"...a gutbusting furnace of shamanic sound."
—THE WIRE (UK) ON KIMMO POHJONEN'S PLAYING STYLE
http://bam.org/events/08MORE/08MORE_video.aspx
KRONOS QUARTET: MORE THAN FOUR
US Premiere
UNIKO
COMPOSED BY KIMMO POHJONEN AND SAMULI KOSMINEN
World Premiere
DEAR MME.,
COMPOSED BY ERIK SANKO
OCT 3, 5 & 6 AT 7:30PM
BAM HARVEY THEATER
RUNNING TIME: 130MIN
The adventurous and influential Kronos Quartet returns to BAM with a characteristically eclectic program of contemporary work featuring special guest collaborators Kimmo Pohjonen, Samuli Kosminen, and Erik Sanko.
Known for their riveting performances and ingenious electronic manipulations of the accordion, Finnish accordionist Kimmo Pohjonen and sampling artist Samuli Kosminen join Kronos for Uniko, a US premiere composed by Pohjonen and Kosminen. Pohjonen's incredible playing shatters expectations of the accordion's sound. When combined with Kronos' unparalleled virtuosity, innovative samplings of instruments, surround sound, and atmospheric video projections, the result is a work at once dreamlike and absolutely compelling.
A world premiere commissioned by BAM for the 25th Next Wave Festival, Dear Mme., is a 20-minute music-theater piece staged and composed by Erik Sanko—theater artist (The Fortune Teller), musician (John Lurie’s Lounge Lizards, junk-rock band Skeleton Key), and marionette-maker. Featuring Kronos (David Harrington, John Sherba, Hank Dutt, and Jeffrey Zeigler) and a fifteen-foot puppet, Dear Mme., is the story of a writer who continually endeavors to rewrite his own life story.
Dear Mme., commissioned by BAM in honor of BAM's 25th Next Wave Festival
Uniko
Lighting and video design by Mikki Kunttu
Sound design by Heikki Iso-Ahola
Dear Mme.,
Set design by Jessica Grindstaff
Lighting design by Larry Neff
Sound design by Brian Mohr
Kronos Quartet
David Harrington, violin
John Sherba, violin
Hank Dutt, viola
Jeffrey Zeigler, cello
Kimmo Pohjonen Kluster
Kimmo Pohjonen, accordian/voice
Samuli Kosminen, accordion/string samples
다음은 뉴욕타임즈 리뷰
http://www.nytimes.com/2007/10/05/arts/music/05kron.html?_r=1&oref=slogin
Music Review | Kronos Quartet
Puppets, Accordions and Pizzicatos Too
By BERNARD HOLLAND
Published: October 5, 2007
There were puppets and an accordion at the Brooklyn Academy of Music on Wednesday night, but this was hardly a county fair, much less a folk festival. “Uniko” — a long, often loud, always generous composite of sound, light and action by Kimmo Pohjonen and Samuli Kosminen — dominated this evening with the Kronos Quartet, but “Dear Mme.,” with its elusive and vaguely unsettling vignettes from the puppeteer Erik Sanko, made an impression too.
As usual at Kronos concerts, traditional stringed instruments became merely starting points into the wonderful world of electricity. Loudspeakers boomed, shrieked and cooed as different computer programs bent original sounds to their various wills.
Using delaying echo effects, Mr. Pohjonen could more or less sing duets with himself. By putting a finger on a computer key, Mr. Kosminen, elsewhere a deft percussionist, could rattle the Harvey Theater with sound. Mikki Kunttu’s beams and shafts of light and punishing flashes of glare added a kind of visual Adrenalin.
The purely musical ingredients of “Uniko” are not that fascinating, often an embellished rocking back and forth within a single interval or a three- or four-note phrase. The music is sheer physicality, a kind of analgesic group therapy aimed more at the muscles and the nerves than the soul.
“Uniko” is like an ocean tide coming in. Big waves of sound build in complexity, animation and sometimes sheer frenzy, then abruptly retreat into small lyrical moments, amplified pizzicatos or buzzings by some huge and imaginary insect. Mr. Pohjonen, a virtuoso on an accordion wired for sound, guided things along and became so excited at the end that one worried about his well-being.
In “Dear Mme,.” a 15-foot torso has hinged doors on its chest. They open to a small puppet stage. The protagonist, a miniature of the grim, hairless giant that houses him, suffers the loss of lady loves, first through a magician’s disappearing act, then in the tentacles of a sea monster. At its best, Mr. Sanko’s art gives us representations that are obviously unreal but nevertheless convey a kind of subcutaneous humanity. The effect is eerily true to life.
“Shuffle 25,” a composite of past Kronos performances, and “Bloodstone Remix I,” with music by Amon Tobin, instrumental sound created by Trimpin and visual effects by Laurence Neff, started the evening.
The Kronos Quartet plays today and tomorrow at BAM Harvey Theater, 651 Fulton Street, Fort Greene, Brooklyn, (718) 636-4100. bam.org.
참신하고 좋았음. 크로노스 콰르텟은 매시즌마다 여기저기 꼭꼭 보여서 참 왕성하게 활동한다는 인상.
공연을 보고 나서 그에 관한 리뷰들을 볼 때마다 생각하는 거지만... '백문이 불여일견'이랄까...
전문기고가가 쓴 것이든 일반인이 쓴 것이든, 말이란 게 참 불완전하다니까- 싶다.
-물론 공연예술을 기록으로 남겨두는 것 역시 나름대로 가치는 있겠지만.-
(원래부터 Criticism이라고 콧대 세우면서 뭐라뭐라 길게 주절이는 데에는 좋은 감정이 없어서...;)
((그래서 이몸은 어쩌다가 감정에 겨워 흘러나오는 빠순스러운 잡담밖에 안 쓴다오... ㅎㅎㅎ;;))
(((그런데 Music review 3,000-word (minimum) paper: from composer's perspective
나도 쓰긴 써야... 쿠우우... 써야 할 페이퍼들이 최소 10,000자... ㅠ_ㅠ
적응하려고 바둥거리는 중이긴 한데... 새는 알을 깨고 나오려고 투쟁한다. 중얼중얼......)))
