Category Archives: Previews

Franco Center Piano Series Opens with Innovations

David Fung, Pianist
Gendron Franco Center, Lewiston
Sept. 22, 2017
by Christopher Hyde

One of the most unusual concerts in many a season opened the 12th annual piano series of the Gendron Franco Center in Lewiston Friday night. Its innovations were matched by the quality of the performances by pianist David Fung and Daniel Moody, countertenor.

The first half of the program was devoted to piano works with unusual (or zero) rhythmic patterns, beginning with the Mozart Sonata No. 5 in G Major, one of the complete Mozart sonata cycle that Fung is compiling for the Steinway “Spiro” high-resolution player piano.

It was followed by “Impressões Seresteiras,” W.374, by Heitor Villa-Lobos, a compilation of “street songs” in 3/4 time, which manages to be avant-garde and nostalgic at the same time.

The “Île de feu, 1” from “Four Studies in Rhythm” by Olivier Messiaen, has no bar lines at all, its rhythm being dictated by the feel of note patterns. Under Fung’s hands,it was a tour de force of technique, complete with one of the composer’s beloved bird calls (I think it was a blackbird).

Fung, who holds a doctorate from the Yale School of Music, and has taught there, prefaced each work with revelatory remarks. In describing his arrangement of Ravel’s “La Valse,” he noted that the work has been compared to Poe’s tale, “The Masque of the Red Death,” and occasioned a challenge to Ravel by choreographer Serge Diaghilev, who had commissioned the work. The duel, apparently, was never fought.

Whatever the work’s history, Fung’s arrangement captures its brooding nature perfectly, in a manner even more virtuosic than the popular two-piano transcription.

After intermission, Fung accompanied countertenor David Moody in works by Dowling, Handel, and contemporary William Bolcom, all which were thoroughly delightful. Countertenors combine the power of the male voice with the vocal range of a mezzo-soprano. They were most popular in heroic roles at the time of Purcell, but they seem to be making a welcome comeback nowadays. Moody is one of the best. He also showed a sense of humor in the very short Bolcom pieces, one of which consists of two lines: “I’ll never forgive you. For my behavior.”

Fung concluded the program with a brilliant interpretation of Schubert’s great “Wanderer” Fantasy in C Major, D. 760. After this grueling effort —Schubert himself and a hard time with it—Fung managed a spritely encore of a Scarlatti Sonata in D Minor.

If I had any quarrel at all with the pianist’s approach, which was technically flawless, it would be with a young man’s typical predilection for speed, and abhorrence of seeming to “drag.” Some passages need a little more time to breathe, even at the expense of metronomic time.

I have written his before, but it bears repeating: the Franco Center’s piano series is the best kept secret, and the foremost value ($10.00 for seniors) of any concert series in Maine. The talent is always of the highest order, the venue is comfortable, with fine acoustics, the ladies serve crepes at intermission, and one can chat with the performers over champagne after the concert. The music starts at 7:00 to accommodate younger students.

The next artist to appear in the series will be French pianist Hélène Papadopoulos, on Friday, Nov. 3.

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

Ragtime at Studzinski Hall

Adam Swanson, Ragtime Piano
Studzinski Hall, Bowdoin College
Sept. 18, 2017
by Christopher Hyde

Adam Swanson’s piano recital, Monday night at Bowdoin’s Studzinski Hall, tracing the roots of American popular music from ragtime to Moss Hart, was like a seven-course dinner consisting of varied colors of cotton candy. Always entertaining but eventually monotonous and unsatisfying.

Swanson, an award-winning interpreter of early 20th century American music, is 25, but already has a wide following, and the audience for a Monday night concert was large and enthusiastic. The composers, especially ragtime giants such as Scott Joplin, could have been better served.

Swanson began the program with “The Entertainer,” made famous by “The Sting, and as expected, was more faithful to the movie than to the original.

