Category Archives: Commentary

Awadagin Pratt Graces DaPonte 25th Anniversary

DaPonte String Quartet
25th Anniversary Concert
Studzinski Hall, Bowdoin College
May 18, 2017
by Christopher Hyde

I don’t know whose idea it was, but getting pianist Awadagin Pratt to play quintets with the DaPonte String Quartet for its 25th anniversary celebration was a stroke of genius.

A full house at Bowdoin’s Studzinski Recital Hall was treated to two masterpieces of the genre—the Dvorak Quintet for Piano and Strings in A Major, Op. 81, and the Brahms Quintet for Piano and Strings in F Minor, Op. 34.

The DaPonte was its usual energetic and thoughtful self, alternating between Ferdinand Liva and Lydia Forbes at first violin in the Dvorak and the Brahms respectively. Pratt, however, was phenomenal.

He was the first student at Peabody Conservatory to receive diplomas in piano, violin, and conducting, and it shows. There could not be a better partner for any string quartet. He is a virtuoso when needed and an equal partner at other times, with an uncanny ability to blend in, as if the piano were another stringed instrument. Above all, he listens.

Watching him at the keyboard, I thought immediately of Brahms, thinking through a multitude of permutations and dictating his comments from the piano. All that was needed was a cigar for the resemblance to be perfect.

Either one of the quintets could have degenerated into a piano concerto at any time, but Pratt never let that happen, even in the concluding movement of the Brahms, where there is an explosive passage that outshines, in terms of pyrotechnics, most codas in the concerto literature.

The two works on the program are very different.The Dvorak, which began the celebration, is the quintessence of melody, beginning with a ravishing first theme and never letting up. The Dumka was particularly fine, a reverie with fleeting images of past delights, all perfectly characterized.

The Brahms is more thoroughly composed, building on motifs rather than long-limbed songs, but equally effective and even more passionate. If there were balance issues caused by substituting a Steinway grand for a Graf wooden-framed piano (for which the quintet was composed) I could not hear them.

The most exciting section of the Brahms quintet was the Scherzo: Allegro, a tribute to Robert Schumann in the form of a ferocious march with cross-rhythms that could be one of the older composer’s odes to the Davidsbundler.

The concluding movement begins with a dirge-like theme which soon gives way to the triumphant piano part mentioned earlier.
Both performances received well-deserved standing ovations with unexpected cheers and whistles.

Must be something in the air section: In its July concert series, the DaPonte will play Samuel Barber’s Adagio for Strings, recently performed by the Portland Symphony Orchestra, while the August series will showcase soprano Kate Aldrich (who recently sang at a gala for Opera Maine) performing Dover Beach, featured at another gala for the Portland Chamber Music Festival. For details of these concerts, go to www.daponte.org.

Youth Takes Center Stage at PSO’s Final Concert

Portland Symphony Orchestra
Merrill Auditorium
May 16, 2017
by Christopher Hyde

There’s an adage that used to appear regularly on office walls, to the effect that “Youth and skill are no match for old age and treachery.”
Sometimes youth and skill do win out, however, an example being last night’s concert of the Portland Symphony Orchestra, conducted by Marcelo Lehninger, 31, and featuring violinist Alexi Kenney, 23.

It’s too bad that Lehninger is already spoken for (by the Grand Rapids Symphony) or the PSO’s search for a music director would be over. He elicited the best performances from individuals, and the orchestra as a whole, of any conductor I have heard in recent years. while Kenney’s performance of that old chestnut, the Bruch Concerto No. 1 in G Minor for Violin and Orchestra (Op. 26) made it sound better than it is.

Kenny has superb technique, but even more important a melodic gift that was perfectly suited to the Bruch. His dynamics have a complete range, but are understated, a characteristic that Lehninger’s conducting compensated for perfectly.

The concerto was so well played that it moved the capacity audience to a loud and long-lasting standing ovation…unfortunately, since that led to a solo encore. No,no, no..

You have just created the ideal mood intended by a great composer and you have to spoil it with a gnarly etude (Piazzola Tango Etude No. 3) that can’t compare musically and indicates only that the artist is showing off? For shame. This new post-concerto custom needs a holly stake driven through its heart.

The program began with a light hearted romp through Mozart’s Overture to “The Marriage of Figaro,” marred only by a pedantic program note that insisted on calling the composer “Amadè.” I’m sorry if Wolfgang never used the name Amadeus, but that’s what he will be called, now and forever, amen.

