Tag: Summer Evenings

Chamber Music Society ~ Summer Finale 2024

~ Author: Oberon

Saturday July 27th, 2024 – The final offering of Chamber Music Society of Lincoln Center’s 2024 Summer Evenings series took place tonight at Alice Tully Hall. After a long lunch with friends, where some very serious topics were discussed, I was in a pensive mood when we arrived at the hall. The light, decorative music of Ludwig van Beethoven’s Serenade in D-major for Flute, Violin, and Viola, Op. 25, written in 1801, was not a good match for me today, feeling a need for something darker and more soulful.

Nevertheless, the playing was charming and, as the piece progressed, there was much to admire. It kicks off with a reveille, only it’s Tara Helen O’Connor’s flute that’s sending out a wake-up call rather than a bugle. Ms. O’Connor’s playing was at its most limpid throughout the suite. ln the songlike second movement, a minuet, her playing was elegant, whilst violinist Aaron Boyd and violist James Thompson provided echo effects. The Allegro molto shifts between major and minor modes.

Sweet harmonies fill the Andante, with its contrasting animated interlude, following by a scurrying Allegro scherzando. The final movement begins as an Adagio but soon transforms into an Allegro vivace, with lively playing from the three artists.

Franz Schubert’s Rondo in A-major for Violin and String Quartet, D. 438, dating from 1816, did not provide a contrast to the pleasantness of the Beethoven, though again it was beautifully played by soloist Sean Lee and a quartet made up of Cho-Liang Lin, Aaron Boyd, James Thompson, and Nicholas Canellakis.

Sean Lee’s playing was spot-on, with touches of rubato, and the ensemble cushioned his playing perfectly, grounded by Nick Canellakis’s ever-velvety tone.

Following the interval, Heinrich Wilhelm Ernst‘s demanding Grand Caprice on Schubert’s “Erlkönig” for Violin, Op. 26, was given a spirited rendering by Sean Lee, though perfect clarity was sometimes missing.

The concert ended with Wolfgang Amadeus Mozart’s Quintet in C- major for Two Violins, Two Violas, and Cello, K. 515, dating from 1787; it was here that I found my center with music more weighted and suitable to my mood. Cho-Liang Lin’s silvery, shining tone was exquisite, his phrasing thoughtful and so polished. Nick Canellakis savoured every phrase of the cello part, as the opening Allegro progressed with a rich blend of voices in the melodic flow, over a rhythmic pulse.

In the Minuetto, Mssrs. Thompson and Boyd engaged in a friendly duel with their violas, and the music at times had a curiously brooding feeling. The cello patterns bring a restless feeling into play, enhanced by the heartfelt Canellakis timbre.

The Andante is classic Mozart: achingly lovely, with James Thompson’s viola prominent and Mr. Lin spinning out a sweet theme, and – later – a mini-cadenza. This music is so engaging. The final Allegro, with Mr. Lin’s playing in high relief, brought the evening to a spirited ending, thanks to the enduring grace of Mozart.

So ended an unusual experience for me, wherein I strove to adjust my own state of mind to the program on offer; this had only happened to me a few times over the years – and mainly at the opera – where you have a ticket for ELISIR D’AMORE but are really in the mood for WOZZECK…or vice versa.

~ Oberon

July 27, 2024
2nd Summer Evening @ CMS ~ 2019

Above: pianist Juho Pohjonen

~ Author: Oberon

Sunday July 14th, 2019 – The second of three concerts in Chamber Music Society of Lincoln Center‘s annual Summer Evenings series brought together a trio of esteemed CMS artists joined by The New York Philharmonic’s beloved principal clarinetist Anthony McGill. No French music on this Bastille Day program; Austria, Germany, and Russia were represented. The playing was superb.