It was followed by James Scotts “Frog Legs.” I play “Frog Legs,” just for fun, and Swanson’s arrangement was so gussied up as to be virtually unrecognizable, and way, way too fast.

If one examines a collection of Rags, the indications “slow,” “not fast,” “not too fast,” “tempo di rag,” and “don’t fake,” pop up regularly, barroom pianists having discovered that it is a lot easier, and more tip-producing, to play fast than slow.

A good rag, with its strong syncopated rhythm, characteristic modulations, and clever turns, is a delicate flower, and like the lilies of the field, needs no embellishment.

Joseph Lamb’s ”Bohemia Rag,” which followed, is specifically marked “Not Fast.” I didn’t bring my metronome, but it was well over quarter-note equals 100, as indicated.

The rags were followed by examples of their successors in stride piano, blues, boogie-woogie, 20’s movies and Broadway, concluding with a nice Moss Hart medley.

One of the surprising aspects of the concert was the number of obscure tunes stored in one’s memory bank, never to be recovered until hearing them again many years later. All of the melodies, however, were accompanied by a strong, rhythmical left hand, with melodies and ornaments in the right. While exciting at first, the combination eventually becomes predictable. It has the added disadvantage of blurring the effect of syncopation and leaving no room for error in the embellishments. In Chopin, a rubato style leaves plenty of room for flourishes. With a strict rhythmical style, the slightest change in tempo, to accommodate grace notes and appoggiaturas, becomes glaringly obvious.

Swanson is young and personable, and it is to be hoped that he wiill follow James Scott’s advice: “Don’t Jazz Me—I’m Music,” the title of one of his later Rags.

It will be interesting on Sept. 30 to compare what Richard Dowling does with Joplin in his “Great Scott” recital at Studzinski Hall.

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

Salt Bay Chamberfest Shares the Madness

Salt Bay Chamberfest
Darrows Barn, Damariscotta
Aug. 8, 2017
by Christopher Hyde

The opening concert of the Salt Bay Chamberfest, before an over-flow crowd Tuesday night at Darrows Barn, continued its tradition of making unusual works not only accessible but enjoyable.

The evening started out with the most avant of the avant garde— two works for solo violin played by virtuoso Jennifer Koh. “Moto Perpetuo,” by David Ludwig, was commissioned by Koh as part of her “Shared Madness” series, now up to 34 pieces that explore the most far-out possibilities of the violin.

She began with a shorter work from the same “Madness” series, “Kinski Paganini,” by Missy Mazzoli, that references Paganini’s 24th Caprice and the film “Paganini” by Klaus KInsky, as inspired by the Devil as the violinist.

If that work was wild, the perpetual motion piece was even further out, with a series of variations interrupted by shrieks, sul ponte hollow sounds, and col legno (playing on the wood), that sounds like crumpling paper. I don’t think Paganini could have played it, Devil or not. The audience loved it.

The shift in mood to mezzo-soprano Kate Aldrich, with pianist Thomas Sauer, was not as radical as it might have been, since she began with “Riedi al soglio” from Rossini’s “Zelmira,” an aria that requires as much virtuosity to sing as a Paganini Caprice does to play.

Aldrich is a soprano on the verge of greatness, if not already there, and her aria was spectacular. For emotional intensity, however, I preferred the four Strauss songs that followed. I know enough German to appreciate the dark poetry of love and loss that the songs portray, but merely the variations in tone and phrasing were enough to bring tears to your eyes. I want to hear Aldrich in “Der Rosenkavalier.”

Sauer did not so much as accompany the singer as collaborate with her in creating dramatic scenes. HIs dynamic range and tempi were a perfect match for Aldrich’s sensitive portrayals.

Sauer demonstrated another sort of technical fireworks and endurance in the final work on the program, the Piano Quartet No. 2 in G minor, Op. 45, of Gabriel Fauré. The turbulent and virtually unceasing piano part often seems as if the composer feared being penalized for a rest.