A  primary characteristic of youth made the Tchaikovsky Symphony No. 6 in B Minor, Opus 74, an experience to remember: daring.

At the very beginning, Lehninger called out individual solo voices in a way I have never heard before, then combined them into a musical shape like dots in a pointillist painting. The fermatas were long, some of the sounds almost inaudible, but always portentous.

The drums in the opening movement were the most powerful since the French Revolution, and the march a terrifying epitome of fascism. Lehninger also left no doubt that the final movement, which just peters out, is a suicide note.

The Sixth is both tragic and pathetic, but the performance Tuesday night was also hopeful, showing that no matter how familiar a work is, it can always be heard and performed in new, but nevertheless effective, ways by coming generations.

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

A Study in Contrasts, Soprano Kate Aldrich

Mezzo-Soprano Kate Aldrich
Hannaford Hall
May 13, 2017
by Christopher Hyde

Mezzo-soprano Kate Aldrich strode on stage at Hannaford Hall Saturday night, wearing a spectacular red dress, and proceeded to sing of love, death and suicide.

Germanic weltschmertz was appropriate for a singer who has made “Werther” her own, but the significance of the dress was revealed only in the second half of the concert, when she offered up a gloriously sultry version of the Habanera from “Carmen.” another signature role, which she sang at PORTopera (now Opera Maine) in 2005 and at the Met in 2010.

The contrast exemplified the singer’s extraordinary versatility, from Richard Srauss’ schadenfreude to Leonard Bernstein’s cleverness—in the little-known aria “What a Movie” from, “Trouble in Tahiti” (1952)— and a contemporary art-and-philosophy monolog from “Master Class” by Jake Heggie (2007). Both sketches also revealed her considerable acting talent.

She demonstrated a formidable coloratura in virtuoso arias by Rossini: “Riedi al Soglio” from “Zelmira” and the encore “Una Voce Poco Fa,” from “The Barber of Seville.” One can visualize a Rossini diva begging on her knees for such a display piece from the master. A friend aptly compared Aldrich’s fluidity in these to the elaborate and often improvised ornamentation of Chopin’s piano scores.

While I dearly love Strauss’ compositions on the theme of eros and thanatos, I came to the concert to hear the songs of Berlioz, whose small output in the genre is one of the towering landmarks of classical music. (Perhaps his pathetic portrayal of flowery drowning in “La Mort d’ophelia” influenced Strauss.)

One of my treasured vinyl recordings is the Berlioz song cycle “Les Nuits D’été,” sung by Eleanor Steber. Aldrich’s evocations of “The Captive,” and “Zaide” were its equal in every way. I wish I could hear her sing “L’Isle Inconnue,” the finest musical portrait of sailing ever written.

Speaking of sailing, Maine makes much of its artistic sons and daughters, out of a sort of provincial chauvinism. This is true of Aldrich, who was born in Damariscotta, but she doesn’t need any special dispensation. She might equally well have been born in Paris or Vienna. Her talent transcends borders.

Her accompanist, Martin Perry, born in California, also makes his home in Maine, but is in demand everywhere. HIs work seems to bring out the best in any singer, setting the stage perfectly, without dictating a note. Perry is also a genius at piano solo, to which anyone hearing his performance of the Samuel Barber piano concerto with the PSO can testify.

The Aldrich concert is one of a series of events leading up to Opera Maine’s performance of “La Traviata,” July 26 and 28. The next will be a gala celebration at Westin Portland Harborview on June 8.

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

“Dover Beach” at the Danforth

Arneis Quartet, with David Kravitz
Park-Danforth
May 7, 2017
by Christopher Hyde

Ah, love, let us be true
To one another! for the world, which seems
To lie before us like a land of dreams,
So various, so beautiful, so new,
Hath really neither joy, nor love, nor light,
Nor certitude, nor peace, nor help for pain;
And we are here as on a darkling plain
Swept with confused alarms of struggle and flight,
Where ignorant armies clash by night.

My father recited Mathew Arnold’s “Dover Beach” at our wedding, so when I heard that baritone David Kravitz was to perform Samuel Barber’s setting of it with the Arneis Quartet on Sunday, I had to go.

The occasion was a preview of the Portland Chamber Music Festival’’s fund-raiser the same day, and a classical music christening of the Park-Danforth’s acoustically fine performance space.
Kravitz is an internationally acclaimed baritone, and the Arneis Quartet a noted interpreter of contemporary music. Barber’s “Dover Beach” was written in 1931, when the composer was just 21. and while it does not have the scope of his famous Adagio for Strings, it is still a powerful work.

