On Stage: eCello Concerto by Enrico Chapela Stuns SRO LA Phil Crowd
Johannes Moser, electric cello; LA Philharmonic; Gustavo Dudamel, conductor; Disney Hall, October 21
Johannes Moser
Upon learning that the universe was being bombarded by extremely rare and powerful magnetic fields called magnetars, Mexican guitarist and composer Enrico Chapela decided to write a concerto to see what effect magnetars would have on music. He removed two strings from his electric guitar and tuned it like a cello, then worked with cellist Johannes Moser to evoke musically the erupting energy of these dying heavenly bodies.
The result is a major e-cello concerto—for electric cello, orchestra, and special effects—that could easily create demand for a second. (Perhaps Chapela could be persuaded to write a concerto for a conventional cello.) It's rich in jazz, rock, and Latin-American influences, and quotations, that are seamlessly integrated over a large, solid—but barely perceivable—under structure (assuring continuity). For 25 minutes, Chapela charts a riveting narrative of sounds that create their own reality of love, excitement, and drama.
After Moser made his way through the electronic gear and on to the stage, Dudamel took the microphone and said, "Let's rock this place!"
While Moser was showing off his futuristic Yamaha SVC-110SK Silent Cello (like Danish Modern crossed with 'Star Trek,' with conventional strings and bow) to the skeptical audience, the Dude commented, "It also works as a space ship. And it would certainly work for Venice Beach."
The crowd roared.
The music (in three movements: fast, slow, brutally fast) began with special effects. String players rubbed their hands together, snapped their fingers, clapped, and made other percussive sounds. Then the cellos started glissando-ing. Working pedals, Moser threw off lots of cello stuff, and people got a chance to grok the disembodied e-cello sound. By processing everything he plays through feeders, routers, filters, and a few iPhones, his e-cello produced some stunning sci-fi effects, while the orchestra created amazing sounds of its own.
This Yamaha e-cello could play duets with itself!
It's a compelling 21st-century reincarnation of Paganini's devilish ways.
As the orchestra picked up on the cellist's solos and marshaled its own direction and resources, threads of what the cello was doing—or had done—were woven Into the orchestral fabric. There was unison doubling by the bassoon and other woodwinds, while percussion and brass punctuated the pace and drove the movement.
Chapela and Moser used pizzicato over the bridge, or slid up and down a few octaves at a time—their pizz could be ominous or exquisitely jewel-like among the woodwinds.
Chapela's use of melody plays a role different than in most concertos. He prefers an abundance of secondary themes in each movement instead of just one or two. And just when each melody begins to take shape, the orchestra diverts attention away with the beauty of the writing.
Hammering drums announced the brutish this movement, but Moser's cello of the future stood up to them, defiantly snapping strings. Reconciliation of the cello and orchestra took place with mad triplets leading to a final gong, and Moser stood up for the final flourish.
It was a thoroughly modern classical-concert experience.
The rest of the program featured Adams' Short Ride in a Fast Machine and Prokofiev' Symphony No. 5.
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