Tag Archives: Ligeti

The Best and the Brightest at Bowdoin

Bowdoin International Music Festival
Studzinski Recital Hall
July 31, 2017
by Christopher Hyde

The Ying Brothers’ strategy of presenting some of the world’s finest string quartets (including their own) at the Bowdoin International Music Festival, seems to be paying off. The Monday night concerts, at which most of the groups appear, have been sold out for weeks.

When I was a student, I was advised that string quartets were the highest form of music, enjoyed only by the cognoscenti. Maine seems to have a lot of cognoscenti, since I heard another quartet, at the Sebago-Long Lake Music Festival, play the Schumann Piano Quintet in E-flat Major, Op. 44, which concluded Monday’s program, just a week before.

Last night’s performance, by the Borromeo String Quartet, saw Studzinski Hall so full that ranks of students were seated on both sides of the stage, as at an old Vladimir Horowitz concert.

I did not care for the quartet’s use of glowing lap-top computer scores, but that is merely the personal prejudice of a confirmed Luddite.

The first notes of the Mendelssohn String Quartet No. 2 in A Minor, Op. 13, proclaimed that the audience was in the presence of something special. The harmony of four instruments, each with its own timbre, was so startlingly clear and precise that one could have listened to that chord for the entire evening.

Fortunately, that time warp did not happen, but the familiar score took on new meaning, with an emphasis on polyphony, and other characteristics of the late Beethoven, that influenced the young composer—right down to infuriating false cadences. The quiet ending held the audience spellbound for a moment before the first applause. (Or were they expecting another fake ending?)

My favorite of the evening was the String Quartet No. 1 (“Metamorphoses Nocturnes”) by Györgi Ligeti,  a highly imaginative and resourceful work that requires the utmost virtuosity. Unlike the motifs in much “contemporary music,” the germ that generates all of the metamorphoses is easy to follow. Violinist Nicholas Kitchen referred to it as “slime crawling upwards,” and pointed out that, unlike Waldo, it is everywhere. It is also capable of generating some beautiful patterns, including a Viennese waltz. The work owes a great deal to Bartok’s Nocturnes, and surpasses them in some ways. The tricky polyrhythms and prestissimo passages seem virtually impossible, but the quartet did not miss a beat.

I must confess that I liked the Sebago-Long Lake version of the Schumann Quintet better than the Borromeo’s, which seemed almost too perfect. There were also some balance problems with the Steinway concert grand, played by Pei-Shan Lee, which might have been solved by a lid partially closed.

The last two movements were more exciting. In the third,  Lee seems to have said the hell with it, it’s a piano concerto, and in the fourth the quartet let their hair down and made a real contest of it. The result was the loudest and most prolonged standing ovation I’ve seen at Studzinski Hall.

The final concerts of the Festival, excluding those of the Young Artists series, will be on Wednesday, Aug. 2, at Studzinski Hall, and Friday, Aug. 4, at Crooker Theater. The latter will feature the Beethoven “Emperor” Concerto, with Joseph Kalichstein as pianist and conductor.

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

Concertos and Brandenburg Concertos

Concertos and Brandenburg Concertos
Portland Bach Festival
June 17-25, 2017
by Christopher Hyde

I don’t know which of Bach’s Brandenburg Concertos are most popular, but my favorites are No. 5, with its virtuoso keyboard passages, played at last year’s Portland Bach Festival by Arthur Haas on the harpsichord, and No 2, with its rousing piccolo trumpet part, to be performed this year on June 18 at St. Mary’s Church in Falmouth by John Thiessen.

Thiessen is noted for his virtuosity on this instrument, and the No. 2, with returning Festival artists, should be as outstanding as No. 5.

Haas will be returning as well, in the Vivaldi Flute Concerto in D Minor, with Emi Ferguson, flute, June 22 at Etz Chaim Synagog, and the Bach Harpsichord Concerto in D Major (BWV 1067) in the Sanctuary at St. Luke’s on June 23. He will appear in a number of other concerts, since  harpsichord continuo is virtually a necessity for baroque music, plus participating in a post concert lecture at Etz Chaim.

If the Brandenburg Concerto No. 3 in G Major (BWV 1048) is your cup of tea, you can hear that one too at St. Luke’s, plus the Orchestral Suite No. 2 in B Minor (BWV 1067), and the Motet “Jesu meine Freude” (BWV 227) by the Oratorio Chorale and soloists under Emily Isaacson.

The penultimate concert, June 24 at St. Luke’s,  promises to be something entirely different, featuring works that influenced Bach and others that were influenced by him, including a trio sonata by CPE Bach, the Vivaldi “Winter” Concerto and a Ligeti viola sonata.

The final work of the Festival will be the Cantata “Jauchzet Gott in allen Landen” (BWV 51) with soprano Sherezade Panthaki, whom Festival founder Lewis Kaplan calls “the greatest baroque soprano I have ever heard.” Be sure to hear her and soprano Jolle Greenleaf in the François Couperin “ Troisième Leçon à deux voix“ at the “Before and After” concert.

Cellist Beiliang Zhu will once again be playing an Amati lent to her by Florian Leonhard Fine Violins, who will also be binging other famous baroque instruments for display at the Bach and Beer event on June 19.

For further details of concerts and events, visit www.portlandbachfestival.org.

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