The L.A. Phil begins its summer season unusually with a Green Umbrella new music program at the Ford featuring odd percussion and electronic music.
mercilessly ridiculed the French composer’s explanations of his “spectral” technique, a fanciful use of the harmonic overtone series to create a sense of aural wonderment in the listener. “Stèle” did just that at the Ford. Not only have times significantly changed but, in the great Ford outdoors, a stela from a Theosophical Society pilgrimage placed a century ago could easily be imagined buried on the hillside.L.A.
Had this been a string quartet concert, the effect would have produced an ugly intrusion. But since percussion and electronics were meant to be a significant part of the evening, and everything was prominently amplified, I heard the plane as an improvement. Gabriella Smith’s “Riprap” for marimba and strings, which followed the intermission, was written in 2013, the year the composer from Berkeley got her bachelor’s degree in composition from the Curtis Institute of Music in Philadelphia and turned 22. The Los Angeles Chamber Orchestra gave it itsthree years ago, by which time Smith had already become an L.A. sensation and has since been eagerly commissioned by the L.A. Phil and featured at the Ojai Festival.
The final piece was Kaija Saariaho’s “Trois Rivières” . Four percussionists rhythmically speak a French translation of 8th century Chinese poet Li Po’s “La nuit de lune sur le fleuve” while playing an extensive collection of instruments. A fifth percussionist operates surround-sound electronics.
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