Opera Maine “Marriage of Figaro” Will Surprise

Opera Maine “Marriage of Figaro”

Mozart at his most mischievous is a good characterization of “The Marriage of Figaro,” to be presented July 25 and 27 by Opera Maine at Merrill Auditorium.

The composer must have jumped at the chance to paint musical portraits of a count and countess, the cunning barber (of Seville), a horny teenager (himself?) a silly girl, a conniving doctor and an unconventional young woman, all wrapped up in a bawdy tale that had to be cleaned up a little to pass the Viennese censors. (The libretto is based on a popular play by Beaumarchais, adapted by Lorenzo DaPonte.)

The combination of aristocracy, romance, humor and great music has made The Marriage of Figaro” one of the ten most popular operas of all time.

Opera Maine artistic director Dona D. Vaughn finds it relevant in the “me too,” age, when men still use wealth and authority in an attempt to control women like Susanna (Figaro’s bride to be). “You often hear ‘I was afraid to speak up,’ but Susanna isn’t afraid at all.” She outfoxes Count Almaviva, who is trying to cheat on the Countess and assert his droit de seigneur before the wedding.

Vaughn likens the play to an Alice-in-Wonderland world, where anything can happen. It makes it possible for the music to range from heart-breaking to farcical without missing a beat.

“When we scheduled the opera (for the second time in 17 years), I thought ‘What have I done?’ but every time you produce it you find something different. Several of the cast and our conductor, Stephen Lord, have done it before, and everyone has an idea of how it should go. The result is a collaborative effort, and something new.

As usual, Vaughn has some surprises in store. They are not in the role of Susanna—she has portrayed strong women before—but in the setting. Originally staged in Count Almaviva’s palace not far from Seville, in the18th Century, the Marriage will take place in a lavish country manor, in a different country, around 1900, when class distinctions were more evident, and all sorts of eccentricities were tolerated: “You can do anything you like here, just don’t do it in the yard and scare the horses.”

Props lent by the Victoria Mansion will provide period authenticity.

Vaughn is enthusiastic about this year’s cast, which includes several who have sung at the Metropolitan Opera and other world-famous venues, plus others who are on the cusp of major careers.

Keith Phares will perform the role of Count Almaviva and soprano Danielle Pastin is the Countess. Returning to perform with Opera Maine are tenor Robert Brubaker as Basilio, baritone Robert Mellon as Figaro, and soprano Maeve Höglund as Susanna. Mezzo-soprano Hongni Wu joins the cast having just won the Metropolitan Council Auditions. Also featured are soprano MaryAnn McCormick as Marcellina, and bass Kevin Glavin as Bartolo.

The opera will be sung in Italian, with supertitles in English.

In another current production by Opera Maine, mezzo-soprano Raehann Bryce-Davis leads the cast of Jake Heggie’s “Three Decembers,” which also features Studio Artists soprano Symone Harcum, and tenor Yazid Gray. This opera was composed in 2008 with librettist Gene Scheer. Set in the Decembers of 1986, 1996, and 2006, the 90-minute opera tells the story of a famous stage actress, Madeline Mitchell, and her two adult children, Beatrice and Charlie, as they struggle to know and love one another.

“Three Decembers” can be heard Friday, July 13 at Deertrees Theater, Harrison; Sunday, July 15 at The Temple, Ocean Park; and Monday, July 16, at Camden Opera House.

A Definitive “Quartet for the End of Time” at BIMF

Bowdoin International Music Festival
Studzinski Recital Hall
July 11, 2018
by Christopher Hyde

Olivier Messiaen’s “Quartet for the End of Time” is not generally considered a vehicle for virtuoso display, but its sublime beauty can be revealed only by those with extraordinary musical ability.
Such was the case Wednesday night at Studzinski Recital Hall, when Amir Eldan, cello, Derek Bermel, clarinet, Pei-Shan Lee, piano, and Ayano Ninomiya, violin, gave a definitive reading of this seminal work.

The players are faculty members of the Bowdoin International Music Festival, taking place now through the beginning August, but they might have been playing the quartet together for years, judging by the ensemble supporting three outstanding solo performances.
Lee held it all together and assisted as ably as the composer directing from the piano.

