All posts by Chris1937

A graduate of Lafayette College (BS in Physics) and University of Rochester (English), he studied piano in the preparatory division of the Eastman School while working at Eastman Kodak Company. After years as a Mad Man, he moved to Maine and was the classical music critic of the Portland Press Herald and the Maine Sunday Telegram for 20 years. Other interests include horses, gardening, painting and silver smithing.

Definitive Performances By Lincoln Center Chamber Music Society

Chamber Music Society of Lincoln Center
Hannaford Hall, USM Portland
April 9, 2016
by Christopher Hyde

I wondered how Portland Ovations had managed to attract such a large audience to Hannaford Hall on a sunny Saturday afternoon. As soon as I heard the first bars of the Beethoven Quartet in E-flat Major for Piano, Violin, Viola and Cello (Op. 16), it all became clear. These people must have heard artists from the Chamber Music Society of Lincoln Center before, and knew that the afternoon’s performances would define what to listen for in years too come.

The Society comprises prominent musicians from around the world, who collaborate as trios, quartets, chamber orchestras or other ensembles to perform works from the entire chamber music repertoire. Appearing under the auspices of Portland Ovations were: Gilles Vonsattel, piano, Arnaud Sussmann , violin, Paul Neubauer, viola and Paul Watkins, cello.

They played a program centered around the Dvorák Quartet in E-flat Major, Op. 87, including works that influenced or were influenced by that seminal composition. And what playing. They might have been together for a century to have developed such a degree of coordination. One could see them smiling at each other when listening for the beats that would define a microtone of pitch differential.

The early Beethoven quartet was simply gorgeous, perhaps more melodic and easily accessible on first hearing than his later works. One could see why Dvorak might have loved it.

Everything about the performance was almost perfect—the balance between instruments, precise entrances and phrase endings (the latter more difficult than anything else), dynamics, lyrical singing tones where appropriate, and so on, but most compelling was the sheer joy of playing. The overall impression was one of confidence and solidity, forming the basis of free expression. And they retuned between every movement.

After the Beethoven came the Serenade in C Major for Violin, Viola and Cello, Op. 10, written by Ernõ Dohnányi in 1902, and making even greater use of folk motifs than Dvorák. While not in the same league as the Beethoven quartet, it was fascinating in its innovations, beginning with a melody over a bagpipe drone in the first bars, and ending with a strong sforzando. Its tonal ambiguity made one realize just how much folk music provided a doorway to atonality.

Too much perfection is inhuman, so I was happy to hear a single wrong note from the piano during the passionate opening movement of the Dvorak piano quartet. (Maybe he did it on purpose.) The rest was a definitive rendering of one of the most melodic works in the repertoire.

Sometimes it was bit too lush, as in the best known and repetitive melodic passages, accompanied by a treble piano obligato. It conjured up memories of the Plaza Palm Court and its strolling musicians. But that was the fault of the composer, not his interpreters.

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

Celebration at Back Cove Honors Elliott Schwartz

Back Cove Contemporary Music Festival
Woodfords Congregational Church
April 8, 2016
by Christopher Hyde

There are several reasons to attend today’s concerts of the Back Cove Contemporary Music Festival, 3:00 p.m. and 7:30 p.m. at Woodfords Congregational Church.

One is to celebrate the 80th birthday of Maine’s pre-eminent composer, Elliott Schwartz.

Two is to hear a wide selection of the best contemporary music, which, no matter what you think of it, is unfailingly interesting, even to children.

Three is to obtain a copy of an Elliott Schwartz Festschrift (celebration writing), which contains 30 short musical scores by a Who’s Who of modern composers, many of them playable by any moderately accomplished pianist, and some by anyone with no musical skills whatsoever. At $10.00 it is an absolute steal.

All of the miniatures in the book, based on a tone row built from the letters of the composer’s name, are being premiered at the festival, now in its 8th annual session under the auspices of the Portland Conservatory of Music.

The opening night of the festival, on Friday, offered a highly varied selection of works, from improvisations on “Daphnis and Chloe,” through some characteristic Elliott Schwartz compositions, to the latest in audio-visual and electronic music.

