Tag Archives: Wilhelmina Smith

Salt Bay Chamberfest Shares the Madness

Salt Bay Chamberfest
Darrows Barn, Damariscotta
Aug. 8, 2017
by Christopher Hyde

The opening concert of the Salt Bay Chamberfest, before an over-flow crowd Tuesday night at Darrows Barn, continued its tradition of making unusual works not only accessible but enjoyable.

The evening started out with the most avant of the avant garde— two works for solo violin played by virtuoso Jennifer Koh. “Moto Perpetuo,” by David Ludwig, was commissioned by Koh as part of her “Shared Madness” series, now up to 34 pieces that explore the most far-out possibilities of the violin.

She began with a shorter work from the same “Madness” series, “Kinski Paganini,” by Missy Mazzoli, that references Paganini’s 24th Caprice and the film “Paganini” by Klaus KInsky, as inspired by the Devil as the violinist.

If that work was wild, the perpetual motion piece was even further out, with a series of variations interrupted by shrieks, sul ponte hollow sounds, and col legno (playing on the wood), that sounds like crumpling paper. I don’t think Paganini could have played it, Devil or not. The audience loved it.

The shift in mood to mezzo-soprano Kate Aldrich, with pianist Thomas Sauer, was not as radical as it might have been, since she began with “Riedi al soglio” from Rossini’s “Zelmira,” an aria that requires as much virtuosity to sing as a Paganini Caprice does to play.

Aldrich is a soprano on the verge of greatness, if not already there, and her aria was spectacular. For emotional intensity, however, I preferred the four Strauss songs that followed. I know enough German to appreciate the dark poetry of love and loss that the songs portray, but merely the variations in tone and phrasing were enough to bring tears to your eyes. I want to hear Aldrich in “Der Rosenkavalier.”

Sauer did not so much as accompany the singer as collaborate with her in creating dramatic scenes. HIs dynamic range and tempi were a perfect match for Aldrich’s sensitive portrayals.

Sauer demonstrated another sort of technical fireworks and endurance in the final work on the program, the Piano Quartet No. 2 in G minor, Op. 45, of Gabriel Fauré. The turbulent and virtually unceasing piano part often seems as if the composer feared being penalized for a rest.

The quartet is a strange work indeed, Fauré has been called the Brahms of France, but I think he is closer to Max Reger, flirting with atonality but never quite taking the leap. It also owes a great deal to the composer’s friend St.Saens, who showed how much life remained in “old fashioned” forms.

In spite of the continuous presence of the piano, it blended surprisingly well with the strings—Koh on violin, Cynthia Phelps, viola, and festival founder Wilhelmina Smith, cello— producing harmonies that could belong only to Fauré.

The quartet ends with a glorious waltz that doesn’t climax, but simply ends when the composer decides that it’s gone on long enough. It earned a long and boisterous standing ovation.

Future concerts of the Chamberfest will take place on Tuesdays and Fridays until August 18. For information see www.saltbaychamberfest.org.

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

Salt Bay Chamberfest: Then and Now

Salt Bay Chamberfest
Darrows Barn, Round Top Center, Damariscotta
Aug. 12, 2016

“If you build it, they will come.” Twenty two years ago, when I first reviewed a concert at the Salt Bay Chamberfest, the founder. cellist Wilhelmina Smith, was happy to have Darrows Barn half filled. But word gets around. On Friday, in spite of a heat wave, it was standing room only, and that is now typical.

The secret is quite simple—-everyone is satisfied with the best. The festival offers the finest in classical and contemporary music, played by outstanding musicians who devote just as much attention, and affection, to new music as to the classics.

Imaginative programming doesn’t hurt either. On Friday, Haydn’s last quartet (Opus 103) was paired with the early Brahms Sextet for Strings in B-flat, Opus 18. In the middle was some quite fiendish new music by Marc Neikrug (b. 1946), Philip Glass, (b. 1937), Zosha Di Castri (b.1985) and Julia Wolfe (b. 1958). The audience loved it all.

I had visions of Haydn spending his last days playing his favorite tune, the Kaiser Hymn. Instead, he was occupied with a final string quartet, the form that he practically invented and passed on to Mozart and Beethoven. What Opus 103 lacked in cheerfulness it made up in invention. An unusual amount of chromaticism led to unexpected developments. Only two movements were completed, but they show that the old dog could still learn new tricks.

The composers mentioned above were each commissioned by violinist Jennifer Koh, a Chamberfest regular, as part of a project she calls “Shared Madness.” It was. I won’t describe each of these short works, but all explored some aspect of contemporary virtuosity, pushing the violin to extremes, but without resorting to ancillary devices such as drumming on the wood.

One bow-shredding piece came close to being impossible, a melody played on one string while a second produced a sort of growling wolf note. Another explored overtones in registers at the limit of human hearing. One hopes that Koh will soon have enough madness in her collection to produce a CD.

Before intermission came the premiere of a new work by Marc Neikrug, entitled “Ruminations,” commissioned by the Chamberfest. As lovingly rendered by a string trio of Jennifer Koh, violin, Hsin-Yun Huang, viola, and Wilhelmina Smith, cello, it is one of the few “modern” works that appeals to the senses on first hearing. Going by the title, it seems composed of random musical thoughts that eventual;lay coalesce, like clouds into a tornado or leaves into a tree (depending on your mood). The process is satisfying, musically and intellectually.

There was nothing unexpected about the Brahms Sextet, except perhaps for its genius. The young Brahms knows exactly where he’s going with every theme and its development, all of which seems ineveitable— once you hear it. One could see the musicians smiling as the drama unfolded, now in its predictably glorious way. One thing the youthful Brahms has over Mendelssohn at the same period in his life; he is not afraid of being obvious.

There’s more to come at Salt Bay, August 16 and Aug.19. The latter concert includes the (very) early Mendelssohn Piano Quartet in B Minor, Op. 3.

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