I never tire of hearing this work, which is said to have had a lifelong effect on those who first heard it performed in a German prison camp. Too often, however, it is played as a curiosity, as a memorial to the victims of World War II, or even as evidence of Messiaen’s quaint beliefs. It stands alone, without historical trappings, as a musical masterpiece, and so it was treated on Wednesday night

It began characteristically with nightingale and blackbird opening the “Liturgie de crystal” for the full quartet, followed by a “Vocalize, pour l’Ange qui announce la fin due Temps.”

The first of the major solos is by the clarinet, played very slowly, with huge fermatas and sustained notes that test the lungs of any performer. It is called “Abîme des oiseaux.” The abyss is time, in all its sadness, according to the composer, while the birds, also imitated by the clarinet, represent freedom and joy. Bermel painted the picture perfectly, testing the limits of his instrument.

After a brief interlude without piano, it was the turn of the cello, also playing very slowly and “ecstatically,” in the “Louange (praise) à l’Éternité de Jésus.” The melody, often repeated, evokes Genesis: “In the beginning was the Word, and Word was with God, and the Word was God.”

The most rhythmic, verging on jazzy, movement is the “Danse de la fureur, pour les sept trumpets.” announcing the apocalypse. It is also more terrifying than any other composer’s Dies Irae, and includes some impossibly loud tutti, which must have reached the far rows of its original 5000-man audience.

The “rainbow tangles” of the seventh movement give the composer a chance to play with his favorite blue-orange chords, during which Lee brought out some striking inner voices

In the final movement, “Louange à L’Immortalité de Jésus,” the violin speaks, like the cello before it, but this time of Christ’s life on earth—a long limbed melody that dies away into the almost imperceptible reaches of the upper register. The large audience, which included many festival students, stayed entranced for several moments before giving it a loud standing ovation.

The gods, which do not permit human perfection, smuggled in cellphones, not once but twice during this solo, the first a piano ringtone and the second a beep. Please people, I beg of you, leave that electronic junk at home. You can never be sure that it is silenced.

The Quartet obscured a lively and brilliant rendition of a work never intended to be profound, the Hayden Piano Trio in C Major (Hob. XV:27), played by Julian Martin, piano, Robin Scott, violin, and Julia Lichten, cello. Thanks to Martin for pointing out the Janissary Band references, which predate Mozart’s famous Turkish March.

Christopher Hyde is a writer and musician who lives in Pownal. He can be reached at classbeat@netscape.net.

Noise Into Music, from Sō Percussion

Bowdoin International Music Festival
Sō Percussion
Studzinski Recital Hall
July 8, 2018
by Christopher Hyde

The name Sō comes from a Japanese character meaning, (among other definitions) “to play music.” Within it is another character, the exact image of a person offering a gift, meaning “to present with both hands.”

Both are suitable for the eminent four-man percussion group Sō (pronounced “so”), which combines musical performance with education and philanthropy. The performance aspect can be both intimate and spectacular, as evidenced by Sō’s appearance at Studzinski Recital Hall for one of the new Sunday matinees presented by the Bowdoin International Music Festival.

The first work on the program, “Torque” (2018), is described by composer Vijay Iyer, as follows: “Torque, a twisting force on a body, seems to appear for the listener at music’s formal boundaries, when one movement  gives way to another. This piece for Sō Percussion invites them to perform transformations that twist the music’s temporal flow, bringing the micro-relational art of the rhythm section to this virtuosic quartet.”

I call it “too many marimbas.”

The marimba, Vibraphone and its xylophone-like cousins attempt to combine percussion and melody, something the piano does already, and much better. Because it lacks clang, a little soothing marimba music, no matter how well played —and these are masters of the first order— goes a long way.

The next piece, “Taxidermy” (2012), by Caroline Shaw, returned Sō to one of its original specialties, drumming on found objects, in this case tuned flowerpots. The result is grand, awkward, epic, silent, funny and just a bit creepy, (like its title), according to Shaw. It exemplifies a line from T.S. Eliot, repeated rhythmically during the performance: “the detail of the pattern is movement.”

I found it more interesting and imaginative than the opener, with an eerie bell-like effect generated by combining the pot notes with deep bass voices. Fermatas, long periods of silence, became an integral part of the music

“Broken Unison” (2017) by Donnacha Dennehy, was another marimba piece defined by pedantic and incomprehensible program notes, but with more interesting percussion effects, such as the use of a muted bass drum. It “disrupts unisons,” by various means, including the use of canons (think “row, row, row your boat”) created on four xylophones ad infinitum. Its chromaticism is said to have been influenced by that of Gesualdo (1566-1613) a composer best known for killing his wife and her lover.

