Kathleen Supove | Theater Critic's Choice | Chicago Reader

Kathleen Supove 

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Chicago Composers' Consortium, founded about four years ago by a bunch of Northwestern graduates, is a loose collective with no ideological ax to grind: the group aims to provide a forum for the latest chamber pieces of young, independent local composers whose backgrounds and tastes reflect the diversity of current musical idioms. Usually core members double as performers at its potpourri recitals, but this time the consortium scored a coup by arranging to have Kathleen Supove premiere all the works. A Juillard-trained pianist now teaching at Boston's New England Conservatory of Music, Supove is one of those rare performers who specializes in contemporary music. Her grasp on the demands of new compositions is so uncanny that new-music composers clamor for her services. Supove will debut Lawrence Axelrod's Three Etudes, contrasting explorations in extended techniques said to be in the spirit of Debussy and Bartok; Pieter Snapper's Rapture, described by its composer as "dialectics between expression and repression, between autobiographical reflections and formalism"; and Michael Pisaro's Four Scenes, which is based on a poem by Donald Hall and features four separate voices expressing emotions in styles ranging from the heavily dissonant to the gently tonal. Also included are short pieces by Kathleen Ginther, Gustavo Leone, and Elisabeth Start. Wednesday, 8 PM, Three Arts Club, 1300 N. Dearborn; 764-9888.

Art accompanying story in printed newspaper (not available in this archive): photo/Marc Bryan-Brown.


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