The quartet is a strange work indeed, Fauré has been called the Brahms of France, but I think he is closer to Max Reger, flirting with atonality but never quite taking the leap. It also owes a great deal to the composer’s friend St.Saens, who showed how much life remained in “old fashioned” forms.

In spite of the continuous presence of the piano, it blended surprisingly well with the strings—Koh on violin, Cynthia Phelps, viola, and festival founder Wilhelmina Smith, cello— producing harmonies that could belong only to Fauré.

The quartet ends with a glorious waltz that doesn’t climax, but simply ends when the composer decides that it’s gone on long enough. It earned a long and boisterous standing ovation.

Future concerts of the Chamberfest will take place on Tuesdays and Fridays until August 18. For information see www.saltbaychamberfest.org.

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

The Best and the Brightest at Bowdoin

Bowdoin International Music Festival
Studzinski Recital Hall
July 31, 2017
by Christopher Hyde

The Ying Brothers’ strategy of presenting some of the world’s finest string quartets (including their own) at the Bowdoin International Music Festival, seems to be paying off. The Monday night concerts, at which most of the groups appear, have been sold out for weeks.

When I was a student, I was advised that string quartets were the highest form of music, enjoyed only by the cognoscenti. Maine seems to have a lot of cognoscenti, since I heard another quartet, at the Sebago-Long Lake Music Festival, play the Schumann Piano Quintet in E-flat Major, Op. 44, which concluded Monday’s program, just a week before.

Last night’s performance, by the Borromeo String Quartet, saw Studzinski Hall so full that ranks of students were seated on both sides of the stage, as at an old Vladimir Horowitz concert.

I did not care for the quartet’s use of glowing lap-top computer scores, but that is merely the personal prejudice of a confirmed Luddite.

The first notes of the Mendelssohn String Quartet No. 2 in A Minor, Op. 13, proclaimed that the audience was in the presence of something special. The harmony of four instruments, each with its own timbre, was so startlingly clear and precise that one could have listened to that chord for the entire evening.

Fortunately, that time warp did not happen, but the familiar score took on new meaning, with an emphasis on polyphony, and other characteristics of the late Beethoven, that influenced the young composer—right down to infuriating false cadences. The quiet ending held the audience spellbound for a moment before the first applause. (Or were they expecting another fake ending?)

My favorite of the evening was the String Quartet No. 1 (“Metamorphoses Nocturnes”) by Györgi Ligeti,  a highly imaginative and resourceful work that requires the utmost virtuosity. Unlike the motifs in much “contemporary music,” the germ that generates all of the metamorphoses is easy to follow. Violinist Nicholas Kitchen referred to it as “slime crawling upwards,” and pointed out that, unlike Waldo, it is everywhere. It is also capable of generating some beautiful patterns, including a Viennese waltz. The work owes a great deal to Bartok’s Nocturnes, and surpasses them in some ways. The tricky polyrhythms and prestissimo passages seem virtually impossible, but the quartet did not miss a beat.

I must confess that I liked the Sebago-Long Lake version of the Schumann Quintet better than the Borromeo’s, which seemed almost too perfect. There were also some balance problems with the Steinway concert grand, played by Pei-Shan Lee, which might have been solved by a lid partially closed.

The last two movements were more exciting. In the third,  Lee seems to have said the hell with it, it’s a piano concerto, and in the fourth the quartet let their hair down and made a real contest of it. The result was the loudest and most prolonged standing ovation I’ve seen at Studzinski Hall.

The final concerts of the Festival, excluding those of the Young Artists series, will be on Wednesday, Aug. 2, at Studzinski Hall, and Friday, Aug. 4, at Crooker Theater. The latter will feature the Beethoven “Emperor” Concerto, with Joseph Kalichstein as pianist and conductor.

