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 email@example.com.