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This past Thursday, I went to a performance at the Kaplan Penthouse of visiting German musicians presented by the Chamber Music Society of Lincoln Center. The program closed with a piece for two cellos by Thomas Demenga, performed with his brother Patrick, that was an extended rumination on the cello: what is it; what sounds can it make; why must it be played thus? There was an 11-note chromatic jazz line, allusions to birds in an Australian rainforest, fingers on the cello body, bowing on the peg, audible breathing that forced me to be aware of the human agency in performing the music, cellos turned sideways and played like dulcimers...
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