Rather chromatic, it sets the stage for the poem, with picturesque images of desolate waves and water, and the sea breeze rustling the curtains like that of an Andrew Wyeth painting. Not until the climax, which I have quoted above, does it interpret the feeling of the verse directly.

Strangely enough, it ends on what sounds to be a tonic chord on the word “night,” as if love were a sufficient compensation for the world’s desolation.

The interpretation was virtually flawless, technically and emotionally, and the subject matter all too appropriate for today’s world.

It was followed by Leos Janáček’s unusual String Quartet No. 1 (“Kreutzer” Sonata) which has been called an opera without words.
As described by the strings, it could also have been a graphic novel, inspired by Tolstoy’s story of the same name, in which music proves to be a seductive force, leading to illicit love, jealousy and death.

Tolstoy, in his peasant garb, astride a horse like a fifth generation aristocrat, was something of a phony, and to my mind, jealous of the power of music (He loved John Field, inventor of the Nocturne, but said to Rachmaninoff, who had just played at a soiree in St..Petersburg: “Very nice, but what good is it?”).

Janáček turns the novel on its head and makes it an argument for women’s liberation .The ways in which his music portrays action and dramatic scenes is uncanny: loving harmony, strident arguments, train nosies, passion, horseback riding and murder, to name a few. The quartet realized them perfectly.

If there were  program notes relating each scene to measures in the score, no one would need supertitles to know what was going on. For the initiated, the composer even quotes the Beethoven sonata in the third movement.

Thanks to the Park-Danforth and the Portland Chamber Music Festival for scheduling this event for  residents, and for allowing free admission to the public.

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

The Summer King, First Performance

I’m sorry I wasn’t able to get to the Pittsburgh Premiere of “The Summer King,” but what I wrote about it in the Press Herald three  years ago seems prescient.

“The Summer King”

Merrill Auditorium

May 8

by Christopher Hyde

Sometimes taking a risk pays off. Portland Ovations went out on a limb when it decided to stage the world premiere of “The Summer KIng,” an opera about baseball great Josh Gibson by Maine composer Daniel Sonenberg.

A large and appreciative audience at Merrill Auditorium last night demonstrated loudly that they had made the right choice. That the opera was performed without a set detracted little from its effect, due to the dramatic talents of the cast and clever stage direction by Lemuel Wade.

Sonenberg’s music for the tragedy–he also wrote the lyrics, in collaboration with Daniel Nester– is eclectic, containing modern classical, jazz and Latin styles, but also has a voice of its own, sardonic, wistful, lyrical or tragic, illuminating nearly every situation expressively.

I use the word tragedy advisedly. All operas end badly, but Is the famous slugger of the Negro Leagues, Josh Gibson, a tragic figure? HIs rise, betrayal and fall influenced a large, self-contained world (the Negro Leagues), and helped make possible the integration of the American pastime, while he had enough hubris for King Lear.

In some ways he seems childlike, but as played and sung by Stephen Salters, Gibson was aware of how much had been lost, even in his final madness.

“The Summer King” has a number of what Sonenberg calls “set pieces,” most of them effective and some, such as the love duet between Josh and his wife Helen, sung by Candice Hoyes, and reprised at the end of the opera, quite moving.

Villains always steal the scene, and the slimy Washington Senators owners, Clark Griffith, sung by Patrick MIller and his nephew, Calviin Griffith, sung by Kyle Guglielmo, are no exception as they cry crocodile tears over the possible ill-treatment of Josh in the major leagues.

There is even a mad scene, as Gibson holds an imaginary conversation with Joe DiMaggio.

All of the singers in the opera are first rate, but Lori-Kaye Miller, as Josh’s ambitious girlfriend, Grace, deserves special mention, as does the crusading reporter, sung by Rishi Rane, and Josh’s friend, Sammy, sung by Kenneth Kellogg.

The premiere was further enhanced by two outstanding choruses, Vox Nova Chamber Choir, and The Boy Singers of Maine Concert Choir, which appeared in a short, uplifting epilogue, plus a large professional orchestra under music director Steven Osgood.

Predictions by music critics have a way of falling flat, but judging by the audience response on Thursday, “The Summer KIng”,sails trimmed and fully staged, could become an American classic.

