They create a rich, dark, percolating atmosphere which can spring to rhythmically ferocious life at any moment. It is hard to imagine Ung’s enchanting music finding finer advocates than these. Each moment of the piece’s heart-stopping final sequence is painstakingly shaped and colored by the trio, and the cello’s final note seems to both swallow all of time, and be swallowed by it.
— New Music Box

Four Corners

"Four Corners" is a concert of music for cello, piano, and percussion performed by musicians who have worked relentlessly to develop nuanced interpretations of virtuosic chamber music. The term "four corners" is a nod to the fact that each of the three musicians were raised in different countries, educated in various musical traditions, and are presenting works composed on four separate continents. Works by Lunsqui and Beyer draw from the Capoeira tradition of Brazil, Ung's Spiral uses elements of Cambodian folk music against a backdrop of Khmer Rouge genocide, and additional works composed in Germany, Canada, and the USA share a Western musical heritage. Dal Niente's unprecedented interpretation of Kontakte was named one of the top 10 performances of 2013 by Chicago Classical Review.

Musicians Used:


Core Repertoire:

Chinary Ung - Spiral I (16')
Alexandre Lunsqui - Glaes (9')

Optional Repertoire:

Karlheinz Stockhausen - Kontakte (35')
Claude Vivier - Piece pour violoncello et piano (7')
Greg Beyer - Bahian Counterpoint (7')
Rand Steiger - Trio in Memoriam (14')
Various Solo Repertoire

Previous Presenters:

Northern Illinois University
University of Wisconsin-Milwaukee
International Beethoven Project Festival
Ensemble Dal Niente's Chicago Concert Season

Related Media:

Watch Dal Niente perform Spiral 1 by Chinary Ung:

Dal Niente’s “Kontakte” was listed as one of “The Top 10 Performances of 2013... The celebrated 1960 work for percussion, piano and spatial electronics was brilliantly realized, serving up a dazzling range of colors, sounds and effects.
— Chicago Classical Review
Kwan’s piano became very much a percussion instrument in Alexandre Lunsqui’s Glaes, composed for Beyer in 2007. Beyer manned an unconventional battery including, first and foremost, a Brazilian bermibao, and wine bottles, sandpaper, pie tins, a mixing bowl and more. With these implements and the prepared piano, the two created and sustained Lunsqui’s complicated but propulsive beat as they played some wickedly irregular rhythms against that beat. Kwan spent most of her time reaching into the piano, to produce all manner of exotic sounds. When Beyer wasn’t busy with his own toys, he reached into the piano, too.
— Third Coast Daily