|Nordic Affect performing Point of Departure at National Sawdust|
It was unseasonably frigid last Wednesday when I headed to Williamsburg for my first visit to National Sawdust. I've had my eye on this venue when it was just a rumor and I was looking for a new job in development. While I never saw the right job for me on their listings, I was excited when they opened and have been intrigued ever since by the variety and creativity of the offerings I heard about in emails and on Facebook. I despaired as events featuring Talea Ensemble and Helga Davis - two of my favorites - went by with me unable to fit them on my calendar. But then all things converged and I was able to attend when they hosted Nordic Affect's New York City Debut.
This avant garde chamber ensemble created one of the albums of the year with Raindamage and perhaps they also brought the chill in the air from their native Iceland. But there was a warm welcome at the unassuming door that admitted my wife and I to National Sawdust. The chic black interior was made up of interesting angles with the ticket desk on the right and a bar at the end calling you towards the door of the performance space. There is also a separate sit-down bar with a window on to North 6th Street that looks like a great place to get a drink whether music is on the agenda or not.
We continued on into the room itself and were stunned to discover one of the most beautiful interiors in the city. It's a work of art with obliquely-angled seemingly symbolic panels covering the walls and ceiling surrounding the high stage. We sat at one of the little round tables, joining someone who was there solo. It would have been a little tight - but do-able - had a fourth person joined us. The menu promised creative cocktails and upscale bar food, which would have been even more intriguing if we weren't stuffed from dinner at Sweet Chick. I'll keep this option in mind for next time - which I hope will be soon!
|National Sawdust's stunning interior|
The sound at National Sawdust is so superb that I hardly gave it a thought, the clear acoustic allowing nothing to get between me and the music. This was especially commendable in the pieces that included electronics, like the title track to Raindamage, which they performed later in the evening. But first we had a new work by Hildur Guōnadóttir, Point of Departure, which asks each performer to sing long notes along with their instrument. It's a similar approach that Guōnadóttir took on 2 Circles, a work for violin solo that Nordic Affect's Halla Steinunn Stefánsdóttir recorded on Clockworking. The results are both meditative and mysterious, with a hint of Medieval plainchant, and a keen observer couldn't help but notice the silent interactions between the players that allowed them to pull it off perfectly.
Next was Anna Thorvaldsdóttir's Shades of Silence, which also appeared on Clockworking. Before starting it there was a brief pause while Gudrún Óskarsdóttir prepared her harpsichord, placing various items on the strings inside. She also played the sides of the instrument, creating woody thumps, a picked out a sparkling melody from time to time. The performance made the piece seem more approachable somehow, maybe because you could observe how the various parts fit together.
This was also true of Raindamage and Þýð, which were both performed as a trio by Stefánsdóttir along with Gudrún Hrund Hardardóttir (viola) and Hanna Loftsdóttir (cello). Stefánsdóttir explained that the latter piece, composed by Úlfur Hansson, was built up out of so many layers in the studio that there would be no way to replicate it in concert without a little help - from the audience. So she divided the room into thirds and asked us to hum along with the instrument in our section. She also asked us to stand and reminded us to breathe. I don't think I was on key the entire time but when I crossed into harmony with her violin there was a sensation of belonging and inclusion. Whether being asked to help or not, the audience is part of every concert. It was also a good reminder at how much concentration it can take to play this demanding music, even as they performed it with apparent ease.
The final work included the full quartet and another projection. Called Loom and composed by Sigfúsdóttir with visuals by Dodda Maggy, this new piece had only been performed once before, earlier in Nordic Affect's American tour. The film consists of hypnotic circular patterns, which were echoed in the music, creating a perfect bookend for the concert. It was easy to become hypnotized there in the dark as the music drew you further into the colorful animations.
While Loom was conceived to include the film I think the music will stand on its own should Nordic Affect decide to include it on their next album, which is sure to be spectacularly fascinating either way. As I've written over their years, for a tiny country, Iceland is producing a high volume of excellent music. Rather than finding this baffling, I simply listen in wonder. I recommend you try it and see if you find yourself doing the same.
You may also enjoy:
Collapsing Into Nordic Affect's Raindamage
Skylark's Liminal Journey
Cello For All, Part 2: Michael Nicolas
Best Of 15: Classical & Composed