After an initial passage in the fourth movement that features chords sliding up and down through arrival harmonies, the athletic passagework from the middle of the third movement returns. Scalar motifs dart through the ensemble, conjuring a circus-like physicality. The third movement returns to the martial character of the opening. The glissandi that open the second movement take on a cartoonish quality, interspersed with off kilter interjections, before a steady driving rhythm supports grinding overpressure bowings in the solo parts. By the end of the movement the steady march that opened the piece has become irregular and marked by disjunct interruptions. Throughout this opening movement, Lyon establishes textures that begin in familiar fashion before slowly introducing destabilizing musical elements. Giga Concerto opens with a vigorous march before leading to a neo-baroque sequential passage featuring the soloists.
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As a response to this perilous and absurd reality, Lyon embedded quotes from topical songs into the work, among them, “Nuclear War” by Sun Ra and “Rocket Man” by Elton John. While Lyon was composing the work in 2018, Donald Trump was flirting with Kim Jong-un and North Korea’s nuclear arsenal. In six movements, the work highlights the virtuosity and synergy of the violin duo, offsetting the soloists with colorful writing for this small orchestra of fifteen players. The Giga Concerto was originally composed for String Noise as soloists with the String Orchestra of Brooklyn, and adapted in this version for the International Contemporary Ensemble. Joined by colleagues String Noise (Pauline Kim Harris and Conrad Harris, violins), Deerhoof drummer Greg Saunier, and the International Contemporary Ensemble conducted by Nicholas DeMaison, Lyon weaves together strains of inspiration from the virtuoso concerto form, Brahms songs, and his reaction to current political events to craft an album that is exuberant, occasionally irreverent, and appropriately schizophrenic for our dizzying cultural moment.
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On Giga Concerto, composer Eric Lyon employs what one might call a mashup or collage approach, pitting canonic melodies, conventional textures, and forms directly against experimental techniques and stylistically hybrid material. Artists find myriad ways to grapple with tradition and bring it into a contemporary context.