Above: violinist Bella Hristova, photo by Lisa-Marie Mazzucco

With Mr. Pohjonen at the Steinway, Ms. Hristova opened the concert with Mozart’s Sonata in B-flat major for Violin and Piano, K. 454, which dates from 1784. Fittingly enough, this sonata was composed for a female violinist: Mozart wrote it for the Viennese debut of Regina Strinasacchi, and he himself was the pianist on that occasion. Female violinists were quite rare in those days. Signorina Strinasacchi had studied at the famous Ospedale della Pietà in Venice where Antonio Vivaldi had once served as music director. She was 21 years old at the time of her Vienna debut, and was said to be a dazzling violin virtuoso who had also trained as an opera singer.

Ms. Hristova, who in March of this year gave a dazzling recital at Merkin Hall, looked fetching in a dusty rose à la Grecque frock. After a courtly – almost regal – introduction, Ms. Hristova’s playing of the affecting first melody set the mood. She and Mr. Pohjonen traded melodic statements, making it clear from the start that they are ideal colleagues. The music gets lively, with little hesitations and subtleties woven in; abundant charm and sweet lyricism prevail.

A tender theme commences the Andante; the musicians take turns playing melody and rhythmic figurations. Ms. Hristova’s phrasing is so appealing here. The music turns a bit melancholy, with a sense of passion restrained. A sustained note from the violinist leads on to a sort of coda and a gentle finish.

The sonata’s concluding Allegretto is a lot of fun; violinist and pianist sometimes play in unison and sometimes harmonize. The pacing and dynamics offer pleasing contrasts along the way to a virtuosic finale.

Anthony McGill (above) then joined Nicholas Canellakis and Mr. Pohjonen for Johannes Brahms Trio in A-minor for Clarinet, Cello, and Piano, Op. 114. This was composed in 1891, after Brahms had heard the great clarinetist Richard Mühlfeld and was much taken with the sound of the instrument.

Mr. Canellakis has the trio’s opening statement – a rich melodic passage – and soon Mr. McGill’s clarinet makes its sublime entrance. From the Steinway, Mr. Pohjonen pulses up and the music takes off, calming for a cello solo in which Mr. Canellakis’s depth of tone makes a marvelous impression. Cello and clarinet bring incredible subtlety to a scale passage, and there’s a trace of gypsy lilt in the music. Following more scalework, the Allegro fades away.

At the start of the Andante, Mr McGill’s lambent tone is beautifully matched to Mr. Canellakis’s, producing a spellbinding blend: ‘phrasing is all’ here as the voices entwine. To their mix, Mr. Pohjonen adds his poetic playing. The Andantino grazioso begins like a serenade: the clarinet sings while the cello provides a plucked accompaniment. This lighthearted movement transforms itself into a waltz, which proceeds lyrically.

Mr. Canellakis’s cello digs into the final Allegro, with the piano urgent and the clarinet vibrant. The music is broad, with a folkish feel. Descending phrases are heard, and the trio finds a brisk ending.

Following the interval, Nick Canellakis (above) along with Ms. Hristova and Mr. Pohjonen, offered Anton Arensky’s Trio No. 1 in D-minor for Piano, Violin, and Cello, Op. 32. Whenever I hear Mr. Canellakis playing, I find myself thinking back to his magnificent performance of Leon Kirchner’s Music for Cello and Orchestra at Carnegie Hall in 2015.

Arensky (above) is something of a forgotten composer – unfairly, in my view. You can read about him, and hear some of his music, here. Listening to his music, you can see where Scriabin and Rachmaninoff profited from having been Arensky’s students.

Bella Hristova’s gorgeous violin solo plays over restless patterns from the Steinway; the cello then takes up the melody. Mr. Pohjonen relishes the con moto sweep of the virtuoso writing for piano. “This is fabulous music!”, I scrawled across my notes. The string players exchange bits of melody, the pianist deftly dispatches phrase after lovely phrase. A soft, sustained violin note ends the Allegro moderato.

