Review: Matt Haimovitz plays the Tractor Tavern

He played the jazz composer David Sanford’s “7th Avenue Kaddish,” which Haimovitz commissioned after the 9/11 attacks: he described the piece as a hybrid between a sax and a cantor as the buildings collapsed, inspired by Coltrane’s “A Love Supreme.” He played another Canadian composer, Gilles Tremblay, who uses microtonal music (“so if it sounds like I’m playing out of tune—he asks for that”), Eastern-inspired, in his “Threnody for Lebanon.” Steven Stucky’s “Dialoghi,” inspired by Italy, written for one of Haimovitz’s students, wandered through Lutoslawski territory, concluding in a beautiful finale.

The audience applause that burst out when the first encore began just shows the power of the hit tune you’ve been waiting all evening for: the prelude from Bach’s first cello suite, followed by the allemande from Bach’s 6th suite. The need to remember where home is touches even the most adventurous programmer, and even his most enthusiastic fans.

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