MEMETERIA by Thomas May

Music & the Arts

Exceptional Schumann from Beatrice Rana

Such a satisfying experience to hear Robert Schumann’s much-played Piano Concerto with Beatrice Rana as the soloist. It felt like a genuine rediscovery. The clip above is from the 2018 BBC Proms — and if you’re in Seattle this weekend, you have a chance to get the live experience, with Peter Oundjian conducting.
Thursday night’s performance was spellbinding from start to finish — the opening volley of chords precise and powerful, without any need for overstatement or attention-grabbing. Rana conveyed the secrets of Schumann’s work with poetry, sensitivity, honesty, and keen musical intelligence. The reduced size of the orchestral strings allowed for intimacy and transparent, chamber music-like dialogue, with the Seattle Symphony winds (especially Mary Lynch on oboe) providing eloquent exchanges.
The program also included a rich, full-bodied account of what was actually the last symphony by Schumann’s friend, Felix Mendelssohn, though we know it as the Third (“Scottish”). Oundjian built up the details of the slow introduction so carefully that everything else seemed to be spun out from its melancholy atmosphere.
A wonderful complement to the Schumann opened the program: Anna Clyne’s Within Her Arms, a single-movement piece for string orchestra from 2009. Clyne wrote it in memory of her recently deceased mother. She found inspiration in the words of Thich Nhat Hanh, the Vietnamese Buddhist monk and peace activist: “Earth will keep you tight within her arms dear one — / so that tomorrow you will be transformed into flowers — … Flowers that speak to me in silence,/the message of love and understanding has indeed come.”

This music with its understanding of loss and consolation really hit home for me: a loving elegy that never succumbs to the maudlin. A long-sustained bass line symbolizes the grounding of which the monk speaks, before a final, breath-taking release. Clyne taps into a neo-Renaissance sensibility, transforming the simple, descending ladder of notes of the core motif from a standard lamento into searing beauty.

Filed under: Anna Clyne, Mendelssohn, Schumann, Seattle Symphony

Happy Midsummer Eve

Filed under: holiday, Mendelssohn, Shakespeare

Gidon Kremer with Seattle Symphony

69544-gidon-kremer---paolo-pellegrin---magnum-photos-7

Gidon Kremer; © Paolo Pellegrin

My review of Gidon Kremer’s visit with Seattle Symphony:

It’s entirely characteristic of Gidon Kremer to choose a discovery piece rather than a surefire crowd-pleaser for what was a rare appearance in Seattle…

continue reading

Filed under: Gidon Kremer, Ludovic Morlot, Mendelssohn, review, Schumann, Seattle Symphony

Bach & the Mendelssohns: A Consideration by Byron Schenkman & Friends

img_5481

I was fortunate to be able to catch the season-opening program of Byron Schenkman & Friends — already in their 4th season! — at the end of an unusually packed weekend.

What a pleasurable way to regain focus: here was an intelligently programmed and charmingly presented concert that mixed masterworks with some fascinating novelties.

Most of all, it was filled with terrific music-making by colleagues whose enjoyment and passion drew the audience in. There’s always a feeling at a Byron Schenkman & Friends performance that it’s not merely about “presenting” a pre-packaged menu: it’s about sharing that experience as intimately as possible, drawing on the energy and involvement of the listeners — basically, in other words, the chamber music ideal.

Schenkman built his program around the ties that bind J.S. Bach and the Mendelssohn family — not only Felix, whose advocacy of the Thomas Cantor through his landmark revival of the St. Matthew Passion in 1829 is a famous  landmark of Bach reception, but older sister Fanny as well.

Schenkman pointed out that Fanny helped to prepare that performance of the St. Matthew Passion, and her reverence for Bach informed her own musical composition. While still in her cradle, he remarked, Fanny was lovingly described in a letter as wiggling what her prescient mother sensed were destined to be “Bach-fugue-playing fingers.”

The first half of the program was framed with tasteful accounts of Bach works as they may have been revived at a salon gathering chez Mendelssohn (say, while the siblings were growing up, or later, at Felix’s beautiful home in Leipzig).

With Schenkman at the keyboard (the Steinway typically used by Seattle Chamber Music Society for programs in Nordstrom Recital Hall, where the concert was held), Seattle Symphony principal violist Susan Gulkis Assadi played an arrangement for her instrument of the G major Sonata BWV 1027 that was redolent with color and expressivity.

Later came a version of the Concerto in F minor (BWV 1056) for piano and string quartet (with Gulkis Assadi joined by violinists Ingrid Matthews and Liza Zurlinden and cellist Geoffrey Dean), its haunting middle-movement melody — familiar from recycling elsewhere in Bach’s work — an especially effective foil to the restless turbulence surrounding it.

Schenkman eloquently introduced the work of Fanny Mendelssohn, describing her social position as a woman in an assimilated Jewish family in Biedermeier-era Germany — and the constraints to pursuing a composing career this entailed.

