went so well, NLM is doubling it for next season. We can look forward to eight concerts and more commissions by Chicago composers.
The finale opened with pianist Chelsea Wang playing Variations for Piano, Op. 41 by Russian jazz composer Nikolai Kapustin. This piece is grounded in classical parameters and the jazz realm, drawing inspiration from Duke Ellington, a pioneer in blending the genres. Wang's enjoyment in playing was felt in each note. Kasputin's composition has extended use of the left hand as a variation, with the right hand playing the melody or motif.
Wang played a duet with violinist and NLM Artist-in-Residence Rabia Brooke, Fratere by Estonian composer Arvo Pärt. During her season in residence, Brooke has established herself as an artist who plays music that could be considered less accessible to the classical or new music genre. It is beautiful and also rather cerebral, putting the music in a category that could be called avant-garde for the Millennium.
Brooke played Clarice Assad's Anthology of Emotions for solo violin, adding depth and exposition to each section. Assad created the piece with emotions played to the senses other than aural. "Tension and Release," "Malleable," and "Frantic" imprint a mental onomatopoeia attached to physical experiences. It was quite the ride, with Brooke displaying a range of emotions as she interacted with her violin.
Chicago composer Shawn E. Okpebholo wrote smooth | pluck | whirl for solo violin with Brooke as the violinist. Okpebholo participated in the pre-concert discussion led by Doyle Armbrust, alongside In Triplicate violinist Jasmine Lin. Okpebholo's description of his process resonated with my process of interpreting music or dance. He spoke passionately of the narrative or story behind the composition and how that fills in the blank spaces or complements the listener's experience. His composition was visual for me, specifically of Chicago. I associate music with visuals and experiences from my life in Chicago. It's my town, and I am quite possessive of it. I see experiences in streets, buildings, and institutions. smooth | pluck | whirl felt like a drive through a verdant Chicago in early summer. Bravo to the composer and the musician who brought it to life.
The members of In Triplicate each wrote pieces that related to Chicago using technology as a fun and ironic accoutrement. Lin referred to her world premiere, Sumpin' About Chicago, as her "baby." Each member of the trio opened with a question about Chicago to the artificial intelligence known as Siri, who would answer with random ephemera that In Triplicate turned into a wild ride through the city. Lin asked about the languages spoken in Chicago. One of the languages listed was named gibberish, which made sense. Some of the neighborhoods in Chicago are like the Tower of Babel in a few blocks. The trio harmonized in addition to virtuosic playing from each of them. Lin's violin is an extension of her in the relaxed way that she plays and the sumptuous tone of her instrument.
Bassist Nathan Farrington contributed Lovesick Blues Across Centuries in homage to Donizetti and Hank Williams' yodeling style. Farrington also plays the guitar and has a tenor voice that can break your heart. He asked Siri where to go or what to do in Chicago. Buddy Guy's Legends made the cut. There was also a reference to the subway/Metra system, including gates, and a descent into the underground. Chicago has a whole other city story underground. If you compare the before-and-after photos of the lakefront, it is astonishing how much of the Drive is made up of landfill. Farrington also led the In Triplicate encore with Don McLean's "And I Love You So." I could have easily turned into a puddle of nostalgia.
Cellist Clancy Newman contributed two sections from a triplet composition. We were treated to "Afternoon" and "Evening." I would have loved to have heard more. Newman described his work as an homage to a song that he may have heard or not. Newman's cello playing takes the instrument beyond the usual classical sounds. I love that the next generation has not abandoned classical music training. I believe that music can change lives and make a better world. Their segment made me nostalgic for A Prairie Home Companion. I also hold out hope that all of the current political turmoil will spark enough minor changes that blossom into something better and more human.
In Triplicate was delightful. They had a great vibe and were enjoying themselves. I left with the hope that these talented musicians could evoke good nostalgia and help rebuild the institutions being taken away.
Nova Linea Musica's next season starts in September, and I am looking forward to seeing what the City of Chicago will do to help heal the world and rebuild. NLM hosts and commissions new work at Guarneri Hall, located at 11 East Adams St.. I highly recommend checking them out and breathing in the city as you walk from Wabash or State Street. Listen to the grind of the El, the aroma from the food places, and even the odd aura of the alleys. I hope to see you next season!
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