Yet somehow he never soloed on a San Diego Symphony subscription concert before this. If you choose to opt-in, your personal information will be kept in a secure database and will be used to send you emails including but not limited to information, coupons, and deals relating to BIC. He has curated festivals around the world. Get the latest news, tips and coupons from BIC You may opt-in to receive this information by entering your email address. Schick has lived and worked in San Diego for over a quarter-century. The audience jumped to its feet immediately after the piece concluded as video monitors flanking the stage displayed the festival’s name while Schick took well-deserved bows. If you had any doubts that Schick is one of the greatest percussionists in the world today, they would have vanished after seeing him brilliantly perform. The solo part kept Schick in constant motion, playing his mallet instruments brilliantly, while working his way across the stage from one instrument to the next. While all of the musicians deserve praise, none stood out more than the six percussionists who seemed almost as busy as Schick. Payare led the orchestra through this challenging music with panache. The harmonic language of this 1998 work is uncompromisingly dissonant, orchestrated with bracing, powerful sonorities. Indeed, this is a work that reveals its many layers only on multiple hearings, and if one can’t take it all in the first time through, the propulsive rhythms and intriguing textures dazzle regardless. Sierra somehow avoids this, mixing up accents and harmonic rhythm enough to keep the listener engaged. After minutes of nonstop sixteenth notes, a sonic fatigue can set in, no matter how loud and fast the music. Maintaining such an unrelenting stream of music is a compositional challenge. The forward momentum is unstoppable, accomplished without any repetitive grooves. The Puerto Rican composer’s rhythms suggest Latin popular and folk music, but refracted through a modernist prism. Sierra’s music comes charging out of the gate with a syncopated thicket of notes and never lets up until the pounding conclusion where the soloist’s drums punctuate ecstatic roars from the orchestra. The title translates “With wood, metal and skin,” an allusion to the three categories of percussion that respectively dominate each section of the work. “Con madera, metal y cuero” is a half-hour-long roller coaster of a piece with no pauses.
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