It was after intermission that Sō was revealed in all its glory, with “Amid the Noise” (2006) by Jason Treuting, a member of the ensemble.

Seven vignettes of street sounds somehow transformed themselves into music, with the help of festival students on piano, violin, saxophone, cello and percussion. The transformations were so profound and inevitable that they became emotionally moving.

There were too many wonderful scenes to recount here. Four on a drum, like Native Americans, revealed Sō’s virtuosity with polyrhythms. I think they could play 13 against 17 beats without breaking a sweat. A session at the piano, keyboard, sounding board and strings, punctuated by real clanging tonic chords, revealed it to be the ultimate percussion instrument that Bartok thought it was. A noise-making machine that looked like a briefcase created a thunderstorm, punctuated by one of those little bells one uses to call a salesperson.

“You had to have been there.” Sō has a website, and the BIMF concert was live-streamed, but there is no substitute for the real thing. The Sunday-afternoon audience, which had itself participated in the show, gave it a prolonged standing ovation.

Christopher Hyde is a writer and musician who lives in Pownal. He can reached at classbeat@netscape.net.

Festival Fireworks

Bowdoin International Music Festival
Studzinski Recital Hall
July 4, 2018
by Christopher Hyde

Due to the July 4 holiday, a smaller crowd than usual heard some fireworks of their own at Wednesday’s concert of the Bowdoin International Music Festival at Studzinski Hall. The display took the typical “sandwich” form, with a contemporary work, John Harbison’s (b. 1936) Sonata No. 1 for Violin and Piano, between two popular classics.

The program began with the Mozart Violin Sonata No. 32 in B-flat Major (K.454), with the viola, played by Masumi Per Rostad, substituting for the violin. The piano part, played by Chiao-Wen Chang, often dominated the performance. Whether this was due to Mozart’s wanting to show off his skills in front of a visiting virtuoso, or to differences in the sound and articulation of the stringed instruments, is unclear. One listener likened it to a waltz between a dolphin and a manatee.

The viola came off best in the song-like Andante, but there were a few fireworks in the final Allegretto, with some rapid-fire exchanges that would have been difficult enough on the violin.

The Harbison, played by Ayano Ninomiya, violin, and Tao Lin, piano, contained aerial bombs in the form of a brutalist (and virtuoso) ostinato of rapid-fire chords in the Rondo, the fourth and semi-concluding movement, since the sonata tapers off in a final “Mysterious Postscript.”

The  five-movement work begins with an intense and uncompromising Sinfonia, but loosens up substantially as it goes along. The second movement, Intermezzo: Grazioso, has a pleasant conversation in stacatto utterances between the violin and piano.

The piece de resistance, however, was the great Piano Trio in A Minor of Maurice Ravel, which contains everything but the kitchen sink, as if the composer suspected that he would die in the Great War, which he almost did. There are echoes of “La Valse,” ghosts from “Tombeau de Couperin,” Basque themes and Malaysian music,al forms, which influenced both Ravel and Debussy. Somehow, it all comes together gloriously

Like the Mozart sonata, the trio generally leans toward the piano part, but Alan Chow kept it under control, even in the virtuosic Pantoum; Assez Vif, (and in spite of a wolfish bass string in the Steinway. ) He was partnered brilliantly by David Bowlin, violin and Ahrim Kim, cello. A complete fireworks display from set pieces  through pinwheels to multiple rocket bursts. The students in the audience cheered and the rest gave it a rare standing ovation.

Coming up next Wednesday is the sui generis “Quartet for the End of Time” by Olivier Messiaen.

Christopher Hyde is a writer and musician who lives in Pownal. He can be reached at classbeat@netscape.net.

First Festival Friday at Bowdoin

Bowdoin International Music Festival
Studzinski Hall
June 29, 2018
by Christopher Hyde

The first of what used to be called “Festival Fridays” at the Bowdoin International Music Festival, took place June 29 in Studzinski Hall rather than the larger Crooker Theater, where they had been performed for many years. The change of venue, and the addition of reserved seats, seems a step forward, in terms of both acoustics and ambience. The stage is not large enough for the festival orchestra, whose programs will continue to be held at Crooker.

