Portland Chamber Music Festival
Hannaford Hall, Abromson Community Education Center
Thursday night’s concert of the Portland Chamber Music Festival at Hannaford Hall was a journey from the drawing room to the music school to the wide world.
The drawing room was represented by a work that Mozart wrote for performance by his friends, the Quartet in A Major, for Flute and Strings, K. 298, a charming piece based on popular tunes of the day, easy enough to be played by gifted amateurs.
It is a thoroughly charming and graceful gift, with the first violin of the typical string quartet replaced by the flute, played by Laura Gilbert.
It raises the question of traditional string quartet make-up. The flute, in the hands of a musician like Gilbert, would seem to offer more versatility and opportunity for contrast and tonal color than another violin, but the combination never caught on. The example of Haydn? The ubiquity of the fiddle? Someone has probably written a doctoral thesis on the subject.
Which brings us to the schoolroom and Debussy, who wrote his Premiere Rhapsody as a test piece for students of the clarinet. Debussy could not approach a five-finger exercise without making it into a musical jewel, and the Rhapsody is no exception.
Clarinet virtuoso Todd Palmer, one of the resident artists at this year’s festival, has arranged the piece for chamber orchestra of flute, harp, violins, viola, cello and bass. It sets off the clarinet solo very well, even though it sometimes sounds more like “La Mer” than an exercise.
Palmer also played a key role in the piece de resistance of the evening, “Ayre,” by Osvaldo Golijov (b. 1960), with the composer in the audience. Palmer played a bass clarinet duet with the French horn, one of the high points of the song cycle.
“Ayre” takes the notion of fusion a step further than other composers, adding the element of historical time to the juxtaposition of musical cultures. The result of combining Renaissance voices with Piazzolla’s Argentinian tango and Sephardic or Arabic styles, is passing strange, but always musical, while conveying moods from tender love to rage. Some of the effective taped backgrounds evoke scenes from the Arab Spring.
The 11-piece band, or orchestra, sounds like a suk on steroids, if readers will pardon the cliche. Everything seems risen from the level of Arabic street musicians to the stage at the Intergalactic Cafe. There is even a “hyper-accordion,” played by Jose Lezcano, that has the power of a reed organ and something of the character of Piazzolla’s beloved bandoneon. (Golijov was brought up in Argentina.)
I’ve saved the best, soprano Ilana Davidson, for last. Her voice is both powerful and melodious, a more rare combination than one might think, and her portrayal of moods in the 11 songs that make up “Ayre” gives the juxtapositions extraordinary power. She also has the vocal elisions of Sephardic and Arabic music down pat, as difficult a feat as singing the ornamentations in Handel.
Golijov shared in the well-deserved standing ovation.
The festival finale, ending in the Brahms Quintet in F minor, Op 34, will be on Saturday (Aug. 22) at 7:30 PM.