Earplay's first concert of the season, October 23 at the Yerba Buena Center for the Arts Theater, introduced two attractive and distinctive chamber works. One of them — Edwin Dugger's On Spring's Eve (2000) — was the more consistently rewarding.

Dugger's piece, being given its premiere, was lyrical and contemplative in feeling. Its main melodic idea began slowly and then trailed off into arabesque-like figuration. Tension was also present when the ensemble of four instruments came together in accented knots of sound, sending a pulsation of fresh energy through the music. A brief dramatic episode arose toward the end of the piece when the arabesque became fragmented into short, jagged motives that were tossed agitatedly back and forth, sometimes in stark unison passages. Calm restored, the music resumed its ruminative character, moving quietly and satisfyingly to a conclusion. The eloquent performers were violinist Terrie Baune, cellist Noriko Kishi, clarinetist Peter Josheff, and pianist Aglika Angelova.

Stephen Blumberg's Dedalus and Icarus (1999) programmatically illustrates the Greek myth, as described in the composer's explanatory notes. A large, sweeping introductory gesture seemed to set the stage, gradually giving way to separate melodic strands that began to evolve independently. Well into the middle of the piece the texture took on momentum, rising to a high point where the instruments hovered for a few moments and then, Icarus-like, swiftly and gracefully fell. A prolonged, expressive epilog closed the piece. The work was evocatively, colorfully scored, with crystalline piano chords and figuration and rich, sinuous writing for the other instruments. Flute, piccolo, and alto flute were played by Tod Brody. Peter Josheff played clarinet and bass clarinet. Piano, violin, and cello completed the ensemble.

Of the program's four other compositions, the most ample was Fuse—VII, by Ushio Torikai, for chamber orchestra of 15 instruments. We heard a continuous play of textures unfold, from the fluttering whirr and buzz of tone clusters in the winds and percussion to a scattered rain of string pizzicati. At one point, the players converged on a single note, like a horde of insects, moving fitfully in and out of its sound. Most effectively, elsewhere, a long, angular line emerged in the oboe and was further developed by the bass clarinet. On the whole, this composition was imaginative and engaging. But its episodic nature and preoccupation with surface detail caused my interest to flag as it progressed.

Ursula Mamlok's brief Polarities (1995), for violin, cello, piano, and flutes, the program's opening piece, was a little pat and predictable. Clean, well-defined contrasts seemed too tidily arranged, and rhythmic uniformity in the slow middle movement led to a smooth blandness of effect. Jonathan Berger's "In this month are simples gathered" (1982) never found a strong enough musical impulse to give it a sustained thrust. And the artless "tune" that ended the piece was more disconcerting than anything else.

Jason Eckardt's Echoes' White Veil (1996), for solo piano, was filled with a tumult of sound and fury in its outer two sections, but its slow middle part was static, bare, and void of activity. This often-demanding piece was played intensely and with flair by John McGinn, who brought out its brilliant, mercurial writing to dazzling effect. Earplay's excellent band of musicians was ably led by Mary Chun, who conducted several of the pieces. The program's diversity of scope and intention received a gratifying and enthusiastic response from the audience. New music was well served.

(Jules Langert is a composer and teacher who resides in the East Bay.)

©2000 Jules Langert, all rights reserved