The evening began with a work by Ravi Shankar, which inspired a devout wish that he had written more for flute and harp, such as “L’Aube Enchantée sur le Raga ‘Todi,’” than for the Sitar. One can only imagine the difficulties of producing raga-like pitch relations on a pedal harp, let alone the intricate meters of the music, but harpist June Han managed it with surpassing ease. (Her gilded harp was a work of art in itself.)

The “melody” of the work, written for flutist Jean-Pierre Rampal, was carried with bravura by Laura del Sol Jiménez, whom we heard most recently in the outstanding Bach Virtuosi Festival performance of the Brandenburg Concerto No. 4.

Almost as unusual in its own way was the Violin Sonata in B Minor of Ottorino Respighi (1879-1936), played by sisters Almita Vamos, violin and Eugenia Monacelli, piano. While looking back to the late Romantic era, the sonata also combines Respighi’s fascination with the Baroque and his skill at painting tone poems, such as “The Pines of Rome.”

What made this reading special—causing cheers from a large audience of students—was the singular rapport of the musicians, who seemed able to respond to each other’s most intimate thoughts. H.L. Mencken used to proclaim that the most important characteristic of a great musician, such as Brahms, was brains. Intellectual ability, as well as musicality, marked both the work and its performance.

The evening ended with a magical performance of the Brahms Piano Trio No. 3 in C Minor, Op. 101, by David Bowlin, violin, Amir Eldan, cello and Pei-Shan Lee, piano. The work has everything that makes Brahms special, plus brevity. After hearing the ensemble in the low to mid registers, I would not have cared if Brahms never penned another treble note.

Next Friday’s concert will take place at Crooker, Theater, where the Festival Orchestra, under Angel Gil-Ordóñez, will play Tchaikovsky’s Variations on a Rococo Theme, Op. 33,  with Narek Hakhnazaryan, cello.

Christopher Hyde is a writer and musician who lives in Pownal. He can be reached at classbeat@netscape.net.

Handel and Bach Close Virtuosi Festival

Bach Virtuosi Festival
Cathedral Church of St. Luke
June 24, 2018
by Christopher Hyde

The Bach Virtuosi Festival, which ended its third season Sunday night at the Cathedral Church of St. Luke, has a way of changing one’s mind about Baroque compositions as a whole, not only those of J.S. Bach.

I was never enthusiastic about Handel operas, but the arias performed by soprano Sherezade Panthaki, countertenor Jay Carter, and trumpeter John Thiessen, were absolutely ravishing.

Handel works a text to death, crams it with fiendishly difficult ornamentation, and the result is a trip to heaven. If performance is all, I had never heard these works before. The combination of a great soprano and an equally fine countertenor provides some amazing effects, indescribable in words, while Panthaki’s voice imitates and surpasses “uplifted angel trumpets” in an aria from “Samson.”

Old J.S., who never met his contemporary, in spite of several attempts, was not to be outdone, however. The Brandenburg concertos are all equally works of genius, but some are more equal than others. Numbers 2 and 5 used to be my favorites, but after hearing the fourth, with flautists Emi Ferguson and Laura del Sol Jimenez and violinist Renee Jolles, supported by the festival’s outstanding chamber orchestra, I’m no longer sure. If Portland’s virtuosi festivals continue, we will come to love all of them to the same degree. or maybe, “if I’m not near the girl I love, I love the girl I’m near.”

The revelations never stopped. Organist Katelyn Emerson, from Maine and now a native of the world, provided a stupendous performance of the Bach Toccata and Fugue in D Minor (BWV 565), that brought a large audience leaping to its collective feet. In her hands, the Skinner organ of St. Luke’s is indeed a phenomenon. It seemed, which is impossible, to have the physical volume control of a pianoforte, the ability to alter stops instantly in call-and response passages, and voices reserved for J. S. Bach alone.

The articulation of its cascades of notes was as crisp as that of a Steinway grand. “The difficult we do immediately, the impossible takes a little longer.”

A pair of Rob Regier’s harpsichords from his Freeport studio took center stage with Arthur Haas and Gabriel Shuford in a performance of the Bach Double Harpsichord Concerto in C Minor (BWV 1069).

This is one instance where the cliché about Bach’s music being for intimate venues applies to some extent. Regier’s harpsichords are not only beautiful, but powerful, yet their sound faded the farther back in the pews one sat. Perhaps harpsichord, or clavier, solos should be presented in the smaller chapel of St. Luke’s. The performance of the concerto itself, one of my favorites, was up to the festival’s standards of excellence (and infectious excitement). Distance only made one listen more closely.