The second movement is a sprightly Scherzo, with plucked strings and high trills from the piano: at times the instruments sound almost like toys. Mr. Pohjonen’s tone shimmers throughout. An engaging waltz gets quite grand, and, after some wry hesitations, the Scherzo‘s end is lighthearted.

A tender, reflective cello solo opens the Elegia; the music seems to recall happier times that have been left behind. Ms. Hristova’s violin climbs poignantly higher and higher, whilst Mr. Canellakis’s cello again sounds from the depths.

From a turbulent start, the cello and then the violin carry the melody of the concluding Allegro non troppo: this music is very much à la Russe. As passion ebbs and flows thru the melodies, the shining piano and soft strings lend an ethereal air. The composer then crafts a lively finale for his trio.

Ms. Hristova and Mssrs. Canellakis and Pohjonen were greeted with great enthusiasm at the program’s end, and insistent applause brought them out for a second bow.

~ Oberon

July 14, 2019
CMS ~ Summer Evenings 2017 ~ Concert 3

Above: cellist Efe Baltacigil

Author: Oberon

Sunday July 16th, 2017 – All too soon, Chamber Music Society of Lincoln Center‘s Summer Evenings series for 2017 has come to an end. Over the course of the three concerts, we heard magnificent music, played to perfection. Each summer I find myself hoping that a fourth concert might be added to the series: the packed houses indicate how successful these summertime concerts are. But perhaps it’s just a question of timing, as so many musicians are making appearances at the various summer festivals. Also, the Society is about to commence a run of concerts at Saratoga Springs. So, we can feel grateful for what we have heard this summer, whilst looking forward to the 2017-2018 CMS season.

Anticipation ran high as Alice Tully Hall was again filled to the rafters with Gotham’s music-lovers, thirsting for the classics as the doldrums of the summer lazed along. A cordial greeting to Mr. Baltacigil and his colleagues…

…violinist Erin Keefe (above)…

…and violist Richard O’Neill (above), as they appeared onstage for the opening Beethoven.

The D-major Trio opens serenely, but things soon become quite lively. It was quickly evident that our three musicians were well-matched, and as the shifting themes unfolded their playing was marked by a fine mixture of impetus and elegance.

As is so often the case, it is in the second movement, marked Andante quasi allegretto, that we get to the heart of the matter. A nostalgic feeling pervades here, though the textures remain translucent. Mr. Baltacigil’s cello enhances the lyrical aspects of the music, and some gracious plucking maintains an active feeling so that things don’t turn dolorous. A beautiful viola passage receives loving attention from Mr. O’Neill, and Ms. Keefe’s relishing of the Andante‘s most subtle moments is a distinctive asset.

Delicate playing in the Menuetto dances us along with courtly charm. Then, after a longish pause, the concluding Rondo is quite jolly, with the cello prominent, the viola harmonizing, and the three voices eventually in finely-timed exchanges. A passing lull into lyricism again brings subtle mastery from our expert trio before the piece reaches its happy ending.

A brilliant performance of the Prokofiev Violin sonata in D-major followed. While I have enjoyed the playing of Kristin Lee (above, in an Arthur Moeller potrait) on many CMS evenings in the past, I can’t recall having heard her in a sonata performance. Her Prokofiev was, in a word, spectacular. And, with their usual knack for matching up musicians of like quality, Michael Brown at the Steinway played with thrilling verve and clarity.

Above: Michael Brown, photographed by Jeanette Beckman

Originally a flute sonata, this piece was re-worked by Prokofiev for violin as several violinists – notably David Oistrakh – took an interest in it. In the opening Moderato, the violin floats in a lyrical dream. An almost fanfare-like passage leads to some scurrying before resuming its more song-like aspect, with some piercing highs; a pensiveness evolves and a short coda concludes the movement.

The ensuing Scherzo begins as a jig, with dance-like swirls from both violin and piano. A more tranquil interlude temporarily lulls us, but things again speed up to a big dance.

