Challenger and Champion

After 25 years, there are no original members of Relâche left, and a few gray hairs and wrinkles adorn the pleasant-looking musicians that now comprise the ensemble. The music that once seemed audacious and daring has largely entered the mainstream, and in this town, at least, this has happened on Relâche’s watch. Fittingly, they have opened this landmark season with a program of six repertoire works, including four that were commissioned by Relâche.

Much of this music, with one notable exception, is surprisingly diatonic and intellectually unchallenging. The prime example is a piece that is a big favorite for many Relâche devotees, “Outcome Inevitable” by Robert Ashley. I don’t get it. The work is replete with long, pretty melodies, or more to the point variations of the same melody, and seems interminable. In a way, it is, since it does not seem to have a structure that suggests a beginning, middle or end. “Octeto Malandro,” by Mexican composer Arturo Marquez, also meanders but is redeemed by pleasant Cuban dance rhythms and perky instrumentation. Arthur Jarvinen’s “Egyptian Two-Step” is clever and concise, with subtly shifting webs of syncopated harmonies, abetted by whooshing blasts of compressed air canisters.

Thomas Albert was represented by two pieces. “Devil’s Rain” has a chirpy pulse that is not suggested by the title. “A Maze (with Grace)” has a score that is truly a maze for the players, who choose paths in the music independently. The eight musicians in search of a tune finally converge on that great hymn “Amazing Grace” in a way that endows the words with profound meaning.

The big standout of the evening was Dutch composer Louis Andriessen’s “Worker’s Union,” a piece of remarkable power and originality. There really isn’t any melody or harmony to speak of in this work. The dynamics are basically loud and louder. Rhythm is the primary means of expression, and a stunning tonality, arising from a chorus of overblown and oversmashed instruments. This is love it or hate stuff (I loved it) and is the kind of music that Relâche was meant for.

This will be the only Relâche performance at the new World Café, which is too bad, because this splendid, comfortable little theater is an ideal size for the band. It was a little odd, however, to have meals served during the concert, and in any case, the music was much tastier than the food. But we’ll leave that to the restaurant critic. —Peter Burwasser

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