Varèse Huber Nieder @ Teatro Dal Verme, MITO, Milan, Sept. 18, 2024

Contemporary classical music has witnessed a significant increase in the use of percussion since the early 20th century. This trend, influenced by various cultural encounters and avant-garde composers, has reshaped the sonic landscape of classical compositions. A recent concert by the Percussion Orchestra Cologne at Milan's Teatro Dal Verme on September 18, 2024, showcased this evolution, presenting works spanning nearly a century of musical innovation. 

The integration of diverse percussion instruments in classical music can be traced back to cultural exchanges such as the 1889 Paris Universal Exposition. Here, Claude Debussy's encounter with the Javanese Gamelan profoundly influenced his compositional approach, introducing new timbres and rhythmic complexities to Western classical music. 

Concurrently, traditional instruments like the piano saw a radical reimagining of their role. Edgard Varèse's "Ionisation" (1929-1931) exemplifies this shift, employing the piano in a percussive manner with cluster notes played directly with the forearm. This groundbreaking work for 13 percussionists incorporates a vast array of instruments from various cultures, including sirens, gongs, and log drums, expanding the timbral palette available to composers. 

The Percussion Orchestra Cologne's rendition of "Ionisation" offered a contemporary interpretation of Varèse's seminal work. While slightly more "swinging" than traditional performances—perhaps a nod to Milan's reputation as the "City of Aperitif"—the execution maintained a commendable balance between elasticity and structural integrity. 

This "smart" version, while sacrificing some of the original's dramatic impact, showcased the musicians' remarkable skill in navigating the piece's complex layers. True to Varèse's concept of sounds detaching from one another like parts of an ionized atom, the performance demonstrated that "Ionisation" remains a pivotal work in the percussion repertoire, its influence evident in many subsequent compositions. 

The concert also featured two more recent works, illustrating both the enduring influence of mid-20th century innovations and attempts at further experimentation: "Herbstfestival" (1989) by Nicolaus Anton Huber played by Schlagquartett Köln for four percussionists initially evoked the explorative spirit of groups like the Art Ensemble of Chicago. However, it soon transitioned into a prolonged unison section that, while technically impressive, raised questions about its musical necessity. 

"Erdenmarsch" (2022) by Fabio Nieder, a student of Witold Lutosławski, that presented a 30-minute work for 13 percussionists. The piece incorporated a wide range of instruments and unconventional sound sources, including live-streamed radio content via iPhone. While dynamically engaging, the work's harmonic palette felt limited. Notable elements included a centrally placed large drum and theatrical interactions between musicians, though these at times seemed superfluous. 

The concert underscored the enduring impact of early 20th-century innovations in percussion music. While the performances of more recent works demonstrated technical proficiency, they also highlighted challenges in pushing the boundaries established by earlier masters. The virtuosity of the Percussion Orchestra Cologne was evident throughout, elevating even the less cohesive compositions. 

This evening of percussion-focused contemporary classical music, spanning over 80 years of compositional history, offered a compelling, if sometimes uneven, journey through the genre's evolution. It reaffirmed the pioneering spirit of early modernist composers while raising questions about the direction of contemporary classical music in the 21st century.

Jason Kao Hwang - Soliloquies (True Sound, 2024)

Born in Lake Forest, Illinois, Jason Kao Hwang's musical odyssey began with classical violin training. However, his eager exploration of jazz and improvised music long before the 1970s set the stage for a career marked by constant evolution and innovation. 

Hwang's discography is an expression to his versatility, with each album offering a unique sonic experience. My introduction to his work came through a double CD featuring the supergroup The Commitment, alongside William Parker on bass, Zen Matsuura on drums, and Will Connell Jr. on flute and alto saxophone. In this ensemble, Hwang's improvisational style echoed influences from Leroy Jenkins and Billy Bang while incorporating flavors and techniques from Asian music. 

The year 2022 saw the release of "Uncharted Faith" (Blue Coast Music), a collaboration with the late J.A. Deane. This album showcases Hwang's violin and its electronic treatments, creating a genre-defying sound reminiscent of Miles Davis's electric period from 1968 to 1975 in its innovative approach. 

The following year, "Book of Stories" (True Sound, 2023) by the Critical Response quartet presented compositions deeply rooted in the New York free jazz scene, yet imbued with a distinct personality. 

Given this diverse background, Hwang's latest solo effort, "Soliloquies," came as a delightful surprise. Tracks like "At The Beginning" and "Encirclement" reveal new facets of both the musician and the man. 

This work stems from Hwang's desire to engage more deeply with his family history, particularly conversations with his father about their experiences in China during World War II. These musical 'soliloquies' serve as an extension of moments lost to time, preserved through memory and emotion. 

Hwang's approach to the violin in "Soliloquies" is transformative, relying heavily on pizzicato techniques that reimagine the instrument's capabilities. Critics have likened his playing to a zither or a talking drum, highlighting the innovative nature of his performance. 

The music defies simple categorization, weaving together Eastern and Western influences in a tapestry of sound that requires multiple listens to be fully appreciated. It's a testament to Hwang's ability to seamlessly blend diverse cultural and musical traditions. 

"Soliloquies" stands as one of the most powerful musical and creative acts in recent years. Its deeply personal nature and unique sound recall Audrey Chen's "Runt Vigor" (Karlrecords, 2018) in its compelling individuality. This album represents a potential new direction for improvised music, challenging listeners to expand their musical horizons. 

Jason Kao Hwang, who has collaborated with luminaries such as Anthony Braxton, Billy Bang, Butch Morris, Reggie Workman, and Henry Threadgill, has undoubtedly earned his place as a maestro in his own right. While his multifaceted career may defy easy categorization, time will likely cement his status as a pivotal figure in improvised music. 

As his recent works demonstrate, Hwang continues to push boundaries and explore new territories. His career trajectory suggests exciting developments for the field of improvised music in the years to come, offering hope and inspiration for musicians and listeners alike.