It began with a pensive “Blue Prelude” on the organ by Harold lStover, evoking the Art Deco era of New York, and sometimes proving, like Fats Waller’s work, that the ponderous instrument can dance.

It was followed by an appropriately soothing (and sometimes growling) Lullaby for contrabass and piano, played by the composer, Joshua DeScherer, and pianist Jesse Feinberg, calling up images of waves and swaying grass.

Feinberg returned with pianist Gregory Hall for Improvisations on “Daphnis and Chloe,” which floated on a veritable cloud of notes, using “templates” published by Hall. The templates are like a jazz pianist’s cheat sheets written by Einstein. They contain information about melodies, keys, scales and chord progressions, among other indications, and enabled the two musicians to coordinate their playing perfectly. I am not a fan of electronic pianos, but in this case the contrasting sounds of a keyboard and a concert grand provided sonic variety in a virtuoso performance.

“Cycles” by Jonathan Hallstrom, combined projected images of emerging biomorphic forms with an electronic score that made one think of alligators in a swamp with peep frogs—delicious—as was Bill Matthews’ totally acoustical “Island” for stereo loudspeakers, a perfectly executed tribute to the soundscape of the Maine coast.

“small hands”(sic) by Frank Mauceri, digital video generation, and Macief Walczak, saxophone and digital signal processing, concluded the program on a somewhat disturbing note, whether or not the piece refers to a subject of the recent political debates. The composers describe it as a depiction of “the collective anxiety of living in a society organized in contradiction to our needs.”

Schwartz himself was represented by two characteristic works, his Prelude, Memorial and Aria, written for the memorial service of his friend, Ezra Lamdin, and “Dialog No. 1,” composed circa 1970 for bass player Bertram Turetsky.

Both are masterpieces, in different ways. The first, for cello and piano, begins as a cello solo interrupted by the piano, which eventually takes over, progresses through an interlude based on Lambdin’s age, (Nine by Nine), and ends with a waltz that although abbreviated, ranks with Ravel’s. The piece progresses from an unembellished “modern” style to end in a comforting tonality. It was lovingly played by Feinberg and Philip Carlsen, cello.

The composer’s noted sense of humor comes out in “Dialog No.1,” played by DeScherer. The dialog is between the musician and his instrument, and involves shouts, muttering, drumming, slaps and physical contortions, as well as some virtuoso playing, until the two resolve their differences.

What one will come away with from any of the concerts is an expanded awareness of what is happening in music today, and a better sense of Schwartz’ contribution to almost every aspect of the art.

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

“Sweetest in the Gale” Is

Oratorio Chorale
Sweetest in the Gale
St. Paul’s Episcopal Church
Brunswick
Apr. 3, 2016
by Christopher Hyde

It is an article of faith among feminists that the reason there have been no women composers among the ranks of Bach, Beethoven and Brahms, is because they were so severely limited by the mores of their times, some even having to resort to male pseudonyms to have their work published at all.

The recent concert of Emily Isaacson’s new women’s chorus, “Sweetest in the Gale,” at St. Paul’s Episcopal Church on Sunday, made a strong case for this view.

While every work on the program, in chronological order from Hildegard of Bingen to Gwyneth Walker, was written by a woman, and all were beautifully sung, the quality of the compositions seemed to improve as their writers began to shake off the shackles of male domination.

The final works on the program, “Three Heavens and Hells,” by Meredith Monk (b. 1942) and “Love is a Rain of Diamonds,” by Gwyneth Walker (b. 1947), are masterpieces that excel most of what I have heard from contemporary male composers of choral music.

The concert was led by assistant conductor Mark Rossnagel rather than Isaacson, who is expecting the birth of her second child this week.

None of the above implies that the earlier works were not masterpieces, although it was hard to tell about Clara Schumann’s Nocturne, Opus 6, No. 2, which accompanist Derek Herzer had to play on an electric piano. Having tried to do something similar, after being used to a real grand piano, I can testify that making anything at all of the score was a minor miracle.

Soprano Mary Sullivan was in rare form in three display pieces that I had not heard before, all of them works of high drama and fiendish difficulty. The first, like Bernini’s sculpture of St. Theresa in ecstasy, is enough to make a normal concert goer blush. It was written by Augusta Holmes (1847-1903), setting verses by St. Teresa of Avila, in which she “dramatically reimagines her intense and transporting encounter with God, which builds to a climax of ecstasy.” Shades of the Tantra.