When I was working for ad agencies I would visit New York weekly, with some light excuse, to hear music or go to the ballet. I never heard anything as good as what Lewis Kaplan has brought to Portland.  Let us all hope that it continues.

Christopher Hyde is a writer and musician who lives in Pownal. He can be reached at classbea@netscape.net.

Bach Virtuosi

Bach Virtuosi Festival
Cathedral Church of St.Luke
June 19, 2018
by Christopher Hyde

Olivier Messiaen, whose “Quartet for the End of Time” will grace the Bowdoin International Music Festival next month, once proclaimed that the birds, whom he thought of as angels, were the consummate musicians of the world. He had not heard flautist Emi Ferguson imitate a Goldfinch in Vivaldi’s work of the same name, (Opus 10, No. 3 in D Major), and then go on to out-do the original.

Ferguson, who played Tuesday night at St. Luke’s Cathedral, is just one of the noted Bach specialists brought to Portland by Lewis Kaplan under the auspices of the Bach Virtuosi Festival, formerly known as the Portland Bach Festival, which burst upon the world in 2016.

This concert, the second of the series (June 17-24), was devoted to composers who influenced Bach, and others who were deeply influenced by him. (I use the word “deeply” because virtually every classical musician has been influenced by J.S. Bach in one way or another.

The program opened with a Trio Sonata (Opus 2, No. 5 in A Major), by Dietrich Buxtehude, whom Bach once walked 100 miles to hear, losing his job in the process. The Trio was as much fun as the Vivaldi, a sparkling delight which could have been written by the master himself in one of his lighter moods.

It was rendered with perfect balance and delineation of parts by Ariadne Daskalakis, violin, Beiliang Zhu, cello and Arthur Haas, harpsichord.

Noted Maine pianist Henry Kramer made his debut at the festival by comparing and contrasting the Bach Prelude and Fugue in E-flat Minor (BWV 853), with one in B-flat Major (No. 21) by Dimitri Shostakovich, who wrote his own set of 24, in imitation of Bach’s “Well-Tempered Clavier.”

I thought that Kramer might have chosen two pair in the same key. Instead he contrasted one of Bach’s foremost exercises in long-limbed Baroque counterpoint, with the most virtuosic of the Shostakovich set. For those who love the Russian, it was a dead heat, with Kramer offering equally fine interpretations of each.

Festival founder Lewis Kaplan appeared in the “Tempo di ciaccone,” from Bela Bartok’s Sonata for Solo Violin, heavily influenced by Bach’s Chaconne from the Partita No. 2 in D Minor (BWV 1004), but much more somber. It is perhaps even more difficult to play than its predecessor, and so densely constructed that it would take several hearings to appreciate fully. We don’t have a Brahms or Busoni to make a valid piano transcription.

A “Meditation über den Bach Choral ‘Vor Deinin Thron Tret’ich hiermit,’” by contemporary Russian composer Sofia Gubaidulina (b. 1931), came as a complete revelation, vividly depicting the appearance of J.S. Bach before the Throne of God. Bach has the last word,  as chords based on his name, played on the harpsichord, end the work. And what a work it is, emerging from a fog of mystery, with strange sounds from violins, cello, bass and harpsichord, to eventually coalesce into a variation on the chorale played (loudly) by the bass, in an amazing performance by Kurt Muroki, and eventually into the full chorale in all its sonority. A true masterpiece, and enthralling throughout.

The program concluded with the reappearance of Kramer, with Renee Jolles and Yibin Li. violin, Karina Schmitz, viola, and Paul Dwyer, cello, in the Schumann Piano Quintet in E-flat Major, Opus 44. The final fugue. revealing the composer’s study of Bach, is, to me, the most interesting part of the quintet, like the similar effort by Schubert in the “Wanderer” Fantasy.

For a quintet that has not played before, the ensemble was exemplary, and better than that, exciting. Its last performance in Portland was pedestrian, leading one to wonder if a group of five musicians, rehearsing this work for the first time, might not do better than a string quartet, set in its ways, with an “outside” pianist. Just a thought, but what can easily become a piano concerto, showed an excellent balance of forces.
The next concert of the Festival will be on Thursday, June 21, an all-Bach program of vocal and instrumental music at Etz Chaim Synagogue.