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

Opera Maine Presents “La Traviata” Tonight and Friday

Preview of “La Traviata”
July 26. 2017
By Christopher Hyde

If you want to hear some of Verdi’s most lushly Romantic music, featured on most collections of greatest opera hits, there are still a few tickets left for tonight’s and Friday’s performances of “La Traviata” by Opera Maine (formerly PORTopera).

The production, at Merrill Auditorium, is directed by Dona D. Vaughn, with orchestra conducted by Stephen Lord. It features nationally known artists Maria Natale as Violetta and Mackenzie Whitney as Alfredo. Both are making their debut with Opera Maine, singing these leading roles for the first time.

The first performance of “La Traviata,” staged in modern dress (for 1853), was a disaster, because of the subject (which could be translated at “The Working Girl” by Joe Green), the staging and the disparity between the singers and their roles. A second try, set around 1700, was an instant success and “La Traviata” has remained one of the most popular operas of all time.

The Opera Maine production takes place in the 1930s, when Parisian drawing rooms were still elegant, and penicillin had not been invented. Where would tragic opera be without consumption?

The chorus is composed of Maine singers, under the direction of Robert Russell, and Lord considers it one of the best he has worked with.

Dona Vaughn is known for her fresh approach to operatic classics, and “La Traviata,” I’m sure, will be no exception. I’m looking forward to tonight.

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

Sebago-Long Lake Concerts Worth the Drive

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 classbeat@netscape.net.

Bowdoin Festival Friday Concert Enthralls a Sold-Out Audience

Bowdoin International Music Festival
Crooker Theater
July 14, 2017
by Christopher Hyde

Every time a pundit bemoans the decline or death of classical music, all one need do is think of the Bowdoin International Music Festival, which is now attracting larger audiences than at any time in its history, including many sold out concerts. Maybe classical music is getting too popular. Florence at the height of the Renaissance had a population of about 35,000.

Friday night’s SRO concert at Crooker Theater is just one example. Admittedly, it offered rock-star level violinist Anne Akiko Meyers in the Mendelssohn violin concerto, but the enthusiasm for every work on the program was infectious. When was the last time a contemporary composer, (Jennifer Higdon), received a standing ovation?

The program began with an entertainment by Mozart, his Oboe Quartet in F Major, K. 370, brilliantly executed by James Austin Smith, oboe, Kurt Sassmanhaus, violin, SoHui Yun, viola,, and Ahrin Kim, cello. I use the word “entertainment” advisedly, because the quartet, written for an oboe virtuoso, is a display piece, without much depth. Mozart treats the oboe as a sort of super violin, neglecting the instrument’s primary attraction—its reedy tonal quality.

“Light Refracted,” by Jennifer Higdon (b. 1962), scored for clarinet, violin, viola, cello and piano, is a more introspective work in two movements, “Inward” and “Outward,” that could be a meditation on Shelly’s line:: “Life, like a dome of many-colored glass, stains the white radiance of eternity.”

It begins with a pianissimo clarinet solo, evocative of a light ray from a high window, illuminating dust motes in its path. It goes on, in a relatively passive vein, exploring the ways light affects emotion.
The second movement, ferocious and rhythmical, seems more like the sparkle of a diamond, or a dancehall mirror ball. The audience loved it, and gave the musicians and the composer several curtain calls.

The piece de resistance, of course, was the Mendelssohn Violin Concerto in E Minor, Op. 64, with Meyers and the Festival Orchestra, conducted by Angel Gil-Ordóñez.

The Festival Orchestra, of students and faculty, just continues to get better. In this performance it was indistinguishable from a professional ensemble that has played together for years. There was a reversal of the usual balance problems, with the conductor having to turn down the volume to avoid drowning out the soloist.
Meyers was technically and emotionally superb, like a great actress who forces an audience to listen to every word by subtle modulations of a quiet voice. It enthralled the audience at Crooker, which leaped to its feet after the final note. I was brought up on a more heroic approach, but that is just a matter of personal taste.

There was no encore, in spite of repeated curtain calls. Hooray, hooray!