The second, with members of the chorus, was “Les sirènes,” by Lili Boulanger (1893-1918), who might have rivaled Debussy had she lived longer. It is equally erotic, but in a more classical way. One can hear how the seductive immortals might have tempted Ulysses.

The obligatory Amy Beach (1867-1944) came in the form of a charming “Through the house give glimmering light,” Op. 39, No. 3, reminiscent of bird song, with some unusual and well-done sforzando stops.

Sullivan returned for a heart wrenching rendition of “Anne Boleyn,” from “Try Me, Good King: Last Words of the Wives of Henry VIII,” by Libby Larsen (b. 1950). Needless to say, in spite of her eloquent pleading, she does not get her wish and hopes that the executioner knows his job.

I have already mentioned the final works on a short but brilliant program. “Three heavens and hells” has everything a modern choral work should have, but usually doesn’t. A round is illustrated by a round dance of the singers. The words generate the music, instead of being accompanied by them, and the little details, such as a singer in a monotone totally off key, are both fitting and remarkable. The entire thing, based on a poem by an 11 year old boy, is delightful and make one ponder the corollary of Sartre’s dictum that “Hell is other people.”
“Love Is a Rain of Diamonds,” setting a poem by May Swensen, exudes pure joy, and resulted in a standing ovation from the capacity audience.
Sweetest in the Gale (from “Hope Is a Thing with Feathers,” by Emily Dickinson), is a group of 20 auditioned sopranos and altos formed by Emily Isaacson and the Oratorio Chorale last Fall. After Sunday’s concert one hopes to hear more from them.

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

An Authentic Chinese Voice: Wu Man, Pipa, and the Shanghai Quartet

Wu Man and the Shanghai Quartet
Hannaford Hall, USM Portland
March 31
by Christopher Hyde

The Pipa, a long-necked, lute-like instrument, has been the quintessential voice of China for millennia, and Wu Man is its foremost player. We can thank Portland Ovations for providing the opportunity to hear her live, with the outstanding Shanghai String Quartet, Thursday night at Hannaford Hall.

The Chinese also have the oldest “classical” music tradition, and the earliest system of musical notation, which consisted of instructions to scholars about where to place the fingers on the strings, rather like labanotation in dance.

A close approach to this tradition was in Wu Man’s first solo, “Flute and Drum Music at Sunset,” a highly atmospheric work that showed off all of the considerable possibilities of the Pipa. Its tone is hard to describe, but once it has been heard, it can never be forgotten. It sounds like the human voice, speaking highly inflected Chinese, full of overtones, reverberations on open strings, chromatic slides and castanet sounds, to name a few.

The latter clicks often seemed like an extension of the treble beyond the point of human hearing.

Like the piano, it is capable of what seem like long-sustained notes but are actually trills or rapid hammering on a single string. Wu Man is a master of this technique, which makes the Pipa sing like the flute in the title.

Equally evocative was the “Red Lantern” suite, derived from film music by Zhao Lin (b. 1974) and played by Wu Man and the quartet. It was accompanied by filmed images of a traditional Chinese courtyard. The five movements depict stages in the life of an isolated family behind its walls. The most effective, and strangely the liveliest, of the sections is that entitled “Death,” which is followed by a Romantic epilog. The Pipa imitation of rain on water alone was worth the price of admission.

After intermission, the Shanghai Quartet showed what it could do with Western classics, in a bravura rendition of the Beethoven String Quartet in F minor, Op. 95 (“Serioso”). The quartet has everything—a singing tone, a wide range of dynamics, and near perfect balance, all in the service of a well-thought-out conception of the work. The Op. 95 is a caged leopard that escapes in the final bars.

The Tan Dun Concerto for String Quartet and Pipa, which concluded the program, was the opposite of serious, verging on the frivolous. While it shows off Wu Man’s virtuosity, it consists primarily of a series of musical jokes from almost every tradition on earth, without much to hold them together except the stage presence of the musicians.

