Bowdoin International Music Festival
Crooker Auditorium of Brunswick High School
In a review of the Portland String Quartet last month I mentioned liking their variations on the Shaker Hymn “Simple Gifts,” better than Aaron Copland’s in “Appalachian Spring.” I was wrong.
The original version of “Appalachian Spring,” for 13 instruments, as played Friday night at the final Festival Friday concert of the Bowdoin International Music Festival, was a revelation, clear as spring water, perfectly balanced and showing off Copland’s genius in a way that muddy orchestrations never could.
Robert Moody, music director of the Portland Symphony Orchestra, conducted selected virtuosi from the festival in a performance that was simply stunning, from beginning to end. “Appalachian Spring,” still sounds like “Oklahoma,” but there’s nothing wrong with that.
As for the variations on “Simple Gifts,” their inventiveness was remarkable, and the combinations of instrumental timbre far beyond what can be accomplished by a string quartet. Copland has a way of making the grand piano an orchestral instrument that is rare indeed.
As the final work of a successful festival, it was a brilliant send-off indeed.
The Tchaikovsky pieces that preceded it, with violin soloist Jennifer Koh, were also crowd pleasers, but more in the nature of salon music than national icons.
Too many generations of violinists have sawed their way through the “Souvenir d’un Lieu Cher,” Op. 42, and the often paired Serenade Melancolique (Op. 26) and Valse Scherzo (Op. 34) for anything new to be said, but it was good to hear the first three pieces as a set, Tchaikovsky’s original intention.
Jennifer Koh, who has been heard quite often in Maine, is a fine violinist, and made the most of both the romantic and the virtuoso passages, earning a standing ovation. Moody encouraged the Bowdoin Festival Orchestra, which sounds more professional each year.
I had expected more from Kevin Buts’ “Seascapes” (2013) which opened the program. Maybe it’s my literary background, but there are much better written words about the sea than the seven passages he chose to illustrate musically. Perhaps that accounts for the score’s lack of inspiration.
They were given a careful and tender reading by a chamber orchestra of Janet Sung, violin, Caroline Coade, viola, David Requiro, cello, Kurt Muroki, double bass, Tao Lin, piano, Beomjae Kim, flute, and Josh Thompson, horn.
The work came alive quite often, especially in the fourth movement: “Out of the darkness…jets of sparks in fountains of blue come leaping” by D.H. Lawrence, but the excitement couldn’t be sustained. I also liked the sustained chords and bass line of Virginia Woolfe’s “So fine was the morning except for a streak of wind here and there that the sea and sky looked all of one fabric.”
Still, I couldn’t help but think of Vincent Persichetti’s “Poems for Piano,” which attempts the same thing, with considerably more success.