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First Day of Bowdoin Klavierfest Will Honor Elliott Schwartz

The first day of Bowdoin’s annual Klavierfest, Friday, Feb. 19, 7:30 p.m. at Studzinski Recital Hall, will be devoted to the piano music of Bowdoin composer emeritus Elliott Schwartz, in honor of his 80th birthday.

It will include works from several phases of his career, plus (it is hoped) a performance by the composer of his “Hearing David,” for piano and electronic sounds. Written in memory of David Gamper, it includes sounds that he originally taped on one of the early synthesizers, Schwartz said in a telephone interview.

The program was compiled in cooperation with pianist George Lopez, Bowdoin artist in residence, and includes Lopez, Kimberly Lehmann, viola, Chiharu Naruse, piano, John McDonald, piano,, and Maria Wagner, clarinet.

The first work of the evening is also the earliest, composed around 1963-64, when Schwartz was experimenting with 12-tone techniques. His idea for the Suite for Viola and Piano, to be played by Lehmann and Naruse, involved making serial music sound tonal. “It does sound rather traditional,” he said.

The suite will be followed by “Four Maine Haiku,” written for pianist Kazuko Tonosaki and played on Friday by George Lopez. The four short pieces, each completely different in mood, include 17 measures each, the number of syllables in a Japanese Haiku.

After an on-stage interview of the composer by Lopez, the pianist will serve as assistant to McDonald in a performance of “Memorabilia,” a work that Schwartz calls “very theatrical,” in which the assistant may drum on the wood of the piano, play the inside strings or perform other movements to accompany the pianist. Lopez may assist with a toy piano, Schwartz said.

“Hearing David” will be the final work before intermission.

“The Seven Seasons,” for solo piano, written in 2007-2009 for Katie Cushing, will start the second half of the program. Played by Naruse, it consists of short pieces designed to aid in teaching modern piano techniques, such as playing with the fingers on the inside strings.

The next work,”Blossoms and Cannons,” for piano and recorded sounds, was written in 2010 to celebrate the 200th anniversaries of Chopin and Schumann. The title is based on a Schumann quote about Chopin, “It’s a time warp,” Schwartz said. McDonald, at the piano, will play against recorded quotations from both composers’ music, plus verbal quotes from Clara Schumann and George Sand (Chopin’s lover).

“Blossoms…” will be followed by a second interview, and the program will conclude with “Souvenir,” for clarinet and piano, with Lopez and Wagner. The work, written in 1978, is improvisational, with each musician responding to the other. At one point, if I recall correctly, the clarinetist places the instrument on the sounding board of the piano to achieve an unusual timbre.

Schwartz is also at work on a string quartet, in memory of his late wife, Deedee, Because of health reasons, he has shortened the work to two movements, played without pause, and based on her favorite music, combined with themes developed from the letters of her name and significant dates in her life. The work will be premiered in London on April 21, he said.