Some of the jokes are even a little old, such as treating the orchestral tuning to “A”-440 as composed music. (I remember my father telling that one, about an Arab potentate who liked the first number on the program.) Still, nothing that Tan Dun writes is dull, and the audience gave the performance a well-deserved standing ovation.

If I had any quibble about the program as a whole, it would be that some of the Chinese works sounded too “Western,” almost like Dvorak. I put it down to the influence of the Cultural Revolution of the 1960s, when anything that smacked of bourgeois revisionism— meaning anything that Mao or Stalin didn’t like— could be severely punished.

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

Bach and Beer

Bach and Beer

The news that Lewis Kaplan, co-founder of the Bowdoin International Music Festival, is collaborating with Emily Isaacson, Bruce Fithian, and internationally known soloists to present a major new Bach Festival this June in Portland was welcome in itself (more on the festival and its musical content in a later column). That Isaacson is thinking of concluding the affair with a Bach and Beer party at a venue near the shore reminded me of H.L. Mencken’s story about how Bach’s Mass in B Minor saved him from death by thirst. (“Heathen Days” (1943))

Mencken and his publisher and friend, Alfred Knopf, were attending the famous Bach Festival in Bethlehem, Pennsylvania, during Prohibition, (1920-1933) and discovered to their horror that every speakeasy in town was closed due to the sighting of “agents” some days previously.

He writes: “This seemed strange and unfriendly, for it is well known to every musicologist that the divine music of old Johann Sebastian cannot be digested without the aid of its natural solvent (malt liquor).”

They barely made it through the last concert and on their way to the train discussed how soon they could get a bootlegger to meet them at a station before New York.

Their taxi driver took pity on them and drove to a warehouse-like building with the telltale sign “Sea Food” above the door.

“We rapped on the door and presently it opened about half an inch, revealing an eye and part of a mouth. The ensuing dialog was sotto voce but staccato and appassionata. The eye saw that we were famished but the mouth hesitated.

‘How do I know,’ it asked, ‘that you ain’t two of them agents?’

‘Agents!’ hissed Knopf. ‘What an idea. Can’t you see us? Take a good look at us.’

The eye looked but the mouth made no reply.

‘Can’t you tell musicians when you see them?’ I broke in. ‘Where did you ever see a Prohibition agent who looked so innocent, so moony, so dumb? We are actually fanatics. We came here to hear Bach. Is this the way Bethlehem treats its guests? We came a thousand miles, and now—‘

‘Three thousand miles,’ corrected Knopf.

‘Five thousand,’ I added, making it round numbers.

Suddenly I bethought me that the piano score of the B minor mass had been under my arm all the while. What better introduction? What more persuasive proof of our bona fides? I held up the
score and pointed to the title on the cover. The eye read:

J.S. Bach
Mass in B Minor

The eye flicked for an instant or two and then the mouth spoke. ‘Come in, gents,’ it said. As the door opened our natural momentum carried us into the bar in one leap, and there we were presently immersed in two immense Humpen….

It was a narrow escape from death in the desert, and we do not forget all these years afterward that we owed it to Johann Sebastian Bach, that highly talented and entirely respectable man, and especially to his Mass in B minor.”

I don’t know if Emily Isaacson has heard that story, but I’m sure Mencken would have approved of her idea and the plethora of micro-breweries now gracing the City by the Sea.

More on the festival soon and the Maine premiere of a newly reconstructed Bach concerto.

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

Midcoast Symphony Excels at Pops

Midcoast Symphony Orchestra
Orion Performing Arts Center, Topsham
Mar. 20, 2016
by Christopher Hyde

Finally, a real pops concert; popular favorites from the classics, rather than the usual uncomfortable combination of rock band and symphony, in which both sides lose.

It took the Midcoast Symphony Orchestra, under guest conductor Eric Hewitt, to do it right, and judging by the capacity crowd Sunday at the Orion Performing Arts Center, the audience is there for it. There was not a parking place within a half mile of the hall.

The afternoon got off to a shaky start, with some sour notes in the andante opening of Rossini’s “William Tell” Overture, but by the time the Lone Ranger theme came along, the players had caught fire and never looked back. During the finale, Tchaikovsky’s “1812 Overture,” they sounded like the Vienna Philharmonic, but with more brio.