And the sense of palpable loss came through most unmistakably in the two selections of her work that were programmed: a Fantasy in G minor for cello and piano, with its genuinely memorable melodic pathos (Schenkman here joined by Dean), and one of her wordless Songs for the Piano, “Il Saltarello romano” (Op. 6, no. 4), one of the few pieces she managed to publish in her name.

But several pieces, according to Schenkman, she was able to publish only under her brother’s name. He referred to Felix’s well-known friendship with Queen Victoria, who once asked him to play her favorite number from his Songs without Words — whereupon he reportedly confessed that it was actually not his, but the work of his sister.

img_5483-1

Mendelssohn’s study in Leipzig

The second half of the program offered a particularly rousing account of a late-period masterpiece by Felix Mendelssohn — and one of the highlights of the 19th-century literature — the C minor Piano Trio, Op. 66. It’s the last chamber piece the composer managed to have published with his approval (in 1846) before his untimely death in 1847– less than a half-year after the devastating loss of his beloved Fanny.

Zurlinden, Dean, and Schenkman together homed in on the Romantic passions and extremes of this marvelous score — the opening shared something of the atmospheric suspense of the much earlier Hebrides Overture — allowing the consoling second theme to expand and blossom at leisure.

I also admired the refinement of tonal balances between the strings and Schenkman’s piano textures. The Bach connection came through with noble effect in the finale, with the emergence of the quasi-chorale — beautifully shaped by the players — against an agitated backdrop (an idea Brahms would later take up in his Third Piano Quartet).

Next up — Music for the Sun King — is a program devoted to one of Schenkman’s special loves: the French Baroque.

(c)2016 Thomas May. All rights reserved.

Filed under: Byron Schenkman, Mendelssohn, review

Mendelssohn’s Study

IMG_4348From the Mendelssohn House on Goldschmidstrasse in Leipzig.

From his final summer, when he made his last trip to Switzerland, Mendelssohn’s watercolor of Luzern:

IMG_5492

 

Filed under: Mendelssohn, musical travels, photography

A Gorgeous Chamber Music Première in Seattle

Steven Stucky; photo (c) 2005 Hoebermann Studio

Steven Stucky; photo
(c) 2005 Hoebermann Studio

Along with its mix of well-known and unusual repertoire, the Seattle Chamber Music Society annually commissions a brand-new work for its Summer Festival. Monday evening’s programme unveiled the selection for 2015: Cantus by the Pulitzer Prize-winning composer Steven Stucky, who has gained prominence primarily as an instrumental and choral composer. (His first opera – a brilliantly witty yet at the same time touching one-act buffa to Jeremy Denk’s libretto improbably “dramatising” Charles Rosen’s The Classical Style – will receive its full stage première next week at the Aspen Festival.)

continue reading

Filed under: American music, Brahms, chamber music, commissions, Mendelssohn, review, Seattle Chamber Music Society, Steven Stucky

Enter your email address to follow this blog and receive notifications of new posts by email.

RSS Arts & Culture Stories from NPR

  • XXX
    Everything's bigger in Texas, but some places are bigger than Texas. In this final round, contestants guess whether a geographic area is larger than the Lone Star state.
  • Guac-pocalypse Now With Robert Earl Keen
    Singer-songwriter and Tex-Mex fan Robert Earl Keen tackles questions about other guac-troversies.
  • Queso-ra Sera
    Inspired by San Antonio's queso connection, Ask Me Another's house musician Jonathan Coulton performs another music parody about cheese.
  • Seven-tonio
    Quick: Name the seven deadly sins. In this game, contestants face-off in a game where they go back-and-forth, trying to name every item in a list of seven.
  • Stadium Sounds
    In this college football audio quiz, contestants guess the school based on sounds you'd hear at the team's home stadium.
  • Remember the Something-O
    In an ode to The Alamo, contestants answer every question with a word that ends in the letter 'O.'
  • Robert Earl Keen: Texas Troubadour
    Musician Robert Earl Keen shares how foosball led to a career in music, and how he met Lyle Lovett on his front porch. Then he demonstrates another superpower: knowing every U.S. president's birthday.
  • Helen Fisher: How Does Love Affect The Brain?
    Helen Fisher says love is a biological drive and a survival mechanism. She discusses the science of love and how much control we have over who we love, how we love, and whether that love lasts.
  • Katie Hood: When Does Unhealthy Love Turn Into Abuse?
    Unhealthy relationships don't start out unhealthy. But Katie Hood says you have to pay attention to some critical signs at that early stage, and learn the skills for healthy love.
  • Dessa: How Can You Fall Out Of Love?
    For years, musician Dessa tried to get over a toxic relationship. But she couldn't figure out how — until she tried something unconventional: using neuroscience to dull her feelings for her ex.