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Chicago Composers' Consortium


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For emerging local composers with newly minted PhDs, chamber recitals organized by the Chicago Composers' Consortium have proven to be an indispensable forum. It helps, of course, that older academics often consent to be spotlighted along with their younger colleagues, whipping up wider interest while bestowing implicit approval on fledgling careers. At this season finale Stephen Mosko, head of the Contemporary Chamber Players, does the honors. Earlier this year he conducted the venerable CCP in a pair of commendable concerts that featured some of his own works. Here he'll sit back and listen to consortium members tackle a couple more. Both Rais Murad (for cello and piano) and Indigenous Music 2 (for solo flute) date from the late 70s, when Mosko, on his way up the academic ladder, was faddishly concerned with experimental techniques and imported idioms. The color and texture of Rais Murad are built on emphatic contrasts obtained from rhythmic interplay between the instruments; Indigenous Music 2 is part of a series of compositions that appropriate folk materials from other cultures. The Young Turks on the program are all CCC members; two of them--Pieter Snapper and John Hungerford-Shirley--were trained at the University of Chicago. Snapper, now an instructor at Oberlin, is represented by Rapture (1992) for piano, a juxtaposition of dissonant note clusters and cascading lyrical interludes that culminates in a grand chorale. Solar Cycle for piano (1994) by CCP's cofounder Lawrence Axelrod offers a peculiar ritualistic take on the four seasons. Featured soloists are flutist Caroline Pittman, cellist Elizabeth Start, and Axelrod. A talk by Mosko precedes the concert. Wednesday, 8 PM, Three Arts Club, 1300 N. Dearborn; 708-833-6263.

Art accompanying story in printed newspaper (not available in this archive): Photo/Yael Routtenberg.

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