The theme of the march, deliberately or not, gave the program continuity. The Napoleonic quick march (I forget the name of it), appeared in the Berlioz “March to the Scaffold” from his Symphonie Fantastique, as well as the “1812 Overture,” while more standard military versions were heard in the Radetsky March of Johann Strauss the Elder, and in Gounod’s “Funeral March of a Marionette.” The latter included some fantastic work by the woodwinds.

The obligatory nod to movie music came in the form of Gershwin’s “An American in Paris,” and John Williams’ Overture to “The Cowboys.”

The more I hear the “1812,” (with or without cannons) the more I marvel at how good it is. It transcends the categories of occasional and commissioned work by light years, and is one of the most well composed of Tchaikovsy’s works as well as the most inspired.

Its use of anthems, hymns and folk music to characterize the French and Russian adversaries before Moscow is masterful and can be appreciated as well by a first-time listener as by the most experienced musical professional.

From the warm, intimate cello hymn at the beginning to the frantic pealing of the bells of Moscow in the wind-driven flames, the orchestra was superb. It well deserved a resounding ovation and conductor Hewitt his bouquet from two charming little flower girls.

Let’s do this again soon.

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

A Craggy Rachmaninoff Third

Portland Symphony Orchestra
Merrill Auditorium
March 13, 2016
by Christopher Hyde

Overheard as the capacity audience left Merrill Auditorium on Sunday afternoon: “That was the best concert I’ve ever heard here.”

Well, not quite, but close. Music lovers jammed the hall to hear pianist Andrew von Oeyen Play the Rachmaninoff Piano Concerto No. 3 with the Portland Symphony Orchestra.

They were not disappointed, but it was music director Robert Moody’s programming of two unusual works before the concerto that made for a near-perfect afternoon.

The first was a mysterious agglomeration of eight works made sometime after 1956 by Dmitri Shostakovich, entitled Suite for Variety Orchestra No. 1. Some are straightforward marches and dances, with typical Shostakovich surprises and strange instrumentation..

Others are parodies of conventional waltzes, German bands and circus music. All are thoroughly delightful, but the waltzes take the cake, piling musical cliche on cliche until one expects the entire edifice to collapse under the weight of schmaltz. It doesn’t, and Shostakovich writes it all with a straight face, as if he were honestly trying to outdo Emile Waldteufel. One of them reminded me of Tom Lehrer’s “Weinerschnitzel Waltz,” with unlimited orchestral resources.

The orchestra obviously enjoyed it as much as the audience and its virtuosity at rapid tempo was little short of amazing.

Kurt Weill’s use of hackneyed forms, in his Suite from “The Three-Penny Opera,” was equally imaginative, but in the service of a darker vision. It was equally well played, especially the false fugue of the Overture and the flute and violin solos in “Polly’s Lied.” I had just written about Nico Muhle’s “Bright Mass with Canons,” and Weill’s concluding piece, “Kanonen,” with the same double meaning, was pure synchronicity.

Andrew von Oeyen’s rendition of the Rachmaninoff Concerto No. 3 was exciting and extremely forceful. His power, however, has both advantages and drawbacks. In the first movement the piano was often in danger of drowning out the orchestra, and a dynamic range starting at mezzo forte doesn’t leave much room for a crescendo. Fortunately, the pianist’s fortissimo is so strong that the climaxes still work.

On the plus side, von Oeyen worked well in some of the more delicate dialogs with other instruments, while his volume —and some idiosyncratic emphases— brought out passages obscured in most readings of this work. He also has the quick wit to get out of trouble unnoticed. The passion in the closing bars was palpable and brought tears to the eye and the audience to its feet instantaneously.

Then he spoiled the whole thing with an encore. An encore to the Rachmaninoff Third is bad enough, like putting catsup on foie gras, but the piece he chose had enough schmaltz to make Shostakovich proud. I wish guest artists wouldn’t do that, ruining the after effects of a masterpiece, but the practice seems to be becoming more widespread.

