Mario Diaz de Leon is one of those new cross-bred composers—David T. Little and Bryce Dessner, among others—who have found their way to serious music through rock. In Diaz de Leon's case, he came up as an underground metal guitarist, and despite the fact that he got his doctorate from Columbia last month, still plays out regularly. (In fact, Diaz de Leon performed as Oneirogen last night at Union Pool in Williamsburg.)
But on Tuesday night, Diaz de Leon wore his composer's cap at Roulette, where several of his "classical" works were performed. Flutist Claire Chase opened with Luciform (2013), in which she played with fierce energy from memory over a synth-heavy electronic track. TILT Brass played the dark, ominous Bellum (2013) for brass septet and electronics, rising to a piercing road at the end. The trio Trembling Time II (2006), played by members of the Talea Ensemble, exhibited relative restraint, almost pensive in its approach.
The highlight of the night was the world premiere of The Chapel Abyss, commissioned by Roulette for the occasion. Diaz de Leon joined the Talea Ensenble on guitar, which he played seated from the back of the stage. Diaz de Leon's hazed-out guitar, while loud, was frequently punctured by the flute and clarinet, creating a hypnotic swirl of sound that gradually built in intensity to a roar. Much like Diaz de Leon's metal experiments, it was both haunting and majestic.
Diaz de Leon seemed strangely reluctant to come forward for his bows during curtain calls, perhaps still feeling a bit like a fish out of water relative to rock stages. I'm sure that won't last for long. More pics on the photo page.