“Joy shall be yours in the morning…” PSO Does the Ninth

Portland Symphony Orchestra
Merrill Auditorium
April 25, 2017
by Christopher Hyde

Isak Dinesen once observed that there are three sources of joy: love, to have been in pain and be out of it, and to feel in oneself an excess of strength.. Each of these applies to Beethoven’s Ninth Symphony , which ends with Schiiler’s “Ode to Joy,” gloriously performed by the Portland Symphony Orchestra under music director Robert Moody on April 23 and 25.

One suspects that people nowadays are desperate for any source of joy—witness sold-out houses at Merrill Auditorium on both days. But there is another source of joy that Baroness Blixen neglected to mention—what William James called the “oceanic” feeling— the experience of being one with the universe, or the universal brotherhood celebrated by Schiller, Beethoven and Karl Marx.

Universal brotherhood was a subversive concept during the Romantic period, with the aristocracy desperately trying to hold on to power in the face of the French Revolution. and other popular movements. Beethoven had pondered setting Schiller’s poem to music for over 30 years before he wrote the Ninth, and there is evidence that the poet originally intended his ode to be in praise of liberty, rather than joy.

Music doesn’t have to be about anything but itself, but there must have been a powerful impulse at work for Beethoven to devote all of his genius, for an extended period, to a work that he would never hear, except in his own mind.

The Ninth is such a monumental creation that it is seldom heard live. To pull it off, Moody had to recruit a quartet of fine soloists: Mary Boehlke-Wilson, soprano; Margaret Lias, alto; John McVeigh, tenor; and Philip Cutlip, baritone, willing to risk their voices in Beethoven’s impossible roles, the combined forces of the Oratorio Chorale, under Emily Isaacson and the Choral Art Masterworks, under Robert Riussell, plus the full orchestra devoted to a demanding score lasting over an hour.

Although there were a couple of strained points, inevitable in such an undertaking, Moody held everything together admirably. The soloists tackled the impossible successfully, and the combined choruses were able to hold their own against the orchestra gracefully, and to sing a monumental fugue without the muddiness that often accompanies large numbers of voices.

The result was tremendously moving, in spite of superfluous supertitles (there is not a single decent translation of the Schiller ode anywhere on the internet). After the final fortissimo the audience leaped to its collective feet instantly, with the accompaniment of cheers and foot stomping. No one wanted to leave.

In the face of the Ninth, the opening Samuel Barber Adagio for Strings seemed a little muted, at least in retrospect, but its selection to set the sombre opening mood of the Beethoven symphony was inspired programming.

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

Mozart and Gershwin at the Franco Center

Kevin Ayesh, Piano
Franco Center, Lewiston

April 19, 2017

by Christopher Hyde

On Friday night I took my grandson, nine-year-old Jordan Seavey, to hear Kevin Ayesh, in the penultimate concert of the Franco Center’s 2016-2017 piano series.

It was a good choice. Jordan is beginning to study piano seriously and Dr. Ayesh is a noted teacher and performer whose approach is musical rather than virtuosic. In my experience, Lisztian displays often do more to discourage budding musicians than to inspire them.
Jordan also happens to love the Gershwin “Rhapsody in Blue,” which was the final work on the scheduled program. (The encore was Dame Myra Hess’ transcription of the Bach “Jesu, Joy of Man’s Desiring.”)

Friday’s night’s performance marked the first time I had heard the solo piano score, written by Gershwin himself, and I liked it better than any of the versions orchestrated by Ferde Grofe, always excepting the opening clarinet glissando, which Ayesh imitated well on the piano.

Gershwin himself was a pianist and the piano must have been what he heard in the railroad noises that inspired the work. It does feel closer to the spirit of the composition, and it seems to hold together better than the concerto-with-orchestra that Leonard Bernstein deplored as fragmented.

Ayesh is as much at home in Mozart as in Gershwin, opening the program with a remarkable performance of the Sonata No. 9 in D Major, K. 311.  It seemed an almost complete realization of the composer’s intentions in  dynamic range, tempo and clear delineation of voices.

His inherently thoughtful approach was not as useful in four works by Chopin that concluded the first half of the program. The opening Nocturne in C Minor, Op. 48, No. 1, was the most successful, bringing out the unusual amount of drama in the piece.

The well-known melody of the Etude in E Major, Op. 10, No. 3, was a bit idiosyncratic, but what is a pianist to do after a few centuries of repetition? I once asked a famous virtuoso how he maintained his feeling for a composition after a few hundred performances . He replied “fake it.”

I don’t have enough Polish blood to enjoy the mazurkas as I should, and the “Heroic” Polonaise in A-flat Major, which has become display rather than music, needs more artillery power than thought.