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

DaPonte at Top Form in “More for Four”

DaPonte String Quartet
Unitarian Universalist Church, Brunswick
July 11, 2017
by Christopher Hyde

Most classical music programs take the form of a sandwich. One “difficult” or contemporary work, squeezed between two audience favorites. The DaPonte String Quartet’s concert Tuesday at the Unitarian Universalist Church in Brunswick, was more of the open-face variety, beginning with a devastating “Four for Tango,” by Argentine composer Astor Piazzolla—black as midnight in Buenos Aires and twice as dangerous.

It never ceases to amaze me how much dissonance can be carried on the broad shoulders of the tango, without missing a beat. Everything seems normal, including shrieks on the violins that sound like gauchos sharpening their knives. Every good performance of Piazzolla—and this was one of the best—contains a black hole of violence and despair. “Four for Tango” ends in a knife fight. Absolutely gorgeous.

If one needed further evidence that the DaPonte was in its best form, it was given by the next rendition, of Samuel Barber’s famous Adagio from the String Quartet No. 1. The long, drawn-out increase in intensity built to an almost unbearable level before an abrupt transition to the tranquility of the opening—all with the same richness of texture that one has come to expect in the better-known orchestral version.

It was followed by a delightful series of musical one-liners, “Microcosms,” by John Heiss, narrated by violinist Lydia Forbes. The short jokes range from major and minor seconds “rubbing together” in “Clustered,” to a crazy waltz in “Stuck” to aleatoric shenanigans in “Free.” How can one dislike a composer who writes a fantasy on Schoenberg’s “Pierrot Lunaire”? (In the concluding “Homeward Bound”).The audience thoroughly enjoyed it.

Speaking of crazy waltzes, the DaPonte presented another example in a magnificent performance of Beethoven’s String Quartet No. 7 in F Major, Op. 59 No. 1, as quirky in its own way as the Heiss piece.
It came in the second movement, Allegretto vivace e sempre scherzando in B-llat major, which really is a joke, unlike many scherzi, which take themselves seriously. In the midst of persistent and strangely rhythmical motif in repeated notes comes a strange little tune that is the height of vulgarity and very hard to get out of one’s head.

The scherzo is followed by a seriously melodic adagio, with some appealing cello and violin solos, leading suddenly to series of variations on a Russian theme (sounds like our MSM) insisted upon by the sponsor of Opus 59, the Russian ambassador Count Rasumowsky.

The Count certainly got his money’s worth. Every time one expects the ending chords there comes another take on the “Russian” theme, which I believe was actually invented by Beethoven. Just when the audience thinks it can’ t stand another false cadence, the work comes to an abrupt end—in this case leading to a standing ovation.

The program will be repeated on July 13 at 7:00 p.m. in the Burnt Cove Church community center in Stonington and on July 18, at 7:30 p.m. at the Maine Jewish Museum in Portland.

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

St. Mary Schola Offers a Believable Orpheus

St. Mary Schola
Cathedral Church of St. Luke
June 13, 2017
by Christopher Hyde

Quick, name an opera with a happy ending. Against the parade of those one knows will end badly, I can think immediately only of “Der Freischutz” and Gluck’s “Orpheo ed Euridice.” The former ends with the hero undergoing a year of probation, and the latter with a dance in the temple of love, after a deus ex machina, Amore, reverses the tragedy.

The excerpts from “Orpheo,” performed Tuesday night by St. Mary Schola at St. Luke’s, fulfilled Mark Twain’s dream of an opera composed entirely of the parts you have to wait too long for: Orpheus’ journey to Hell, his charming of the vengeful spirits, his rescue and loss of Eurydice, and the reuniting of the lovers by Amore, plus nymphs and shepherds at the end.

(Someday, when I figure out the mechanics of it, I’m going to post the dawn serenade of our Airedale and his Golden Doodle friend, which makes Gluck’s Cerberus music seem tame.)

