The Rubin Museum of Art, a wonderful collection of Himalayan artifacts, culture and history on W. 17th St., was the backdrop for a chamber music concert by TwoSense: a duo consisting of pianist Lisa Moore and cellist Ashley Bathgate, both best known for their work with the Bang on a Can All Stars. The program, entitled "Resonating Light: The Remains," was inspired by various pieces from the museum's rich collection – in particular, a bullet-ravaged 12th century bronze Bodhisattva that had once been used as target practice by the Red Army.
"We were inspired to create a concert inspired by the remains of our cultures, choosing music that connects with buddhist imagery and fills the space around what's left behind."
The program began with the beautifully intense Grand Duet for Cello and Piano by twentieth-century Russian composer Galina Ultstvolskaya. Bathgate performed on a raised platform on the far right of the stage separated from Moore (as Ultstvolskaya herself had instructed), which seemed to create a much more focused connection between the two soloists. The music was filled with strong percussive elements and Stravinsky-esque tempos, ending with a cello cadenza punctuated by piercing piano chords that sounded like a beer bottle dropping on the floor.
Following was the NY premiere of Daniel Wohl's dynamic One Piece, combining instruments and electronics (Pre-recorded by Wohl on the iPad). Paul Kerekes' Reach – a world premiere - displayed Philip Glass-like build at the beginning, followed by a brooding nocturne. The first half ended with Messiaen's tender and lugubrious Louange from the Quartet for the End of Time, with Bathgate and Moore both exhibiting heart-on-sleeve emotion.
The second half started with an astonishing new piece by Martin Bresnick: Prayers Remain Forever, based on a poem by Yehuda Amichai. It yielded by far the most impassioned playing of the evening, culminating in a piercing climax that left the duo visibly winded at the end.
Bathgate once told me that when she had programmed a Robert Schumann piece among works of living composers in a previous concert, an audience member told her the new pieces "made Schumann sound young." As such, Schumann's Fantasiestucke – originally written for clarinet and piano, but Schumann alternately allows for the use of either violin or cello – gave off a feeling of young competitiveness in a challenging assortment of works.
The closer was the most different of all the pieces in the show: an arrangement by Bresnick of the Jack Bruce/Cream song "As You Said" for cello, piano and vocals. I never imagined I'd see classical musicians belting out a rock song in the middle of a concert, except that it happened right before my eyes. Bathgate and Moore looked a bit nervous when they started, but once they were underway their vocals were beautiful, their harmonizing just this side of The Beatles. Apparently, these two can do just about anything.
Underlying artistic theme or no, this an exciting performance from a duo that have great experience in both classics and new works. I look forward to hearing much more from them.