However, I very much enjoyed Ayesh’s interpretation of the Brahms Intermezzo in A Major, Op. 118, No. 2, especially his emphasis on the triplets in the central section, and the fermata before the final “A” in that beautiful arpeggiated chord.

The Impromptu No. 3 in A-flat Major, Op. 34 of Gabriel Fauré came as a revelation, full of sparkling French fireworks and a wistful middle theme that recurs in the coda. Very appropriate for the Franco Center.

And Jordan got to meet the artist at the regular champagne reception after the concert.

The final recital of the series will be on June 9, with pianist Tamara Poddubnaya and Music Without Borders Grand Prix winner Vassily Panteleev.

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

Sweetest in the Gale’s Baroque Beauties

Oratorio Chorale
St. Paul’s Episcopal Church, Brunswick
April 9, 2017
by Christopher Hyde

The Oratorio Chorale’s women’s choir is named “Sweetest in the Gale,” (from the Emily Dickinson poem “Hope is a Thing with Feathers”). Sunday’s concert at St. Paul’s Episcopal Church in Brunswick was more like an inland breeze from the ocean on a hot day, both surprising and refreshing.

Director Emily Isaacson has a knack for choosing scores that perfectly illustrate her concert titles, in this case “Beauties of the Baroque,” and that offer something to every member of the audience. The choir she has founded and coached is little short of phenomenal, and her choice of soloists, Mary Sullivan, soprano, and Jenna Guiggey, alto, complements it very well.

Add to this a fine baroque chamber ensemble, and you have recipe for a delightful, if short (one hour) Sunday afternoon.

The opening work, Claudio Monteverdi’s (1567-1643) “Angelus ad pastors ait; Ubi Duo,” was both sweet and surprising. Sweet in the harmonies that Monteverdi achieves through counterpoint, and surprising for the contrasting lines the choir is able to obtain with female voices alone. The low altos served the essential purpose of the bass in mixed choirs that we have long been arguing for,

The second piece, “Duo Seraphim,” by Tomás Luis de Victoria (c.1548-1611), was surprising for what came after it: a setting of the same text by Caterina Assandra (c. 1590-after 1611). It is a good example for those who argue that female composers of the past may have been the equals of their male counterparts, but suppressed by societal conventions.

More evidence was offered by the sprightly and modern-sounding “Quis dabit mihi,” by Barbara Strozzi (1619-1677), which describes what seems to be a love affair between the composer and Jesus, evoking images of the ecstasy of St. Teresa as depicted by Bernini.

The second half of the program was devoted to the great “Stabat Mater” of Giovanni Batista Pergolesi (1710-1736), which describes in 12 cantos the agony of Christ’s mother beneath the cross. The narrative, which alternates between chorus and soloists, both alone and in duets, is highly operatic and ornamented to an extent that offers major challenges to the singers. There are dramatic leaps in pitch and changes in volume that must have delighted divas of the past, but tend to dismay modern singers. Not so Sullivan and Guiggey.

What is surprising about the Stabat Mater is how much musical conventions have changed. There are sections that to a modern ear sound almost cheerful, but which were intended to describe the depths of suffering. The music is still effective; it just doesn’t seem to illustrate the text as well as it used to. One thinks of the high-pitched counter tenors chosen by Purcell to depict British heroes.

Isaacson’s lively direction of the chorus and the baroque ensemble unified the work and brought it to life once more, earning a standing ovation from the capacity audience.

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

Back Cove Festival Opens on a High Note

Back Cove Contemporary Music Festival
Woodford’s Congregational Church
April 7, 2017
by Christopher Hyde

I came to the Back Cove Contemporary Music Festival (April 7, 8, 9) to hear the world premiere of Elliott Schwartz’s String Quartet No. 3 (“Portrait for Deedee”) played by the Portland String Quartet.
The quartet, Schwartz’ final work before his death last year, was all that I had hoped, but it was surrounded by other fine works, most of them in traditional forms, without the experimentalism that usually characterizes such festivals.

Looking at the programs for Saturday and Sunday, the remaining two days appear to be equally accessible.

The Portland String Quartet realized the Schwartz composition, written in memory of his wife, Deedee, almost perfectly. While it includes many of the composer’s mannerisms, such as musical quotes and use of the alphabet and numerology to generate motifs, it is considerably more dark in color than most of his work. I hesitate to use the word “tragic” in reference to one known for his unfailing good humor in the face of adversity.

