Chopin Theatre; Mon 27
Since the collaboratively run Anaphora Ensemble started in April of last year, it’s performed more shows than just about any small classical troupe in the city. The ensemble’s willingness to play anything lets it explore limitless worlds. Unlike other niche area chamber ensembles, Anaphora has no wish to specialize strictly in the concerti grossi of Handel or the cobwebbed corners of the 20th century. Sarah J. Ritch, the ensemble’s composer-in-residence and cofounder, says she favors interdisciplinary programming and throwing Brahms and John Cage side by side if a coherent artistic mission justifies it.
On Monday 27, the collective of four primary members and a slew of local performers presents a thrillingly modern concert that showcases local up-and-comers and legends. Sound artist Olivia Block, with a background in video art, injects her latest experiments into the world premiere of “Stupid Afternoon” and an untitled electroacoustic composition. DePaul composer and improvisation icon George Flynn performs a work for solo piano.
Ritch’s opus, “400g for Violin and CD,” samples a recording by violinist Carmel Raz. The Pro Tools–doctored clip takes a four-second phrase and balloons it to four minutes so that every tiny nuance of sound becomes a clear and present motif. The violinist Aurelien Pederzoli then fiddles along live to this mutated, improvised recording, forming a “duo” with herself.
With almost 32 concerts already planned for its second season, Anaphora not only avoids any of the repetition suggested by its moniker but sidesteps any hint of a sophomore slump.