Chamber music and recital

Toolbox Percussion: Bricolage

Date: June 29, 2016
Location: The Hong Kong Academy for Performing Arts, Hong Kong.

Westlake – Omphalo Centric Lecture (arr. Michael Askill) (Hong Kong premiere)
Cage – Third Construction
Kopetzki – Night of Moon Dances
Lam, Fung – Round (world premiere)
Trevino – Catching Shadows
Xenakis – Peaux from Pleiades (Hong Kong premiere)

Louis Siu, Karina Yau, Wei-chen Lin, Iskandar Rashid, Chronicle Li, Lei-lei Hoi (percussion)

This evening has been highly anticipated, not only because Nigel Westlake’s “Omphalo Centric Lecture” is a work that I have longed to hear live, but because I am eager to find out how Louis Siu has evolved as an artist. As reviewed here a few years ago, Siu proved technically proficient, but could be more expressive, whether musically or visually. That assessment was not damning, as his previous program was as technically audacious as he was young, but it would be disingenuous to dismiss him entirely by that sampling point of one single concert. This evening, his curation was as delicious as it was technically daunting, though much more in reference to the demands of ensembleship and stage management than the pieces themselves.

But first, “Omphalo Centric Lecture”. Westlake’s marimba quartet is made famous by its pulsating ostinati, whereby at least one of four percussionists would anchor the proceedings with a solid pulse, on top of which harmonic structures and further rhythmic embellishments are layered and interact with each other. The premise is simple enough, but a lot of effort and rehearsal time unseen by the audience are needed to perfect its execution. Many versions and arrangements endure over the years, but the arrangement by South African percussionist Michael Askill was presented here. The quartet comprising Siu, Yau, Li and Hoi did not fail to deliver the aforesaid basic premise, as Westlake’s pulsating locomotion was clearly heard here. Yet, no sparks flew at the fringe, and the quartet probably could have extracted more excitement and emotional gravity out of it by intensifying the various crescendos and accents, which also could have helped with ensembleship in terms of rhythmic cleanliness. The audience received the performance lukewarmly, that is, without much response after its end. That, however, probably had much to do with the decision, as Westlake’s piece rendered to a close, to dim the stage lights completely, which offered no visual delineation between the end of Westlake’s piece and Cage’s “Third Construction”. With Cage’s wildly popular composition, the quartet found much of the spark missing in the Westlake: tin cans, maracas and tom toms never sounded so good together! Even the various conch shell sirens, delivered by Li, beamed with wild and exciting frenzy. HKAPA’s Amphitheatre, which normally scatters sonic output and, in particular, eats up thin sounds, surprisingly provided a great deal of fidelity, notwithstanding the few lion’s roar moments coming out rather like a lazy cat’s meows.

Kopetzki’s “Night of Moon Dances” found the evening’s peak of ensembleship, when Lin (marimba solo) joined the group. The entire effort was clean and tidy, and smelled of either extraordinary focus or ample rehearsal time, or both. Lin’s stick work was fiery, and furiously accurate. His upright body stance and demeanor reminded one of a confident sportsman. There was much to appreciate from this performance, whether it be Lin’s clean stick work, Siu’s fearless bass drum playing, or Yau’s deft approach to the solitary timpani.

Doubledeck Factory was founded by local composer Dr. Austin Yip and percussionist Louis Siu in 2012, and has since been renamed to Toolbox Percussion to better describe its retooled focus on promoting percussive arts in Asia. “Bricolage”, Toolbox’s inaugural project, was this ensemble concert. After intermission, a Doubledeck/Toolbox-commissioned work by Fung Lam, titled “Round”, was presented. Using a mahjong table, the premise is simple enough: to weave a rhythmic fabric using the mahjong table and its tiles. Musicians would alternately generate sound by using a mahjong tile to hit another tile or the table. As musicians call up different rhythms asynchronously, just as four uncoordinated mahjong players would around a mahjong table, the theoretical result could be an adventurous and syncopated layering of rhythmic complexity. But what a should-have-been! In Lam, the rhythmic section was preceded, if intended, with the quartet playing a simulated/actual game of mahjong, as if to juxtapose it with the rhythmic section that was to come after. The rhythmic section built on a limp, and frankly never quite found solid footing anywhere. The effort, if entirely scripted, was unmemorable, and offered little musically or dramatically. The question is…why bother? Anyone who has watched Chinese dama play mahjong would know that finding four aunties well trained in the art of mahjong and who could play at a breakneck speed would have offered a more interesting sonic experience than this. If mahjong is a game whereby tension naturally builds up, that tension was hopelessly lacking here. By comparison, Alexandre Lunsqui’s “Shi”, which moves with more tension and excitement, all the while simulating the robust and diverse sonic experience at a Chinese dining table, has much more to offer.

Ensembleship was again evident in the pieces by Trevino and Xenakis. Percussionists are often accused of playing with their ears, which is mostly true, but aside from listening to each other, the sextet often had eye contact with each other. The curation of this concert was ambitious, but the overall musicianship was quite laudable. Aside from Lam’s composition, which started with a great premise but could benefit from a substantive revision, all the pieces were woven together by the six percussionists into an evening fabric of vivid rhythmic intensity — a bricolage, as one may say. As ensemble recital goes, Siu should not be singled out for review here, but as the artistic director most responsible for the evening’s proceedings, Siu and his effort are commendable. If this evening offers any guide as to the future of Toolbox, percussion enthusiasts in Asia should be thrilled with anticipation.

Bricolage

Bricolage.

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Chamber music and recital

Louis Siu: Recital

Date: March 1, 2012
Location: The Hong Kong Academy for Performing Arts, Hong Kong.

Louis Siu, a young and promising percussionist currently playing for the Macao Orchestra, presented a technically ambitious recital at the HKAPA Amphitheatre. The evening’s solo program swung between the brisk, whereupon Siu displayed seriously unreal mallet work in Alex Orfaly’s Rhapsody No. 2 for solo timpani, and the lyrical, where he crafted some smoothly delicious melodic arches in the African folksong-inspired Marimba Dances by Ross Edwards. The highlight of the evening was ensemble affair: a pair of world premieres of works by Alain Chiu and Austin Yip that dealt with the resonance and vibrating qualities of various percussive instruments. Chiu’s work, Resonantia Part 1, offered a rich layering of rhythmic fabric, with western and Chinese percussion locked in a fantastic duel of boundless energy. Yip’s Resonantia Part 2, scored as though it was the dramatic counterpoint to Chiu’s Part 1, was more nuanced and cerebral, with various percussive elements taking turns to shine as calls and responses of each other. The dependable trio of Chin-tung Chau, Rieko Koyama and Vicky Shin provided the necessary percussive resonance backing up Siu’s timpani in both parts. Together, the percussionists sounded like a pride of wild cats navigating familiar territory with crisp determination, yet mindful of each other. Accidental rim shots notwithstanding, Siu’s technical mastery of the art was somewhat marred by a lack of stage character, without which the musician looked stiff and robotic. In an evening with deeply cerebral and convoluted new music that wasn’t immediately pleasing to the average ears, Siu was perhaps taking himself too seriously. Overtly solemn and devoid of much public projection of emotions, his facial expression suggested a spent character who seemed more concerned about laboring to the finish than enjoying the moment. True or not, the severity of that perception cast a shadow over his technical skills and general mastery of his art.

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