Tag Archives: Faure

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.

A New Star in the Bowdoin Festival Heavens

Bowdoin International Music Festival
Festival Friday
Crooker Theater, Brunswick High School
July 15, 2016
by Christopher Hyde

Gabriela Lena Frank, whose “Tres Homenajes, Compadrazgo,” was performed Friday night at the Festival Friday concert of the Bowdoin International Music Festival, may be our new Bartok.

The work in question, three tributes to the Latin American spirit of brotherly love, inspired by ethnic Peruvian music, is a masterpiece. While it stems from the ethnomusicology of the composer, the folk motifs and rhythms are the starting point for inspired music in a distinctive and universal classical style. It is what Astor Piazzolla did for the Argentine tango, but carried to an even higher level and capable of being appreciated across cultural divides.

Its rapid, driving rhythms and abrupt changes of pitch and volume are a challenge for any group, but the Ying Quartet, and pianist Tao Lin, conquered its awesome chasms like mountain goats (if you’ll pardon the analogy.).

The three movements depict the windswept northern plains of Peru, a desolate island in Lake Titicaca and T’inku, a ritual combat between village heroes, now symbolic but previously a matter of life and death. (Both victor and vanquished share in the good harvest resulting from the conflict.)

While the composer’s images may have been her inspiration, listeners are free to imagine what they will. There are no overt references or musical imagery. The slow second movement, to me, would make a fantastic score for Pablo Neruda’s great poem about Machu Picchu.

Frank is a composer in residence at this year’s festival. They are fortunate indeed to have her.

If I were not exclaiming over Frank’s work, I would have begun with Robin Scott, first violinist of the Ying Quartet, who deserves some kind of Iron Man award. He appeared first in a charming rendition of Mozart’s Sinfonia Concertante in E-flat Major (K. 364/320d), with a virtuoso cadenza, then in the extremely difficult Frank work, and finally in Gabriel Faure’s Piano Quartet No. 1 in C minor (Op. 15).

The Fauré, while not exactly a lollipop, is a rich late-Romantic piece with delicious twilight harmonies and soothing melodies. The slow movement is said to depict an unhappy broken engagement to the daughter of famous singer-composer Pauline Viardot.

The official biography says no to the story, but the evidence is there for anyone with an ear to hear. (Some musicologist must have checked references to Viardot’s scores in the quartet.) In fact, the sweet cheat appears as a spirit in the Allegro Molto, like a fountain of light. Unfortunately Fauré doesn’t know what to do with her and cobbles together an ending with the piano, superbly played by Elinor Freer, as the lone hero.

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