Tag Archives: Bowdoin International Music Festival

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.

Bowdoin Festival’s Piazzolla Doesn’t Bite

Bowdoin International Music Festival
Wednesday Upbeat! concert
Studzinski Hall
July 20, 2016
by Christopher Hyde

Throughout my career as a critic, I have advanced the idea that performance is all when it comes to classical music. Perhaps I should also have pointed out that it is a necessary but not sufficient condition. Arturo Michelangeli can make the Rachmaninoff Piano Concerto No. 1 sound good, but even he might fail with a lesser work.

I attended the Wednesday Upbeat! concert at Studzinski Hall primarily to hear Astor Piazzolla’s “L’histoire du Tango,” written around 1980. It portrays the evolution of the tango from the bordellos of Buenos Aires through cafes and night clubs to the concert hall. It does exactly that but is more satisfying in an historical than a musical sense
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The work was originally written for guitar and flute, but on Wednesday was transcribed for violin and marimba, played by Susie Park and Luke Rinderknecht respectively.

Maybe Piazzolla was getting old, or maybe he wanted his history sanitized for music students, but each tango in the set of four lacks the bite of his earlier work. A true Piazzolla tango is full of dark passion with a black hole of nihilism in its center, around which the dance revolves.

The history is, well, pretty, and never catches fire until it is almost over, with tributes to Bartok and Stravinsky.

Park and Rinderknecht played the transcription very well, but the violin cannot imitate the timbre of the flute, and a little bit of marimba goes a long way. The latter iinstrument is incapable of despair, in which the guitar is right at home.

The high point of the concert was its beginning– the Beethoven Sextet in E-flat Major, Opus 81b, which is not a sextet at all, but a concerto for two French horns, in the style of Mozart. It is indeed written for six instruments, but the strings, for the most part, accompany the horns, played with virtuosity by Stewart Rose and his student at the Festival, Jason Friedman. The two made an outstanding pair.

The final work on the program was the Schumann Piano Trio No. 3 in G Minor, Opus 110. also known as “no rests for the weary” or “the forsaken fermata.” The piece is so densely written, in a waterfall of notes, without a single empty space, that it soon became tiring, in spite of the best efforts of Nelson Lee, violin, Rosemary Elliott, cello and Elinor Freer, piano.

The piece is so driven in nature that it appears symptomatic of the mental illness that would soon claim its composer. It has redeeming features, however, such as echoes of the humorous but triumphant march of the Davidsbundler. It received a standing ovation from the near-capacity audience.

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