At times, the quartet picks up fragments of speech and song and turns them into motives in a similar fashion to “Different Trains.” But at others, it responds independently. But the dialogue between tape and instruments is more subtle and supple.
The jumping-off place for this piece is clearly “Different Trains” by Steve Reich. Both spoken word and sung fragments were played alongside dramatic ostinatos from the quartet. It featured sampled snippets from sound recordings made in the late 1920s in Ireland by folk archivist and linguist Karl Tempel. Alongside Martynov’s piece, the concert’s first half included another moving work, “One Hundred Goodbyes” (Céad Slán) by Irish composer Donnacha Dennehy. After greeting the audience’s stirring acclamation, Jeanrenaud was once again helped offstage. The piece ended, drifting away on an unresolved chord. Once Jeanrenaud started to play, all impressions of frailty disappeared she retains a focus, musicality and presence that is a life lesson in triumph over adversity. On this occasion, one could view the work as a wistful homage both to Schubert and to a group of musicians parted by life’s vicissitudes. Martynov’s reimagining of the material gives it a piquant, melancholy mood that proved quite arresting. Martynov recasts short snippets of Schubert’s sketches for an unfinished string quintet, repeating leaping octaves and minor-key chord progressions over and over until they depart from their origins as motives in an early Romantic piece and take on a meditative, mystical quality. Needing assistance to the stage from her colleagues and walking with the aid of a cane (the illness hasn’t impaired her ability to play but effects her lower extremities), Jeanrenaud joined Kronos for “Schubert-Quintet,” a work written for them by Russian composer Vladimir Martynov (it appears on the group’s latest Nonesuch CD, an all Martynov portrait disc). 28, for a “one night in New York only” performance in Zankel Hall, she was reunited with the ensemble.
But she hasn’t appeared onstage with her Kronos colleagues since leaving them.
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Availing herself of alternative therapies for MS instead of conventional medical treatments, Jeanrenaud has remained an active performer, teaching at Mills College and recording cross-genre CDs in collaboration with composer PC Munoz. She left the Kronos in order to focus on her health and work on solo projects and composing. But in 1998, Jeanrenaud was diagnosed with multiple sclerosis. NEW YORK – For more than two decades cellist Joan Jeanrenaud was a member of the Kronos Quartet, adding dramatic flair to performances and helping the group to amass an impressive body of commissioned and recorded work.
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