As summertime slowly approaches, concerts of music both minimal and maximal will enchant Manhattanites in search of aural Yiddishkeit. On April 29 at the Walter Reade Theater, flutist Claire Chase will perform Steve Reich’s “Vermont Counterpoint” in its version for flute and tape; the alternate version, for eleven flutes, would doubtless exceed even the gifted Chase’s capacities. She will be joined for other, less minimalist, works on the program by the pianist Jacob Greenberg. On May 1 at Carnegie Hall, Reich’s mini-fluting is exchanged for emotional maxing-out in the form of Gustav Mahler’s songs interpreted by baritone Matthias Goerne with the superstar pianist Leif Ove Andsnes.
The next day at Zankel Hall, Hungarian Jewish pianist András Schiff offers not-to-be-missed performances of his landsman György Kurtág’s aphoristic works, including two American premieres. On May 4 at Bargemusic, cellist Dave Eggar and pianist Olga Vinokur will play more intriguing sounds in reduced formats, including Philadelphia-born Aaron Jay Kernis’s “Air for cello and piano” (1996) and Marc Mellits’s “Fruity Pebbles” for violin, cello, and piano (1997). The latter work contains a playful tribute to Leonard Bernstein, somewhat curiously quoting TV’s “Brady Bunch” theme, itself a classic at Maryland’s Beth Tfiloh Day Camps where Mellits’ mother long worked as assistant director.