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

Oratorio Chorale Misfires, Then Hits the Mark

Oratorio Chorale
Woodfords Congregational Church
Mar. 5, 2016
by Christopher Hyde

I like to listen to new music, but sometimes I have to remind myself that, like all music ever composed, 99.9 percent of it is ephemeral. Not merely fleeting in time, but rather easily forgettable.

I was looking forward to hearing the revitalized Oratorio Chorale, under Emily Isaacson, perform Nico Muhly’s “Bright Mass with Canons,” (2005), but alas it was no “1812 Overture.” That’s a joke, son. The canons refer to a simple sort of fugue, like “Row, Row, Row Your Boat,” that pervades the mass. Why it is called bright, I have no idea, except that it sounds good on paper.

The opening night was at Woodford’s Congregational Church, and there will be two performances today (Mar. 6) at the Seventh Day Adventist Church in Brunswick.

Muhly, born in 1981, is a sort of compositional wunderkind who, in addition to other feats, had an opera of his (“Two Boys”) performed at the Met, which then commissioned another one, to be staged in 2019-2020, based on the Hitchcock movie “Marnie.”

The mass has some nice atmospheric touches, like the imitation of flowing water in the Sanctus and Benedictus, but essentially, in the composer’s own words, it “(creates) a flurry of sound to fill the space in the sanctuary.” Some of it is actually irritating, like the low pedal points on the organ that made one wonder if something was wrong with the heating system.

The organ was Muhly’s primary mistake. If the object is to imitate early English polyphony, the mass has to be sung a cappella. Otherwise the precise intervals at the juxtaposition of melodic lines cannot be heard at all.

The chorus and soloists gave it their best shot, but the cannons misfired.

The lovely Dvorák Mass in D, Op. 86, was a different matter entirely. The organ works well in what is essentially a homophonic composition, although the composer breaks into a fugue every time the concatenation of voices suggests it.

Its beauties are too many to list, but the quartet at the end, with the individual voices entering one by one, was a high point, set off by the gentle conclusion of the “dona nobis pacem.” One could almost hear the voices of Dvorák’s friends and family in the country chapel for which it was written. The entire work is a hymn to Pan, the “Piper at the Gates of Dawn.”

The soloists, Deborah Selig, soprano, Margaret Lias, mezzo-soprano, Gregory Zavracky, tenor, and John David Adams, bass baritone, were uniformly excellent, with enough volume to fill the large expanse of Woodfords Church. They should sound even better in Sunday’s smaller venue.

The chorale was more enthusiastic in the second half of the program, with a full range of dynamics, but not quite enough power in the bass line. The latter is still hard to do in Maine, whose Russian community is too far from Portland.

The Dvorák made the evening more than worthwhile, and the program was short, about an hour in length, with 40 minutes of that time filled with melody, leaving time to caucus.

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

Dancers and Musicians Shine in “Play and Play”

Bill T. Jones/Arnie Zane Company
“Play and Play”
Merrill Auditorium
Feb. 25, 2016
by Christopher Hyde

Finally, a collaboration that works flawlessly. I feel sorry for anyone who wasn’t at Merrill Auditorium Wednesday night for “Play and Play,” featuring the Bill T. Jones/Arnie Zane Company.

Under the auspices of Portland Ovations BTJ/AJC assembled local musicians and dancers for an absolutely riveting evening of contemporary ballet. As a friend remarked about “D-Man in the Waters,” the last of three ballets on the program, it was as if the dancers ”floated on a sea of music.”

The music in question was the Mendelssohn Octet for Strings in E-flat major, Op. 20, played by Robert Lehmann, Dino Liva, Dean Stein and Yasmin Vitalius, violin, Kimberly Lehmann and Kirsten Monke, viola, and Eliza Meyer and Benjamin Noyes, cello.

I have seldom heard this work performed as well in concert; as ballet music it verged on the miraculous. It certainly inspired the dancers who, in addition to those of the company, included 13 from Colby, Bates and Bowdoin colleges, PATH (Portland Arts and Technology High School) and the Portland Ballet.

They had rehearsed for only a week, according to the program, but they might have been dancing this program for years,

It made me wonder why other traveling companies do not also take advantage of the tremendous pool of talent available in Maine. Even the Andante of the Mozart String Quartet No. 23 in F Major (K. 590) for “Spent Days Out Yonder,” easily filled Merrill Auditorium. Live music for dance cannot even be compared to a recording, to which some shows resort.

