Cipher Duo consists of soprano Justine Aronson and violinist Sarah Goldfeather. This week, they commence their West Coast tour. I was fortunate to see their Wednesday night performance in Geiringer Hall at UC Santa Barbara. They will perform in Pasadena with gnarwhallaby on Thursday, USC on Friday, and then head north to the Bay Area on Sunday. Wherever you are in California, do not miss this concert.
The program starts with something a little familiar. Though I did not know this piece, I am well acquainted with a variety of Kaija Saariaho works. If you haven’t listened to Saariaho, start now. Changing Light (2002) is the is the perfect introduction to Saariaho, and to the Cipher Duo. The text is an English translation from Hebrew and explores the subject of the fragility of uncertain existence. Beginning simply enough, on the line “Light and darkness,” Aronson sings chilling poetry while Goldfeather floats above on harmonics. Like many Saariaho pieces, each part has a purpose and a goal, but their paths are unclear and meandering. The fact that this concert features only 21st-century works confirms, at least to me, that Kaija Saariaho is in line for Debussy’s crown as the essential composer to bridge the century gap.
The duo then takes on another English piece, also a philosophical musing. Rebekah Driscoll was inspired to write January: Brin’s Mesa (2016) when she observed new life emerging from the ashes of a forest fire in Arizona. From page to performance, Aronson and Goldfeather breathe life into the contemplative score. Listen for the small, organic changes – one can almost hear tendrils of plant life growing and emerging.
The middle piece of the program is a crowd-pleaser for the Californians. Even if you missed the event, you know about Hopscotch (2015). Cipher Duo performs Hopscotch Tarot by Veronika Krausas. In the Hopscotch holistic performance, the audience members could only hear two or three fortunes before getting ushered into the next limo. Here, Aronson and Goldfeather perform all twelve short movements, each one a tarot card reading from Fortuna. If you wanted more insight into the plot of Hopscotch, watch Aronson’s expressions, particularly when she smirks. Each fortune has its own character and style, and Aronson captures them all exquisitely.
The fourth piece of the show comes from Goldfeather herself. Come Back (2017) showcases Goldfeather’s experience as a singer/songwriter with an indie band. Though not in a typical verse-chorus form, the rest of the key elements to an indie song are present: simple lyrics, repetitive gestures, and a distinct sonority. For the first half of the piece, Aronson sings five words on five notes. But it isn’t minimalism. Goldfeather overlaps and dovetails the motives within and between the instruments. When a verse finally arrives, it hits the audience like a bucket of water. The first time a minor chord replaces a major chord, a collective chill went down the audience’s spines. I won’t give away what happens at the ending, but I can tell you it was perfect. After so many minutes of intricate looping, layering, and rearranging of motives, Goldfeather pulls off the perfect ending.
Finally, the duo ended on their namesake. Kate Soper’s Cipher (2011) is one of the most breathtaking violin and soprano pieces I have ever heard. The duo told the audience that Cipher explores timbre. As well as exploring musical dynamics and human dynamics, it wends between music, meaning, and language. The violin and the voice become shared objects. Sometimes both performers sing, speak, or finger the violin together. At times, they even swap. Each movement features conflicting voices and temperaments, such as Wittgenstein, Freud, and Guido d’Arezzo. The conjoining line, “People can understand you when you say something,” is frequently obscured. If nothing else has convinced you to see Cipher Duo this weekend, go for this. Cipher will blow your mind.