Canto Ostinato at Cal Performances

Canto Ostinato

Sandbox Percussion and AMOC* members Matthew Aucoin and Conor Hanick

Lincoln Center, NYC

June 25, 2025

Photo: Lawrence Sumulong, courtesy of Cal Performances

A great work and a glorious performance: Simeon ten Holt's Canto Ostinato at Cal Performances. Billed as a production of Sandbox Percussion and AMOC* (American Modern Opera Company), it was the four Sandbox percussionists, Matthew Aucoin, and Conor Hanick. They were magnificent.

If you want to hear this work, there are performances on YouTube with various instrumental combos. On April 3, there will be an LP release of the work that includes Sandbox Percussion. This might persuade me to finally set up my turntable.

• Lisa Hirsch, SFCV and SF Chronicle
• Joshua Kosman, On a Pacific Aisle. He's got more analysis of what's going on technically in Canto Ostinato. I meant to say something about how very Spanish the work sounded at various points, but, well, intentions.

Sandbox Percussion

Photo: Tom Emerson, courtesy of Cal Performances

(This photo is from a performance of Andy Akiho's Seven Pillars, which Sandbox performed last year at PIVOT.)

Harawi, AMOC at Cal Performances

 

Julia Bullock, Bobbi Jene Smith, Or Schraiber, and Connor Hanick

Messiaen's Harawi 

Photo by Brittany Hosea-Small, courtesy of Cal Performances

I reviewed the American Modern Opera Company's remarkable staging of Messiaen's Harawi, performed last week at Cal Performances, by the remarkable quartet of soprano Julia Bullock, dancer/choreographers Bobbi Jene Smith and Or Schraiber, and pianist Conor Hanick, directed by Zack Winokur.

The performance was preceded by a panel discussion with Winokur and several American academics, all currently active in California. A major focus of the discussion was Messiaen's use of Andean harawi, a poetic/musical practice, when he did not have much understanding of it and at a time when it was poorly documented by non-Andean anthropologists and other academics. That is, the discussion was largely about appropriation. For some context, this type of appropriate extends to many modernists; Boulez was mentioned, though I can't recall the tradition(s) he relied on. One of the academics, Tamara Levitz, quoted an indigenous writer on the subject of appropriation, but there were no indigenous musicians or poets on the panel. I feel that the panel––which was otherwise excellent––would have been enhanced by the participation of indigenous practitioners.

I'll note that I have more notes on the panel than I have on the performance itself, in part because the lights were very, very low in Zellerbach and I couldn't see what I was writing. I should have brought my white-ink pens and the notebook with black pages; at least my terrible handwriting would have sprawled less.

I'd also like to take note of the difficulty of addressing dance in a musical context when your expertise is in music. I reviewed two programs this year that featured dance, and I wish my dance technical vocabulary were bigger. I hope that in both I managed to at least suggest what I saw on stage and how it related to the music.

• Joshua Kosman, On a Pacific Aisle, is marvelously eloquent about this performance (and note that there are two puns in the titles).
• Lisa Hirsch, SFCV