Does the flute have a more interesting champion right now than Claire Chase? At 35, this New York-based virtuoso has carved out a key role for herself in contemporary music, commissioning and performing a range of new works for flute that have brought much-needed fire to the repertoire.
The indefatigable Chase — she’s also a founder of the International Contemporary Ensemble and a 2012 MacArthur Fellow — has just released her third CD, titled “Density.” On Saturday night at the Atlas Performing Arts Center, she put on a riveting performance of the music from that disc: a 75-minute tour de force that showed Chase to be among the most electrifying flutists on the planet — and showed the flute as an instrument whose possibilities have only begun to be explored.
Chase tossed out the usual concert conventions, performing alone — accompanied only by electronics or her own pre-recorded flute tracks — and dressed near-invisibly on an almost dark stage, playing the entire program as a highly amplified and uninterrupted whole. The effect was spellbinding. As each work moved seamlessly into the next, Chase explored different forms of density — of textures, of thought, of sheer sonic weight — gradually narrowing the focus from the playful 11-flute orchestra of Steve Reich’s “Vermont Counterpoint” to the climactic, elemental intensity of Edgard Varese’s 1936 masterwork for solo flute, “Density 21.5.”
And through all the works — which included Marcos Balter’s dark and deeply poetic “Pessoa”for six bass flutes; Alvin Lucier’s maddening but strangely beguiling “Almost New York” for flutes and sustained sine tones (patience required); Mario Diaz de Leon’s idea-dense “Luciform” (a vibrant sort-of-sonata for flute and electronics, from 2013); and Philip Glass’s tail-chasing “Piece in the Shape of a Square” for two flutes — Chase played with the kind of vitality and directness and effortless virtuosity that you always hope to hear in the concert hall but too rarely do. All in all, an extraordinary evening from one of the brightest lights on the contemporary music scene, and a high point of the Atlas’s ongoing New Music series.
Brookes is a freelance writer.