Chamber music and recital

Sabrina Ma: Recital

Date: July 26, 2014
Location: City Hall Theatre, Hong Kong.

Sabrina Ma has been playing percussion for more than 20 years, and if one pays no attention to her youthful presence on stage and the giddy smile set free after that occasional mishit, Ma looks confident and mature beyond her age. Still in her twenties, Ma has already completed her music education in three continents, roamed around the world competing and collecting trophies, collaborated with artists from different cultures and experimented with pop music and improvisations in inter-disciplinary works. Her recital in Hong Kong this weekend reflected as much her character as her musical journey. Her first number was “Heimlich, still und leise”, a 2013 composition for film by violinist Benedikt Bindewald whereby Ma played a range of percussive instruments over a pre-arranged soundtrack of humming voice and electronic music. With a repetitive but snappy melody, the soundtrack unveiled itself as a sleepy but certain through train. Ma’s playing over, too certain and assured to be improvisatory, nevertheless added ample textural surprises, like a bouncy Wile E. Coyote chasing the cool train of The Road Runner. With Paul Smadbeck’s Rhythm Song, Ma’s second number returned to more traditional fare: Ma showcased her mallet skills, ripping through Smadbeck’s treacherous four-mallet work and seemingly ready to tell a story behind it. Ma closed the first half with Rebonds A & B by Greek composer Iannis Xenakis. Here, Ma unleashed single-handed quadruplets with stunning efficiency and evenness. The rhythms were like flying shrapnel coming out not from a disorderly explosion but from a well-oiled, well-controlled factory.

After a slightly prolonged intermission, Ma returned on stage to perform Cálculo secreto, a delicious vibraphone number by José Manuel López López. In Ma’s vision, this piece tasted like celestial music punctuated with sixties’ extraterrestrial sentimentality and regimen. The sophistication and timing of Ma’s pedaling work wove a thoroughly intricate musical fabric with multiple layers that thickened and thinned with a rollicking passing of time. Her final three numbers were all 21st century compositions: The Art of Thangka by Emiko Uchiyama, Khan Variations by Alejandro Viñao, and Havana by Rilli Willow. Each presented an ethnic sentimentality (Japanese, Arabic, Jewish) that Ma portrayed with fine aplomb, even if Ma would occasionally lose concentration and find no clean clearance on the keys. Havana was a love poem in vocals played over the monitors, over which Ma showered with well-thought-out, purposeful percussive goodies. Simple work on the bass drums, a few notes on the keyboard and an honest connection with the piece throughout were all that Ma needed to bring zest and a living pulse to the vocal piece.

Sabrina Ma.

Sabrina Ma.