Tyshawn Sorey, the composer and multi-instrumentalist, identified one goal of his artistic practice while onstage Thursday night at the Miller Theater at Columbia University. Specifically, he said, he has been working toward a “model of music that perpetuates itself.”
That might sound like a conceptual-art statement. But the more you explore the wide-ranging impulses and examples that spur him on, the more it seems concrete.
Famously uninterested in genre labels, as well as supposedly hard-and-fast distinctions between improvisation and composition, Mr. Sorey has established momentum in different lanes that are often thought of as mutually exclusive. His long-running trio can be heard in intimate jazz clubs like the Village Vanguard. Meantime, an imaginative, dramatic piece inspired by Josephine Baker (written for the soprano Julia Bullock) can hold down and electrify vaster environs, like the grand staircase of the Metropolitan Museum of Art.
Miller Theater sits somewhere in between, in terms of both its programming and its size. And so it made sense for Mr. Sorey’s concert Thursday — the latest in the Composer Portraits series — to present a range of hues from his creative spectra.
The concert’s first hour was tight and focused. When playing the concert’s opening work, “In Memoriam Muhal Richard Abrams,” the violinist Jennifer Curtis and the keyboardist Cory Smythe (heard here on celesta) gave a sense of Mr. Sorey’s artistry when working with meditative sparseness. In this mode, the composer’s changes can come slowly — as with the steady movement from a parched, dry violin tone to something more conventionally lovely — yet their culmination often ends up feeling voluptuous. That result is from the variety of effects being presented, as well as the time lavished on each one.
Mr. Sorey tends to reward a listener’s patience, over the course of a set, thanks to starkly contrasting energies. In “Ornations,” the flutist Claire Chase and the clarinetist Joshua Rubin presented the hyperkinetic side of the composer’s style. At some points solo riffs were passed back and forth between the players like friendly provocations. Even better were the urgent passages during which both players seemed taxed to their individual limits, while still needing to listen closely to one another to create a well-blended sense of chaos.
