ESTEBAN MENESES, www.examiner.com

The best of Central Florida’s contemporary classical music was highlighted on Sunday evening with passion and style. The location: Benoit Glazer’s downtown Orlando home, also known as ‘Timucua White House,’ where leading avant-garde, jazz and contemporary classical music acts from around the country perform almost every weekend to small, though dedicated circles of followers who have helped turned the Glazer home auditorium into a shrine of sorts for this rather esoteric kind of performing arts scene.

But it need not always be that way, since the audience for new classical music in Orlando is on the rise — virtually every seat in the house was taken — and organizations that promote and foster this kind of music in the area certainly exist. The concert was presented by the Central Florida Composers Forum, and performed by the string quartet from the Orlando Philharmonic Orchestra. With a program made solely of pieces by eight local composers, all in attendance, and the talented quartet from Orlando’s premier orchestra, this was truly a celebration of local talent unlike anything else done before.

Glazer’s piece The Eve of Evil — a dark, yet deeply touching foreboding of the war with the Middle East that followed the September 11 attacks — had the Cirque du Soleil musician join the quartet on trumpet. The augmented ensemble also featured his children Camille and Jean-Marie, on cello and viola, respectively, and wife Élaine Corriveau on piano. The composition includes dissonant passages intermingled with touching triadic bliss. The structure consists of repetition of the main segments, underlining the contrast between them. The composer employs jazz elements, fugal passages and a clear homage to Le Sacre du printemps, toward the end.

“There’s a bit of rock and roll, a bit of Bartók and a lot of chickens,” said Danny McIntyre of his Dance of the Fearless Chickens. The piece was an inviting change of mood, with clucking and rolling from a quartet that seemed to be enjoying themselves as much as the audience.

Full Sail’s Keith Lay presented the still unborn about the dead, for soprano, piano and quartet. Lay’s composition finds beauty in a somber mood and succeeds exceedingly at that. Soprano Julie Batman helped to beat the time while carefully belting the words by Nichita Stanescu, with piano accompaniment by Jamila Tekalli.

Also from Full Sail, composer Tim Stulman introduced his piece Two Tigers, Two Mice and a Strawberry, a saxophone arrangement of which was performed a week prior by the all-saxophone h2 quartet. With his programmatic Tracks of the North Woods, Eric Brook sought to paint a musical picture of an outdoor scene, with thrills along the way.

One of the best pieces featured was Karen Van Duyne’s For Four Strings. The functional simplicity of the title belies the scope of the music and imagination of the lone female composer of the event. The exciting piece, influence by Elliot Carter, strays from conventional harmony and finds peace, order and beauty in an unusual sound world. Each of the four strings has a clearly defined line and plays a role along the piece, with the viola representing a kind of longing or searching for something elusive. It is frequently interrupted by the other instruments, though, and struggles to find serenity until the composition comes to a close.

Thad Anderson’s piece for quartet and electronics Through-Line provided another interesting change of pace. Anderson, from the University of Central Florida, started the pre-recorded track, to which the strings played for the duration of the piece. Flutist Nora Lee Garcia had a difficult part to fulfill, playing over the often loud and dense atmosphere of unison strings and the electronics track. The composer succeeds with this piece in coordinating dynamics and phrasing, to create a flowing soundscape between the acoustic instruments and the waxing and waning track that pulsates beneath them.

The closing piece, titled set fire to have light, brought out the naked acoustic force of the string quartet. As with most of the pieces of the evening, first violinist Rimma Bergeron-Langlois played the main melody line, supported by second violinist Alexander Stevens. Furtive glances from Stevens at the Orlando Philharmonic concertmaster kept the group in sync and tight throughout. On the low register, viola player Mauricio Céspedes and cellist David Bjella rounded off this excellent ensemble. Charles Griffin’s closing piece had them play forte unisons toward the end, closing the concert with an air of triumph.

The Timucua White House is a place like no other in the Central Florida area, and for local aficionados of contemporary art music, it is the place to be. The last few concerts have been captured on video, along with post-event interviews, for an upcoming documentary on Benoit Glazer’s legacy to the music community of Orlando, made possible by dedicated organizations like the Central Florida Composers Forum, The Civic Minded Five and the Accidental Music Festival.

It is unfortunate that this could only be a one-off event, given the potential that this amazing program had and the evident success, at least in terms of attendance and support for local talent. My hope is that this event will not go unnoticed by the well-established classical music organizations in Orlando, as well as by emerging ones; the way to the future is in the music of the present.

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