The Andante features a soaring, romantic theme for the violin: Ms. Lee was at her most poetic here before passing the melody along to Mr. Brown, who takes it up at the piano. The music aches the heart until a quiet restlessness steals in; the violin goes high and sounds on the verge of spacing out.

The Allegro con brio finale opens with a rollicking passage and then jogs along for a bit until Mr. Brown’s pianistic passion takes over. Things simmer down and become quite delicate; then a song wells up and a triumphant feeling builds. A increase in velocity carries the sonata to the finish line.

Kristin Lee, a beauty in black, was so impressive in her technical command, with Mr. Brown an ideal colleague in both the passion and precision of his playing. As the duo embraced at the end of their superb performance, the audience lavished well-deserved cheers upon them.

Violist Yura Lee (above) joined the ensemble after the intermission for a richly rewarding performance of Antonin Dvorák’s String Quintet in E-flat major, Opus 97.

“Spillville is an ideal place; I would like to spend the rest of my days there,” wrote the homesick Dvorák of the Iowa town where he had gone (in 1893) to mingle with the local Bohemian community. But while he was there, something else happened: a road-show of Native American entertainments and crafts came to Spillville for two weeks. Dvorák was intrigued by the rhythms and harmonies he heard in the group’s presentations and worked some of these elements into his E-flat major Quintet.

One of the most delightful aspects of this work is in the composer’s assigning of equal prominence to the “1st” and “2nd” violins and violas; this division of labor gives everyone a chance to shine. And underlying the melodious marvels produced by his colleagues, Mr. Baltacigil’s honey-toned cello playing gave the ensemble a pleasing depth of feeling: for both rhythmically and melodically, Mr. Baltacigil is first class.

Dvorák himself was a viola player, and it is to that instrument that the composer gives the quintet’s opening statement, played from the heart by Richard O’Neill. Chamber Music Society is like a paradise for lovers of the viola sound (count me in!) where one is likely on a given evening to hear the likes of Paul Neubauer, Matthew Lipman, or Pierre Lapointe. In tonight’s Dvorák, Yura Lee shared the viola spotlight with Mr. O’Neill: her rich, pliant tone is always so inviting. Likewise, on the violin side, Mlles. Keefe and Kristin Lee were each heard to advantage.

In the quintet’s first movement, Ms. Keefe’s lambent tone was particularly enhancing. As ribbons of melody pass from player to player, we can savor the unique sound of each voice as well as their combined appeal when they sang in unison in a passage with an unusual drawling quality. The two violists were having a heyday, unwrapping each phrase the composer has given them and relishing it for us to enjoy.

For the second Allegro movement, Mr. O’Neill again takes the lead. Ms. Keefe and Yura Lee trade passages and then, to the genial plucking of her colleagues, Yura takes up a gorgeous theme which explains why she wanted to be “1st”; Ms. Keefe, playing high and sweet, makes the same case for being “1st” violin.

The Larghetto offers a set of variations, shifting between major and minor. Here a sad melody is given out by the lower voices with a hymn-like quality. More magic from Yura Lee, and then Ms. Keefe plays a sinuous obbligato over the choir; the opposite effect is created when Mr. Baltacigil’s animated cello is overlain by the harmonizing violins and violas. The cellist then sings forth while the higher voices take a tremelo stance. Amazing delicacy is achieved in a plucked interlude, the audience breathlessly charmed by the effect. Following a dynamic outburst, calm is restored and Kristin Lee carries the Larghetto to a fade out.

Erin Keefe leads a dance to start the Finale: Allegro giusto. Plucking again; then Kristin Lee, Mr. Baltacigil, and Yura Lee each have their say before a broad flow of melody ensues. Ms. Keefe takes up a ‘Native’ theme and then Yura Lee has a final viola gesture which leads to a rush to the finish: an exhilarating end to a great evening of music.

~ Oberon

July 16, 2017