The final opus in this opening set was the New York premiere of “Everything Changes, Nothing Changes,” played by the JACK Quartet. Aptly titled, it seemed both static and constantly in motion. In recalling the more delicate textures heard at the concert’s opening, this piece for string quartet also brought a sense of closure to the first hour.
The music after intermission (and after an onstage Q. and A. between Mr. Sorey and Ms. Chase) was dominated by the world premiere of “Autoschediasms,” a work for creative chamber orchestra. Premised on his personal approach to “spontaneous composition,” Mr. Sorey described the work as being created by all the musicians onstage and himself. (He conducted the players and provided instructional prompts via a small dry-erase board.)
The lengthy piece was not without interest. There were too many fascinating artists for that to be the case. But for me, this performance did not consistently channel the purposeful quality of Mr. Sorey’s other efforts.
When Mr. Sorey and Ms. Chase reunited to close the concert with “Bertha’s Lair,” it was another reminder of the high bar that he sets for himself and his collaborators. Though I’d heard (and enjoyed) this flute-and-percussion piece quite recently, at the Kitchen, it was exciting to encounter it again — given that both performers are invested in the concept of improvisational openness. This time it featured some more guttural exhalations from Ms. Chase. And her brooding work on contrabass flute wound up serving as a setup for one booming, climactic pulse from Mr. Sorey, working in this moment as drummer and dramatist both.B:
鼎盛高手论坛555258【邓】【宪】【和】【彭】【治】【聊】【完】【了】【话】【题】【后】，【看】【着】【唐】【领】【笑】【了】【笑】：“【老】【同】【学】，【上】【次】【和】【你】【说】【的】【合】【作】【考】【虑】【的】【怎】【么】【样】【了】？” “【压】【根】【没】【有】【考】【虑】。”【唐】【领】【很】【诚】【实】【的】【回】【答】。 “【也】【行】，【你】【要】【真】【不】【想】【和】【我】【合】【作】，【那】【我】【就】【找】【别】【人】【合】【作】【好】【了】。”【邓】【宪】【淡】【淡】【的】【说】【着】【喝】【了】【一】【口】【酒】。 “【你】【一】【个】【开】【百】【货】【卖】【场】【的】【和】【我】【合】【作】【的】【着】【吗】？”【唐】【领】【斜】【乜】【着】【邓】【宪】。 “【切】，
【韩】【木】【泽】【闻】【言】，【笑】【道】：“【纽】【约】【我】【比】【你】【熟】【悉】，【想】【玩】【通】【宵】，【我】【带】【你】。” 【说】【完】，【他】【牵】【住】【白】【紫】【涵】【的】【手】【在】【纽】【约】【的】【街】【道】【上】【开】【始】【狂】【奔】。 【风】【的】【速】【度】【和】【少】【年】【的】【轻】【狂】，【让】【白】【紫】【涵】【的】【不】【悦】【化】【作】【云】【烟】【散】【掉】，【最】【后】【和】【韩】【木】【泽】【一】【起】【沉】【沦】【在】【欢】【乐】【和】【笑】【声】【里】。 …… 【叶】【寒】【枫】【这】【次】【没】【再】【端】【着】。 【他】【最】【终】【还】【是】【没】【忍】【住】，【主】【动】【去】【找】【了】【白】【紫】【涵】。 【他】
【系】【统】【监】【测】【到】【了】【奕】【河】【这】【种】【可】【怕】【的】【想】【法】。 【他】【吓】【坏】【了】。 【一】【个】【的】【发】【出】【警】【告】【声】。 【【警】【告】！【警】【告】！【请】【勿】【让】【气】【运】【之】【子】【恢】【复】【神】【智】，【请】【勿】【请】【勿】。】 “【吵】【死】【了】！”【小】【姑】【娘】【不】【耐】【烦】【的】【嘟】【囔】【了】【一】【句】。 【可】【她】【又】【没】【有】【办】【法】，【这】【该】【死】【的】【系】【统】【就】【在】【她】【身】【上】，【她】【根】【本】【没】【办】【法】【让】【这】【个】【东】【西】【滚】【蛋】。 “【什】【么】【东】【西】！【滚】【出】【来】！”【奕】【河】【眉】【心】【一】【蹙】
