The final wasteLAnd concert of 2015, Nocturnes and Lullabies, featured Richard Valitutto at the piano and was presented on Friday evening, December 11, 2015 at Los Angeles City College’s Clausen Hall in Hollywood. An enthusiastic crowd turned out on a chilly night to hear piano music by Wolfgang von Schweinitz, Bunita Marcus, Nicholas Deyoe, Timo Andres, Helmut Lachenmann, Salvatore Sciarrino, and Linda Caitlin Smith.
NCTRN (2014) by Nicholas Deyoe started things off, opening with a sharp rap followed by a sudden, crashing chord. The piece immediately turned quiet and a series of dense, atmospheric chords drifted up, creating a shimmering undercurrent of anxiety. This continued and soon a quiet rapping was heard, as realized by several prepared keys in the uppermost notes of the keyboard. The rapping became more insistent as the piece progressed, adding another level of tension that contrasted nicely with the dark chords coming from the lower registers. The persistent knocking became louder – like a ghost trapped in a closet – ceasing suddenly at the finish.
Notturno crudelo no. 1 (2000), by Salvatore Sciarrino was next with a march-like rhythm dominating, almost mechanical in its repetition and regularity. Complex passages consisting of rapid runs and skips intervened – less strident and at times even tentative – but the forceful marcato texture invariably returned. Valitutto managed all of this with high efficiency, effectively portraying the vivid contrast between the sections.
Three pieces were then played continuously: Wiegenmusik (1963) by Helmut Lachenmann, Lullaby (2000) by Bunita Marcus and Plainsound Lullaby (2014) by Wolfgang von Schweinitz. The Lachenmann piece felt restrained, full of quiet notes and short stretches of silence. Some sharp, rapid figures were heard in the upper registers at times, but the overall feel was remote, tentative and mysterious. Lullaby by Bunita Marcus had an altogether more settled sound and featured repeating phrases combined with conventional chords, producing a more introspective feel.
The von Schweinitz piece called for Valitutto to play from the keyboard while depressing the sustain pedal and reaching inside the piano to pluck several of the strings in the lower registers. This required an awkward posture, but the results were amazing. A series of bell-like tones – almost electronic in timbre – issued out from the piano in a pleasant sonority, complimenting a quiet melody of conventional notes. This combination was both unusual and engaging and Plainsound Lullaby received sustained applause from the audience at the conclusion.
After intermission Heavy Sleep (2013) by Timo Andres began with a singular series of deep, questioning chords that were answered similarly in the higher registers. As the piece continued it became, by turns, warm, reaffirming, settled and connected until it arrived at an expansively grand sound. At times, Heavy Sleep exhibited great power, like a piano concerto without an orchestra. The playing here was accurate and the changing dynamics were negotiated effectively.
The final two pieces of the concert, A Nocturne (1995) by Linda Caitlin Smith and Lullaby 2 by Nicholas Deyoe were performed continuously. A Nocturne started quietly and there were long stretches of silence between the phrases that let the notes ring out and slowly die away. Familiar chords followed, producing a questioning, introspective feel. The stillness and quiet of this work made for a good segue to the Deyoe piece, and this began with deep, solemn chords in the lowest registers of the keyboard. Answering chords followed with higher pitches and the low chord returned again with added mystery and power. The fine touch by Valitutto brought out the delicate contrast here.
The prepared keys again made an appearance in the form of a rhythmic knocking that held the attention of the listener. This knocking dominated as the piece progressed and the supporting chords built up a dreamy atmosphere that terminated in a series of roiling runs up and down the keyboard and a sharp thunder clap. At one point the keyboard cover was closed and a soft rapping sound was made upon it. A dreamy fragment of a romantic melody appeared, conjured up so quietly and mysteriously that it seemed to be coming out of the mist in the far distance. A sudden closing of the keyboard cover brought Lullaby 2 to a final, satisfactory finish.
Richard Valitutto brought his many talents to bear on the wide variety of contemporary pieces in Nocturnes and Lullabies, consistently delivering just the right blend of passion and artful technique.