Sebago-Long Lake Music Festival
Deertrees Theater, Harrison
July 18, 2017
by Christopher Hyde
From Pownal to Harrison is an hour’s drive over twisty roads and 17 (I counted) turns. The Sebago-Long Lake Music Festival at Deertrees Theater, every Tuesday evening from now until August 8, is always worth the trip.
The theater, with its resonating wooden shell, is like being inside a giant cello. The musicians are first-rate and the programming imaginative. One can always hear something new and unexpected, such as the Dvorák Terzetto in C Major for Two Violins and Viola, Opus 74 (1887), which the composer, then at the height of his powers, dashed off for a friend.
I wish I could be more enthusiastic about it, but the work is more fun to play than to listen to in a concert setting. It also suffers from lack of a bass line, although the viola struggles valiantly to make up the deficiency.
That said, Dvorák seldom wrote badly and the work is full of interesting touches, characteristic melodies and some successful experiments, such as the tremolo variation in the final movement.
The Brahms Trio in A Minor for Clarinet, Cello and Piano, Op. 114, was also written for a friend, the clarinetist Richard Mühlfeld, whose playing brought the aging composer out of retirement. It is more thoroughly composed than the Dvorák, but was obviously written to show off the beauties of a wind instrument assuming its modern form under the fingers of a virtuoso.
Brahms is even reticent with the piano part, which must have cost him a great deal of angst. It also contains one of Brahms’ most charming waltzes and harks back to the earlier Hungarian dances in the final movement. My favorite sections were the compare-and-contrast interludes with the cello, and wherever clarinetist Carmelo Galante produced that lovely burbling signature sound.
Does any one recall “Music Minus One?” I had the recording of Schumann’s great Piano Quintet in E-Flat Major, Op. 44, to attempt playing the piano part with a famous quartet. It didn’t work. Not only was the score difficult to play in strict tempo, but matching the pitch of the recording to the piano tuning was virtually impossible. Still, I got to know the quintet well enough to appreciate a really exciting performance by Mihae Lee, whose rapid chord scales in the Scherzo almost (but not quite) turned the piece into a piano concerto for Clara.
The entire work went by too fast, from the glorious opening theme to the final fugue, which evolves naturally from what has gone before instead of being an obligatory homage to Bach, as with other Romanic efforts.
It earned a typical Deertrees standing ovation from the large audience, with deafening foot-stamping to take advantage of the theater’s resonance.
Christopher Hyde is a writer and musician who lives in Pownal, He can be reached at email@example.com.