All the sung parts, the chorus and the orchestra of period instruments, plus guest artist Virginia Flanagan on harp, were uniformly excellent, but the surprise of the evening was the voice of counter-tenor Christopher Garrepy, which suddenly made understandable the use of that range by Purcell and his contemporaries for heroic roles.

In Gluck’s scoring, the counter-tenor voice, as clear and resonant as a classic mezzo-soprano, but with a feeling of reserved power, is ravishing, taming the Furies like Daniel Webster’s oratory to the damned in Hell. His aria, “Che farò senza Euridice,” was worth the price of admission.

Garrepy was well supported by soprano Erin Chenard, a believably jealous Eurydice, and soprano Molly Harmon as a no-nonsense, take-no-prisoners Amore. The final dance-like stanzas by soloists and chorus in the Temple of Love were as delightful as Gluck meant them to be.

The first half of the program, though equally well presented, was not as satisfying to modern ears, although the scenes of dancing around the Maypole, and some risqué verses, were often charming. I find the part singing of Morley, Dowland and their contemporaries on the continent a bit puzzling. The polyphony is intricate but it has no nodes—points were the vocal lines converge into harmonic chords. The melodies are not the sort one goes home whistling.

That the disconnect is the fault of the modern ear was borne out by the increasing sense of familiarity with time, in works by Purcell and Monteverdi. The latter contends with Gluck as the inventor of modern opera, and his dance music in “Il Ballo” is equally good.

The final concert of the St. Mary Schola Spring Series, “A Musical Banquet,” will be 7:30 p.m., June 16, at the Cathedral of the Immaculate Conception in Portland, It should not be missed.

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

Concertos and Brandenburg Concertos

Concertos and Brandenburg Concertos
Portland Bach Festival
June 17-25, 2017
by Christopher Hyde

I don’t know which of Bach’s Brandenburg Concertos are most popular, but my favorites are No. 5, with its virtuoso keyboard passages, played at last year’s Portland Bach Festival by Arthur Haas on the harpsichord, and No 2, with its rousing piccolo trumpet part, to be performed this year on June 18 at St. Mary’s Church in Falmouth by John Thiessen.

Thiessen is noted for his virtuosity on this instrument, and the No. 2, with returning Festival artists, should be as outstanding as No. 5.

Haas will be returning as well, in the Vivaldi Flute Concerto in D Minor, with Emi Ferguson, flute, June 22 at Etz Chaim Synagog, and the Bach Harpsichord Concerto in D Major (BWV 1067) in the Sanctuary at St. Luke’s on June 23. He will appear in a number of other concerts, since  harpsichord continuo is virtually a necessity for baroque music, plus participating in a post concert lecture at Etz Chaim.

If the Brandenburg Concerto No. 3 in G Major (BWV 1048) is your cup of tea, you can hear that one too at St. Luke’s, plus the Orchestral Suite No. 2 in B Minor (BWV 1067), and the Motet “Jesu meine Freude” (BWV 227) by the Oratorio Chorale and soloists under Emily Isaacson.

The penultimate concert, June 24 at St. Luke’s,  promises to be something entirely different, featuring works that influenced Bach and others that were influenced by him, including a trio sonata by CPE Bach, the Vivaldi “Winter” Concerto and a Ligeti viola sonata.

The final work of the Festival will be the Cantata “Jauchzet Gott in allen Landen” (BWV 51) with soprano Sherezade Panthaki, whom Festival founder Lewis Kaplan calls “the greatest baroque soprano I have ever heard.” Be sure to hear her and soprano Jolle Greenleaf in the François Couperin “ Troisième Leçon à deux voix“ at the “Before and After” concert.

Cellist Beiliang Zhu will once again be playing an Amati lent to her by Florian Leonhard Fine Violins, who will also be binging other famous baroque instruments for display at the Bach and Beer event on June 19.

For further details of concerts and events, visit www.portlandbachfestival.org.

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