Speaking of recordings, the second piece on the program, “Continuous Replay,” combined (a little) live music from early and late Beethoven Quartets, with a recorded sound rack that included such acoustic icons as count-downs and the description of the Honey Badger that went viral on the internet a few years ago.

Jenna Riegel was superb as “the clock,” which almost disintegrates during a speeded up version of a famous Beethoven quartet passage.

Each of the three ballets was marked by the indefinable atmosphere characteristic of this company. It includes an infinite umber of clever and dramatic poses, motions and lifts, all stemming from natural movement. Gender differences are dissolved into a human unity, and there is little display of athletic prowess—the remarkable is taken for granted.

What is most striking is the sense of community. In “D-Man in the Waters,” which is a sort of ”in Memoriam,” various types of intimate relationships come and go, but there is always human sympathy, even under the sea.

The program ended with cheers and a long standing ovation, which the musicians shared with the dancers on stage.

(The written program includes one of my favorite quotes, from Jasper Johns on the creation of art: “…take something and do something to it, and then do something else to it.” Rather like Bertrand Russell’s observation that all the world’s work consists of moving something from one place to another.)

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

First Day of Bowdoin Klavierfest Will Honor Elliott Schwartz

The first day of Bowdoin’s annual Klavierfest, Friday, Feb. 19, 7:30 p.m. at Studzinski Recital Hall, will be devoted to the piano music of Bowdoin composer emeritus Elliott Schwartz, in honor of his 80th birthday.

It will include works from several phases of his career, plus (it is hoped) a performance by the composer of his “Hearing David,” for piano and electronic sounds. Written in memory of David Gamper, it includes sounds that he originally taped on one of the early synthesizers, Schwartz said in a telephone interview.

The program was compiled in cooperation with pianist George Lopez, Bowdoin artist in residence, and includes Lopez, Kimberly Lehmann, viola, Chiharu Naruse, piano, John McDonald, piano,, and Maria Wagner, clarinet.

The first work of the evening is also the earliest, composed around 1963-64, when Schwartz was experimenting with 12-tone techniques. His idea for the Suite for Viola and Piano, to be played by Lehmann and Naruse, involved making serial music sound tonal. “It does sound rather traditional,” he said.

The suite will be followed by “Four Maine Haiku,” written for pianist Kazuko Tonosaki and played on Friday by George Lopez. The four short pieces, each completely different in mood, include 17 measures each, the number of syllables in a Japanese Haiku.

After an on-stage interview of the composer by Lopez, the pianist will serve as assistant to McDonald in a performance of “Memorabilia,” a work that Schwartz calls “very theatrical,” in which the assistant may drum on the wood of the piano, play the inside strings or perform other movements to accompany the pianist. Lopez may assist with a toy piano, Schwartz said.

“Hearing David” will be the final work before intermission.

“The Seven Seasons,” for solo piano, written in 2007-2009 for Katie Cushing, will start the second half of the program. Played by Naruse, it consists of short pieces designed to aid in teaching modern piano techniques, such as playing with the fingers on the inside strings.

The next work,”Blossoms and Cannons,” for piano and recorded sounds, was written in 2010 to celebrate the 200th anniversaries of Chopin and Schumann. The title is based on a Schumann quote about Chopin, “It’s a time warp,” Schwartz said. McDonald, at the piano, will play against recorded quotations from both composers’ music, plus verbal quotes from Clara Schumann and George Sand (Chopin’s lover).

“Blossoms…” will be followed by a second interview, and the program will conclude with “Souvenir,” for clarinet and piano, with Lopez and Wagner. The work, written in 1978, is improvisational, with each musician responding to the other. At one point, if I recall correctly, the clarinetist places the instrument on the sounding board of the piano to achieve an unusual timbre.

Schwartz is also at work on a string quartet, in memory of his late wife, Deedee, Because of health reasons, he has shortened the work to two movements, played without pause, and based on her favorite music, combined with themes developed from the letters of her name and significant dates in her life. The work will be premiered in London on April 21, he said.