Writing an hour’s worth of music, recruiting performers, rehearsing, and putting on a concert is not an easy task. However, every senior in Oberlin Conservatory’s composition department is required to perform such a feat, which Francesca Neibel-Spruill accomplished on March 15 in Warner Concert Hall.
Niebel-Spruill’s refined composition style was apparent throughout the concert. Every work programmed had differing instrumentation, yet they maintained cohesion. Most of the works were string-heavy, although some called for a drum kit to add a laid-back groove.
Many performers played multiple works, adding a constant — their playing style — to the program. Violist Zosia Mateja, who opened the concert playing Stratocumulus (accompanied on piano by Jonny Ollendorf), navigated the somber melodies clearly and expressively. Her appearance in Juniper for string quartet and piano included those same qualities. The instrumentation for strings and piano emphasized the expressive and lush harmonies, although a few moments proved difficult for intonation.
Also in the first half of the program was Snowfall for piano (Jacob Richter) and electric guitar (Max Allard). The electric guitar came as a surprising complement to the timbre of the piano, with the decay of each instrument matching the other. The two passed melodies and flourishes back and forth, evoking a wintry scene. As the flurries picked up, the density increased, creating welcome expressive developments.
The second half of the program called for a drum set in two pieces, played by Ellie Rui. Wind Chimes was laid back, with lighthearted percussion. Contrabass Oliver Andrews transitioned between jazzy basslines and smooth, melodic lines. Brothers Max and Otto Allard traded solos on their banjo and mandolin respectively. Max returned for Noctambulism, a work for two guitars, electric bass, and mezzo-soprano. The guitars added a drive to the piece with Max Allard taking technical solos, though sometimes Katie Warren’s warm singing was unfortunately drowned out.
Composition majors also commonly dive into the realm of electronic music. Neibel-Spruill presented her fixed media work Ripple, sitting on stage with her laptop. Her style worked well with the sounds she used, such as synth pads and sampled birdsong. Such a combination made the music ripple, like the waves at a quiet beach visited by the occasional seagull.
Neibel-Spruill’s concert was just one degree recital among several, but Oberlin composers have unique personalities which shine through their music. Each show is a culmination of their time at Oberlin — not just their works, but their organization and collaboration. Neibel-Spruill proved to be an accomplished artist, and will continue to be so.
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