Tag Archives: Milhaud

Never a Dull Moment in Dual Piano Concert

Dual Pianists Igor Lovchinsky and Matthew Graybil
Franco Center, Lewiston
Dec. 1, 2017
by Christopher Hyde

The final Piano Series concert of 2017, Friday at the Franco Center in Lewiston, was also one of the most entertaining and unusual.  Igor Lovchinsky and Martin Graybil performed works for two pianos as well as individual solos, without a dull moment in a well-diversified program.

They began with the original two-piano version of Ravel’s “Mother Goose Suite,” which is not heard often enough in this form. The composer wrote it for a friend’s two precocious children and it is not merely brilliant technically, but also a masterpiece of musical description. The pianists seemed to enjoy the glissandos and other fireworks of “The Fairy Garden” as much as the children must have, and the dialog between Beauty and the Beast was characterized perfectly.

Graybil’s turn as soloist was devoted to three movements of a piano version of “Petrushka,” which Stravinsky wrote for Arthur Rubinstein.  Stravinsky, like Bartok, regarded the piano as a percussion instrument and his transcription shows it, with fiendishly difficult rhythmical patterns. It also incorporates the composer’s most recognizable melodies while evoking the atmosphere of the most popular scenes of the ballet. Graybil realized it all perfectly, topping it off with a cooliing draft of Chopin—the Nocturne in B Major, Op. 62, No. 1—that illustrated his melodic as well as rhythmical gifts.

The first half of the program concluded with the Waltz from Anton Arensky’s Suite for Two Pianos (No. 1 in F Major, Op. 15), a glorious period piece with as many soaring decorations as a piece of baroque furniture, all of which were executed with appropriate grace and not the slightest hint of condescension.

After crepes and wine in the Center’s reception room, the program resumed with solos by Lovchinsky, beginning with an understated (for him) transcription of Bach’s “Nun Komm, der Heiden Heiland” by Ferruccio Busoni. That was followed by a Chopin Mazurka in A Minor, Op. 17, No. 4 and the famous Polonaise in A-flat Major, Op. 53.

Although it brought the audience to its feet, I found the tempo of the Polonaise a bit too fast for what is intended as a stately dance. The middle section, with its rapid pattern of descending octaves, should be a canter rather than a gallop.

My favorite of this segment was a Grand Fantasy on “Porgy and Bess” by pianist Earl Wild, based on “Summertime” and “There’s a boat dat’s leavin’ soon for New York.” It is a show-off piece for piano technique, but more important, it captures the character of Gershwin’s own improvisations.

The final work of the evening was a delightful “Scaramouche” for two pianos by Darius Milhaud (1892-1974), which ends in rousing samba. The encore, following a standing ovation, was a set of variations for two pianos on the “Dance of the Sugar Plum Fairy” from Tchaikovsky’s “The Nutcracker.”  Graybil said that it was written by a Cypriot pianist, Nicholas Economou, for himself and Martha Argerich.

The final concert of the 2017-2018 season will be on Mach 8, 2018, by Maine’s own Henry Kramer.

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

VentiCordi: Food for Thought

VentiCordi
Unitarian Universalist Church, Brunswick
Aug. 17, 2016
by Christopher Hyde

VentiCordi (Winds and Strings), is one of Maine’s hidden treasures. Founded by violinist Dean Stein and oboist Kathleen McNerney seven years ago, it is devoted to presenting the repertoire of chamber music written for winds and string instruments. In the process it uncovers a few masterpieces, some unknown works and some very strange ones. All are extremely well played by musicians who love them, and all are fascinating.

At the penultimate concert of the season —the last is tonight at South Congregational Church in Kennebunkport—they were joined by Bridget Convey, piano, Laura Jordan, percussion, and Gary Gorczyca, clarinet, in a selection of works that were primarily contemporary but always accessible. The opening piece, “Tangling Shadows” by Nathan Daughtrey, based on a poem by Pablo Neruda, was tonal, light and romantic. The duo of oboe, MacNerney, and vibraphone, Jordan, was a marriage made in heaven.

Lou Harrison (1917-2003) was an eccentric composer who studied with the equally iconoclastic Henry Cowell. His “Varied Trio,” for Violin, Piano and Percussion, is an eclectic romp that can be enjoyed by anyone. Its percussion effects, which include pitched rice bowls filled with water (not Sake), plucking on the piano strings and hypnotic drum patterns, were especially effective, and his “Rondeau in Honor of Fragonard” also honored Ravel, whose “Tombeau de Couperin” it rivals.

Even more unexpected was the Suite for Violin, Clarinet and Piano, Op. 157b, by Darius Milhaud (1892-1974) which has everything. The other day I disrespected the marimba as being incapable of tragedy. Its bass notes in the suite’s Divertissement proved me wrong, being lugubrious in the extreme, followed by a joyous fete in Jeu, and a totally jazzy Introduction and Final.

After intermission, the “Schilflieder” (Reed Songs) for oboe, viola and piano, of August Klughardt (1847-1902) sounded like Brahms after too many beers—sentimental, showing off gloriously obvious harmonies, and a florid piano accompaniment full of sturm und drang, giving Convey a real workout. It is easy to see why Klughardt was extremely popular in the last days of German Romanticism.

The composer, Stephen Michael Gryc, introduced his “Dream Vegetables” for voice, clarinet, violin and marimba, based on poems by Maggie Anderson, which depict not dreams OF vegetables, but BY vegetables, including exposure, falling, nightmare, insomnia, recurring and flying.

The poems are whimsical, and so are the sometimes minimalist settings, which nevertheless capture dream states unerringly. The bass marimba makes its appearance again in underground sequences. They were dramatically read by McNerney. In case you were wondering, it is the radishes who have insomnia, pacing up and down in their red and white pajamas.

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