On Wednesday, May 23rd, Los Angeles-based concert series wasteLAnd presented the premiere of Wolfgang von Schweinitz’s piece Cantata, or You are the star in God’s Eye at the REDCAT Theater in downtown Los Angeles. Originally composed for radio broadcast in 2002, Schweinitz recomposed the bulk of the material with an expanded instrumentation for wasteLAnd, featuring conductor Nicholas Deyoe, Sara Cubarsi on violin, Andrew McIntosh on viola, Scott Worthington on double bass, Matt Barbier on euphonium, Allen Fogle on french horn, Luke Storm on Eb tuba, and soprano Stephanie Aston. Throughout the piece, the ensemble resides within an overarching narration of the libretto, written and recited by poet Friederike Mayrocker.
The piece begins with a short prelude of narration, which is quickly emboldened by an immediately rich texture of contrapuntal gestures as the ensemble enters assertively. Schweinitz’ nuanced rhythmic material and wasteLAnd’s thoughtful phrasing presented the listener with the option to enter a space of fluid and unstable structure, with perhaps once familiar material placed on the far side of a distorted lens. Although aided by amplification, the acoustics of the hall were not entirely suited to the texture of the piece. The brass were often rendered somewhat obscured and the narration occasionally became a dominating presence.
Exceptional instrumental ability was on clear display, with Cubarsi, McIntosh, and Worthington generating a warm and articulate lattice of incredibly precise harmonics and dyads, and the brass trio of Barbier, Fogle, and Storm deftly maneuvering through a jigsaw puzzle of minutely shifting microtones and interlocking gestures. Aston’s vocal line served as an anchor for the instrumental material and voice-over, simultaneously contributing to the existing texture and gently presenting a clear path through the development of the epic 80-minute piece. Her performance was stunningly controlled, well-executed, and emotionally dynamic.
The lengthy piece — eleven distinct sections — was well-paced and generated a captivating environment for the listener and a subtle momentum of narrative that made the piece’s 80 minutes belie a work of smaller proportion. The intimacy of REDCAT seemed to engender a willingness in the audience to stay with the ensemble intently, which I believe contributed greatly to the overall experience feeling not only like entertainment but also somehow artistic productivity.
The world of the piece seemed to behave contrary to entropy, gradually accruing order like a system trending toward a viscerally satisfying cosmic architecture. It feels massive in scope — like it’s operating within a greater universal logic rather than some simpler earthly system. The title’s imagery of star and god fit neatly in that universal logic, and imply scale more biblical than contemporary. During the seventh aria, the distorted lens shifted sharply into focus. Heralded by Cubarsi’s violin, the ensemble presented an incredibly effective moment that wouldn’t be inaccurately described as triumphant, but still in a manner distinct to Schweinitz’ refreshingly idiosyncratic and effective voice.
When the piece ended, the audience sat silently, taking a moment to shift from the flow-state of the piece back to reality.