Bowdoin International Music Festival
Crooker Theater, Brunswick High School
July 15, 2016
by Christopher Hyde
Gabriela Lena Frank, whose “Tres Homenajes, Compadrazgo,” was performed Friday night at the Festival Friday concert of the Bowdoin International Music Festival, may be our new Bartok.
The work in question, three tributes to the Latin American spirit of brotherly love, inspired by ethnic Peruvian music, is a masterpiece. While it stems from the ethnomusicology of the composer, the folk motifs and rhythms are the starting point for inspired music in a distinctive and universal classical style. It is what Astor Piazzolla did for the Argentine tango, but carried to an even higher level and capable of being appreciated across cultural divides.
Its rapid, driving rhythms and abrupt changes of pitch and volume are a challenge for any group, but the Ying Quartet, and pianist Tao Lin, conquered its awesome chasms like mountain goats (if you’ll pardon the analogy.).
The three movements depict the windswept northern plains of Peru, a desolate island in Lake Titicaca and T’inku, a ritual combat between village heroes, now symbolic but previously a matter of life and death. (Both victor and vanquished share in the good harvest resulting from the conflict.)
While the composer’s images may have been her inspiration, listeners are free to imagine what they will. There are no overt references or musical imagery. The slow second movement, to me, would make a fantastic score for Pablo Neruda’s great poem about Machu Picchu.
Frank is a composer in residence at this year’s festival. They are fortunate indeed to have her.
If I were not exclaiming over Frank’s work, I would have begun with Robin Scott, first violinist of the Ying Quartet, who deserves some kind of Iron Man award. He appeared first in a charming rendition of Mozart’s Sinfonia Concertante in E-flat Major (K. 364/320d), with a virtuoso cadenza, then in the extremely difficult Frank work, and finally in Gabriel Faure’s Piano Quartet No. 1 in C minor (Op. 15).
The Fauré, while not exactly a lollipop, is a rich late-Romantic piece with delicious twilight harmonies and soothing melodies. The slow movement is said to depict an unhappy broken engagement to the daughter of famous singer-composer Pauline Viardot.
The official biography says no to the story, but the evidence is there for anyone with an ear to hear. (Some musicologist must have checked references to Viardot’s scores in the quartet.) In fact, the sweet cheat appears as a spirit in the Allegro Molto, like a fountain of light. Unfortunately Fauré doesn’t know what to do with her and cobbles together an ending with the piano, superbly played by Elinor Freer, as the lone hero.
Christopher Hyde is a writer and musician who lives in Pownal, He can be reached at firstname.lastname@example.org.