“【我】【白】【荩】【学】【院】【能】【招】【到】【如】【此】【天】【赋】【异】【禀】【的】【人】【才】，【老】【夫】【我】【上】【辈】【子】【积】【了】【阴】【德】！”【一】【位】【胡】【子】【雪】【白】【的】【老】【人】【笑】【道】，【他】【看】【着】【白】【诡】，【心】【底】【更】【喜】【欢】【她】【了】。 【白】【诡】【在】【来】【白】【荩】【学】【院】【的】【第】【一】【天】，【玉】【佩】【已】【经】【是】【蓝】【色】【的】【了】。 【虽】【然】【她】【天】【赋】【高】，【院】【长】【视】【她】【为】【心】【头】【肉】，【可】【尽】【管】【如】【此】，【也】【改】【不】【了】【她】【爱】【闹】【腾】【的】【性】【子】。 【所】【有】【人】【都】【没】【有】【想】【到】，【她】【竟】【然】【会】【打】【翻】【胡】【长】
【断】【人】【财】【路】【如】【同】【杀】【人】【父】【母】，【断】【人】【修】【行】【之】【路】，【那】【可】【是】【比】【杀】【人】【父】【母】【还】【要】【严】【重】【的】【事】【情】。 【看】【着】【云】【灵】【儿】【几】【乎】【毫】【无】【防】【备】【的】【样】【子】，【终】【究】【还】【是】【有】【几】【个】【心】【思】【龌】【龊】【之】【人】【出】【手】【了】。 “【无】【耻】【之】【尤】，【暴】【风】【海】【界】【的】【高】【手】【自】【称】【的】【风】【度】【呢】？” “【原】【来】【这】【就】【是】【暴】【风】【海】【界】【所】【谓】【的】【高】【度】，【那】【些】【给】【暴】【风】【海】【界】【洗】【地】【的】【站】【出】【来】，【我】【打】【肿】【你】【的】【脸】！” “【靠】，【不】鼎盛高手论坛555258【进】【入】【王】【宫】，【在】【巡】【逻】【队】【的】【押】【运】【之】【下】，【楚】【阳】【和】【亚】【瑟】【库】【瑞】【便】【来】【到】【了】【一】【处】【明】【亮】【的】【宫】【殿】…… “【禀】【王】【上】，【属】【下】【在】【巡】【逻】【之】【时】，【抓】【到】【了】【两】【名】【入】【侵】【者】，【现】【抓】【来】【交】【由】【您】【处】【置】！”【巡】【逻】【队】【队】【长】【对】【着】【王】【座】【上】，【身】【穿】【金】【色】【盔】【甲】【的】【奥】【姆】【行】【礼】【道】。 “【你】【干】【的】【不】【错】，【但】【他】【们】【能】【溜】【进】【来】，【也】【是】【你】【们】【的】【疏】【忽】，【此】【次】【功】【过】【相】【抵】，【下】【去】【吧】！”【奥】【姆】【俯】【视】，【看】【向】
【一】【位】【书】【生】【模】【样】【的】【人】，【行】【走】【在】【进】【京】【的】【路】【上】。 【对】【于】【一】【个】【知】【天】【命】【的】【人】【来】【说】，【应】【该】【在】【家】【里】【面】【安】【享】【晚】【年】，【而】【他】【却】【是】【一】【点】【都】【不】【服】【老】，【他】【从】【来】【都】【很】【年】【轻】，【因】【为】【他】【的】【心】【一】【直】【都】【很】【年】【轻】。 【他】【已】【是】【他】【们】【省】【城】【为】【数】【不】【多】【的】【举】【人】，【一】【般】【来】【说】【向】【他】【这】【种】【人】【身】【边】【总】【是】【会】【带】【着】【一】【个】【或】【者】【两】【个】【书】【童】。 【他】，【也】【不】【例】【外】。 【奇】【怪】【的】【是】，【他】【的】【书】【童】【没】
【李】【镇】【站】【在】【窗】【边】，【看】【着】【宁】【言】【的】【背】【影】【消】【失】【在】【拐】【角】。 【一】【个】【身】【影】，【悄】【然】【间】【出】【现】【在】【李】【镇】【背】【后】！ “【五】【少】【爷】！” “【忠】【叔】，【暗】【中】【跟】【着】【这】【个】【小】【家】【伙】。” 【李】【镇】【回】【过】【头】，【笑】【着】【说】【道】：“【只】【要】【不】【死】，【就】【不】【用】【插】【手】。” “【是】。” 【忠】【叔】【点】【点】【头】，【迟】【疑】【一】【下】【说】【道】：“【我】【走】【了】，【李】【家】【怎】【么】【办】？” “【放】【心】，【我】【还】【在】。” 【李】【镇】
【苏】【晚】【晚】【之】【前】【一】【直】【闪】【躲】【只】【是】【为】【了】【拖】【延】【时】【间】，【现】【在】【骨】【灵】【已】【到】【位】，【她】【立】【马】【开】【始】【了】【反】【击】【战】。 【仗】【剑】【走】【天】【涯】【眉】【头】【一】【皱】，【苏】【晚】【晚】【的】【反】【常】【令】【他】【十】【分】【不】【安】，【心】【里】【怀】【疑】【道】，【难】【道】【她】【是】【扮】【猪】【吃】【虎】？ 【仗】【剑】【走】【天】【涯】【隐】【隐】【感】【到】【哪】【里】【不】【对】【劲】，【却】【怎】【么】【也】【说】【不】【上】【来】【哪】【里】【奇】【怪】，【正】【想】【提】【醒】【半】【生】【轻】【狂】【多】【加】【注】【意】，【目】【光】【一】【瞥】【却】【看】【到】【大】【雾】【中】【有】【个】【红】【白】【相】【间】【的】【物】
【在】【雷】【狼】【星】【上】，【最】【接】【近】【天】【空】【的】【地】【点】。 【一】【大】【一】【小】，【两】【个】【身】【影】【相】【互】【交】【错】【而】【过】。 【血】【液】【飞】【洒】，【一】【只】【手】【臂】【与】【一】【只】【蛛】【腿】【同】【时】【被】【甩】【向】【高】【空】。 【在】【距】【离】【历】【城】【有】【一】【段】【距】【离】【的】【地】【方】，【迪】【瓦】【沃】【接】【住】【了】【历】【城】【被】【斩】【断】【的】【手】【臂】，【放】【在】【自】【己】【的】【大】【颚】【下】【细】【细】【的】【品】【砸】【着】。 【手】【臂】【骨】【被】【一】【节】【节】【咬】【碎】，【那】【手】【臂】【的】【肌】【肉】【还】【在】【抽】【动】，【将】【血】【液】【甩】【了】【迪】【瓦】【沃】【满】【脸】。