The quartet also seems more thoroughly composed. The recurrent themes are developed and maintained, while the quotes, from his wife’s favorite music, fit in perfectly, like ghostly comments on the score. This promises to become one of Schwartz’s most popular works, almost making one believe in the magical power of numbers.

As for the rest of the program, I was particularly impressed by the work of the Portland Piano Trio, consisting of Tracey Jasas-Hardel, violin, Benjamin Noyes, cello, and Anastasia Antonacos, piano. They played four difficult works, in a variety of styles, with both spirit and understanding, an unusual combination.

They began the evening with “Number the Clouds,” by Delvyn Case, a dense and atmospheric setting of the Book of Job. After intermission, Case also contributed a highly effective musiking of “The Lord’s Prayer,” sung by soprano Elizabeth Marshall, accompanied by Harold Stover on the organ. Marshall performed the difficult feat of maintaining perfect intervals against the equal temperament of the organ.

Stover also played his own “Five Preludes on American Folk Hymns,” coaxing voices from the Woodford’s organ never heard before. The variations were truly amazing, even though I didn’t know most of the tunes. I wonder what he could do with “A Mighty Fortress…”

The Portland Trio finished the evening with Trio No. 1, by Nancy Gunn; “Choreodography (sic) No. 2” by Francis Kayali, a student of Elliott Schwartz; and  “Ancestry Variations” by Stepahie Ann Boyd, which takes a folk tune and varies it according to the styles of some famous composers. Entertaining and well-written, it was probably the most traditional of the three.

Gunn’s trio was also relatively tonal, with a driving, almost violent first movement, contrasted with a slower, nostalgic second.

Kayali’s offering was almost as quirky as Stover’s variations, consisting of Schoenbergian manipulations of a theme (not a tone row), which dissolve into a puddle of tonality.

Many of the composers were in the audience, accepting warm applause with the performers.

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

DaPonte Does the Three “B”s in Brunswick

DaPonte String Quartet
Unitarian Universalist Church, Brunswick
March 25, 2017
by Christopher Hyde

The DaPonte String Quartet’s program on Sunday, at Brunswick’s Unitarian Universalist Church, began with two fugues from Bach’s “Art of the Fugue,” which has been called the greatest masterwork in music, although it was written to teach rather than perform.

Cellist Myles Jordan points out, in his always perceptive program notes, that there are a number of problems with this attribution. One is Joseph Conrad’s observation that “All praise is invidious,” because it assumes that the person offering the praise is qualified to to give it.

A second is the effect on performers, which is like that on a modern sculptor given a chisel and asked to improve upon MIchelangelo’s David. It can’t be done, and the effect is near paralysis.

Of course Bach has to be performed to live at all, but one tries to approach it like any other score, without fear and trembling. The DaPonte gave it a good try, but could not seem to let themselves go, as they did with a more popular work, the Beethoven String Quartet in C Major, Op. 29.

With the able assistance of violist Katherine Murdock, they brought this melodic and sometimes quirky creature to life. It is easily accessible on first hearing, but there is some novel invention in each of the movements, just enough to delight without confusing: odd triplets in the first, huge empty rests and no resolution to the tonic in the second, a lovely canter across country, reminding one of the “Light Cavalry Overture,” in the third, and a switch from a gallop to a slower call and response, and back again, in the fourth, which also presages Beethoven’s later obsession with false cadences.

About the last work on the program, the Brahms String Quintet No. 2 in G Major, Op. 111, Jordan pointed out the difficulties in balancing the cello part, which stems from a theme for the brass section of an orchestra, with the other voices in the quintet. The disparity was unnoticeable among the lush and familiar melodies the composer spreads lavishly throughout.

Brahms, perhaps believing that this was to be his last published work, seems to have let his hair down in the quintet, which is nowhere near as durch-componiert as most of his earlier works, beginning with an opening theme that sounds strangely Wagnerian. (Pardon the German, but there’s no other way to describe what composers do who work like a painter, seeing that a dab of color in the lower left-hand corner affects something else in the upper right.)

The first two movements are perfect examples of late Romanticism. The third seems an attempt to get back to more intellectual pursuits, with a strangely off-kilter treatment of triplets and a hearkening back to the principal theme of the first.

Finally, in the fourth, Brahms says “to Hell with it all,” and brings in a gypsy melody, ending with a totally unrelated Hungarian furiant that would have made Bartok proud. It received a well deserved sanding ovation.

The size of the overflow audience at the UUC attests to the success of the quartet’s policy of extending its outreach in Maine. I still think they may be spreading themselves too thin, but music lovers throughout the state have much to be grateful for.

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