The last event we went to before leaving Edinburgh was David Patrick’s Jazz Rite of Spring. It has got me thinking about cross-over aesthetics - why they work, why they don’t - but before I get into that, I’d just like to enthuse for a paragraph or two about the performance itself.
It was performed by an 8-piece jazz ensemble, and much of it was a very faithful transcription of the original score for these reduced forces. But every so often they’d hang out on a riff longer than Stravinsky had specified, and put in a solo. The transitions between the two modes were remarkably convincing. There was one where I felt the holding pattern of the riff and easing back onto the score interrupted a build-and-release passage such that the moment of arrival wasn’t as effective as it might have been, but then again you have to accept that not every person thinks of musical shape in the same way.
The nature of the ensemble mitigated towards a thrilling, edge-of-your-seat performance, even without the improvised passages. If you think about the usual scoring of the Rite, and then imagine the whole lot played by just 8 people...they all had a lot more work to do than your average orchestral player. Nobody got any down-time to speak of; all were on duty throughout.