There’s also an element of 20th-century classical piano music to her thought—the fragmented, block forms, shifting meters, and piquant dissonances of Stravinsky; the asymmetrical rhythms and spicy harmonies of Bartok; the sardonic wrong-note neo-classicism of early Shostakovich and Hindemith.
Fresh ideas for classical music and beyond?
Golia had so many clarinets, flutes, and saxophones propped up next to him or in a travel bag that Turetzky joked that the real Museum was the one next to Golia. Each work began with Golia pondering which wind to play, making a selection, and then soloing, to be joined shortly afterward by Turetzky. The description of their music making as “ESP” was not far off the mark, given the duo’s uncanny ability to complement each other while spontaneously creating melodies and textures.
Golia has a penchant for playing multiphonics, alternating the highest and lowest registers of his chosen instruments (clarinet, contrabass clarinet, contrabass flute, or piccolo). At other times, he pulled out different varieties of ethnic flutes, from which issued trills, microtones, and spastic twittering melodies.
If you enjoyed this post, make sure you subscribe to my RSS feed!