Christopher Hyde is a writer and musician who lives in Pownal. He can be reached at classbeat@netscape.net.

Bach His Way

Bach His Way

by Christopher Hyde

In June of 2016, Lewis Kaplan, co-founder of the Bowdoin International Music Festival, launched a new enterprise in Portland that came as a revelation to many—the Portland Bach Festival, now known as the Bach Virtuosi Festival (June 17-24).

If, as I believe, performance is all, the festival dispelled any notion that J.S. Bach, arguably the finest musician who ever lived, was staid, or God-forbid, as boring as Hector Berlioz thought he was.

All of the performers, and a chamber orchestra, reminded me of Wanda Landowska’s aphorism: “You play Bach your way, and I’ll play him his way.” In many instances, during both the 2016 and 2017 season, it was as if the audience was hearing a familiar work for the first time. The reason, of course, was that Kaplan, a long-term professor of violin at Juilliard and an authority on Bach, was able to draw together some of the world’s foremost Bach interpreters, who also got along famously—in ensemble playing egging each other on until one began to believe that the court of Frederick the Great had come to the Age of Jazz.

This year’s Festival will include most of the original musicians, and expand its scope somewhat, to include composers deeply influenced by Bach, such as Bartok and Shostakovich (“Before Bach and Beyond,” June 19 at St. Luke’s Cathedral) and those who influenced him, such as Vivaldi and Buxtehude.

The final concert, June 24 at St. Luke’s will also include works by another giant, George Frederic Handel, plus another of my favorite Brandenburg Concertos, No. 4

The June 19 program will mark the first appearance of noted Maine pianist Henry Kramer, who will play a prelude and fugue from “The Well Tempered Clavier,” compared to a similar work by Dmitri Shosakovich. He will also appear in the Schumann Piano Quintet in E-flat Major, Opus 44, influenced by the Romanic composer’s study of Bach.

The program at Etz Chaim Synagogue, on June 21, will feature two sonatas, for violin and for flute, with Arthur Haas at the harpsichord, plus two contatas, “Vernugte Ruh, BWV 170, and “Weichet nur, betruebte Schatten, BWV 202. It will be followed by a panel discussion on “Music and Religion between Haas, professor of Harpsichord and Early Music at SUNY Stonybrook, the Rev. Cannon Frank M. Harron II, former Executive Director of Program and Ministry at the National Cathedral, and Gary S. Berenson, Rabbi, Etz Chaim Synagogue.

Two new venues this year will include a free concert at Falmouth Congregational Church on June 23 to support the Falmouth Food Pantry, and an evening celebration of Bach and Bacchus at the Cumberland Club on June 22.

Detailed descriptions of each program are available at www.bachvirtuosofestival.org/proram. Tickets are available through PortTIX.

Christopher Hyde is a writer and musician who lives in Pownal. He can be reached a classbeat@netscape.net.

Pianist Excels in Final Concert of Franco Center Series

Jonathan Bass, Pianist
Franco Center, Lewiston
June 1, 2018
by Christopher Hyde

The final concert of the 2017-18 Piano Series, June 1 at Lewiston’s Franco Center, ended on a low note— “D” three octaves below Middle “C,” to be exact.

Sorry, I always wanted to write that, now that I don’t have to worry about an editor or headline composer.

The concert did end on the lowest note of Chopin’s Prelude 24, Opus 28, but Jonathan Bass, Professor of Piano at Boston Conservatory at Berklee, had just played a concert that exemplified everything that was best about the series—which deserves to be better known throughout Maine.

Bass is everything a pianist should be, encompassing technical brilliance without showiness, musical and emotional depth, careful thought and an architectural sense of structure. He has a huge dynamic range, and what impressed me most about his performance was his extremely delicate and controlled pianissimo, probably the hardest thing to do well on the piano. After his interpretation of Debussy’s “L’isle joyeuse,“ I would dearly love to hear his “Serenade for the Doll.”

The Debussy was preceded by a little known Nocturne No. 6 in D-flat Major, Op. 63, of Gabriel Fauré, a sonata-like work with abundant pianistic filagree,  that established an historical context for the more Impressionist piece. The coloring of both was superb.

Bass is no slouch in conveying drama, either, as evidenced by the Beethoven Sonata No. 26 in E-flat Major, Op. 81a, with its three movements entitled “Farewell,” “Absence” and “Return.” The final “very lively” section was Beethoven at his wildest, with crashing sforzandos, violent but joyous contrasts and virtuoso passagework. It also had more false cadences than the Gobi Desert has mirages. The small but enlightened audience didn’t bite on a single one.

After intermission, with its traditional wine, crepes and tortieres, everything came together with a rare performance of all  24 Chopin Preludes of Opus 28. in numerical order. Andre Gide called these Chopin’s “eagle feathers” and Bass pointed out that if the composer had written nothing else, the Preludes would have made him world-famous anyway.

The Preludes run the gamut of emotions from Beethoven-esque violence, through rain in Majorca, to a wistful and short waltz, and the world’s most somber funeral march. I had virtually no quarrel with any of Bass’ readings. In fact, a recording of the set could serve as a model for aspiring pianists.

I did think that the difficult No. 8 was a bit fast, but I’d like to be able to play it at that tempo, then slow down if necessary, instead of vice versa.

After that astonishing performance, there was no need for an encore.

A friend in the audience, who agrees with my prejudice against encores, especially after soul-wrenching concertos, had a brilliant suggestion. Why not play the encore first? A bit of technically demanding fluff would warm up the soloist and show his or her ability to play the most difficult cadenzas of the premiere work on the program. The audience would not have to worry about whether the soprano could hit high C and they could go home whistling themes from the concerto.  Just a suggestion…

Christopher Hyde is a writer and musician who lives in Pownal,  He can be reached at classbeat@netscape.net.

Students Shine at Piano Recital

Ginger Hwalek Student Recital
Minsky Recital Hall, UMO
May 20, 2018
by Christopher Hyde

A well-tempered Steinway concert grand must be a powerful incentive to piano students. The recital Sunday afternoon at the University of Maine’s MInsky Recital Hall, by students of Ginger Yang Hwalek, was not only impressive in terms of technical achievement, but also enjoyable musically. The 20-some compositions ranged from Bach to Stravinsky, without a piano-method special in the bunch.

In fact, the technical expertise of the performers led a critic to evaluate them in terms of interpretation or realization of the composer’s intent rather than the ability to play the notes correctly. The first on stage, 10-year-old Jordan Seavey,* emphasized the easy flow of the Sonatina in A Minor by Anton Benda, and achieved a good Stravinsky coloration in that composer’s “Five Finger Toccata.”

Later on in the program, Julia Hammond’s “Golliwog’s Cakewalk “ painted a minstrel in brilliant colors. Her “Doctor Gradus ad Parnassus,” from the same “Children’s Corner “ suite, generated beautiful waves of sound, but I prefer the image of a student plodding through a five-finger exercise, slyly changing key or soaring off in flights of fantasy from the boredom before him. But that’s just an opinion. Debussy, unlike Stravinsky, is always open to alternative readings.

Speaking of waves of sound, some of the works were of a high degree of difficulty, navigated almost perfectly. The Schumann “Aufschwung,” by Ha Do, was one example. Others included Anh Tran’s Fantasie-Impromptu, Op. 66 (Chopin), the Beethoven “Moonlight” Sonata, by Helen Shearer, the Beethoven Sonata in F Minor, Op. 2, No. 1, by Lilja Hanson, and a rousing piano four-hands version of the Mozart Sonata in D Major (KV 381), by Cecilia Doering and her teacher.(The sonata selections were excerpts, which did not make them any the less entertaining.)

While most of the works were by prominent composers, some of the lesser-known were also interesting. Shearer played “The Story of Gaydar” by Russian composer Grigori Frid, a Brahms Ballade written by Grieg. Sofie Rueter sketched two animal portraits by Linda Namath, and Mei Tian played a brilliantly syncopated “Crimson,” from “Sketches in Color” by Robert Starer.

Fine intermediate composers had their place too: an Allegro by William Friedmann Bach and an Etude by Dimiry Kabaalevsky, played by William Xu, were followed by Vetri Vel’s interpretation of the Sonatina in C Major, Op. 55, No. 1 of Friedrich Kuhlau, plus the better-known “Siciliano” of Schumann.

The program ended with some fine pianistic coloration by Emma Shearer of “Two Arabesques” by Debussy. The works on display had one thing in common, as Hwalek pointed out: Each of the students had made them their own.

*Jordan Seavey is the grandson of Christopher Hyde, a writer and musician who lives in Pownal and can be reached at classbeat@netscape.net.

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