Post by egoodstein on Aug 5, 2015 1:32:37 GMT -5
We missed the weekend concert, which focused on some important late Schubert works like a couple of late piano impromptus (a piano form he’s really responsible for developing), and the well-known Trio No. 2 in E-Flat Major for piano, violin and cello. Tonight’s concert was somewhat misleadingly
subtitled ‘Schubert Forever,’ in that it didn’t feature any works by him, except Liszt’s transcription of the lied, Die Forelle (‘the Trout’) for piano. But all of the other works were directly inspired by or ‘comments’ even on Schubert. And some surprises here, with works by John Harbison and André Previn included with more anticipated composers Brahms, Schumann and Mendelssohn. Musicians included: Gloria Chien, Gilbert Kalish, Hyeyeon Park, and Gilles Vonsattel on piano; Benjamin Beilman and Danbi Um on violin; Paul Neubauer and Arnaud Sussmann on viola; Keith Robinson and Laurence Lesser on cello; soprano Joélle Harvey; and contralto Sara Couden.
Chien began things with 3 short works from Mendelssohn’s impressive ‘Songs Without Words.’ (The composer wrote eight volumes of these). These piano works really do try to capture on piano the ‘feel’ of lieder/art song, which of course Schubert pioneered. There was a nice mix of ones that were both lyrical and dramatic, with complicated and expressive fingering very adeptly interpreted.
Next by contrast was a 1995 short piece by André Previn, composed in one night for Sylvia McNair, Yo-Yo Ma and himself at the Tanglewood Music Festival (in Massachusetts). Soprano Harvey sang wordlessly with Park on piano and Robinson on cello. The emphasis here was on the enduring Romantic tradition of such ‘small scale’ works, drawn indeed from Schubert, though with some unresolved chords and darker shadings as well. Interesting offbeat and rarely heard choice.
Then followed contralto Couden with Sussmann and Kalish on two Brahms songs, one ‘secular/romantic’ and one ‘sacred.’ These were both dedicated to his friends, violinist Joseph Joachim and his wife Amalie (a contralto). And fine examples of Brahms’s considerable ability and range in lieder. The unusual use of/emphasis on viola here makes these nearly chamber works as much as ‘just’ lieder. The ‘Holy Lullaby’ was especially moving, as the composer composed it (to a German translation of Spanish Renaissance poet Lope de Vega text) trying to reconcile the divorcing couple, and in it’s text about comforting a disturbed Christ child, an interesting contrast to his famous ‘Silent Night.’ Couden in particular was stellar here, really reaching inside for a deeply felt interpretation.
Next was a very interesting work by American composer John Harbison: ‘November 19, 1828’ for piano quartet. This commemorates Schubert’s last day alive, and literally places him and his music/biography in another composer’s work. It all sounds very different, although fragments of a Schubert Rondo, and a ‘classical’ fugal work are incorporated too. In some ways, this short piece of several ‘mini-movements’ commemorates Viennese masters from Haydn to Schoenberg/Honegger, and almost sounds like a ‘cheerier’ sort of piece by one of those later composers. Very sensitively played by Chien, Um, Neubauer and Lesser.
After intermission were two very short works by Franz Kreisler and Liszt, followed by Schumann’s complex and important piano quartet in E Flat Major from 1842. Park and Beilman had a lot of fun with the lyrical Kreisler short arrangement of Schubert’s music from the ballet part of Rosamunde. This is an interesting, fun contrast to how Schubert himself adapted the music for his own, much darker, and even at times more ‘menancing’ Rosamunde Quartet, but the lyricism there is echoed too. Then Vonsattel performed Liszt’s short arrangement of the piano part of Schubert’s early lied, Die Forelle (‘The Trout), demonstrating how he incorporated it effectively into his own virtuoso, dramatic style. I liked his lithe, quick-fingered approach.
The Schumann Piano Quartet is one of his most effective ‘bright-hued’ works, combining classical antecedents and Romantic lyricism (especially in the
very lovely and melodious ‘Andante’ movement). It’s one of my favorite Schumann chamber music works in general, so was really glad to hear it live. Vonsattel, Beilman, Neubaher and Lesser were highly engaged throughout, and very cool interaction among all the instruments in various combinations and as an ensemble. One of the most impressive performances of the Festival yet for sure. A nice and often interesting mix of works to show at least some of the impact of Schubert on other composers.
subtitled ‘Schubert Forever,’ in that it didn’t feature any works by him, except Liszt’s transcription of the lied, Die Forelle (‘the Trout’) for piano. But all of the other works were directly inspired by or ‘comments’ even on Schubert. And some surprises here, with works by John Harbison and André Previn included with more anticipated composers Brahms, Schumann and Mendelssohn. Musicians included: Gloria Chien, Gilbert Kalish, Hyeyeon Park, and Gilles Vonsattel on piano; Benjamin Beilman and Danbi Um on violin; Paul Neubauer and Arnaud Sussmann on viola; Keith Robinson and Laurence Lesser on cello; soprano Joélle Harvey; and contralto Sara Couden.
Chien began things with 3 short works from Mendelssohn’s impressive ‘Songs Without Words.’ (The composer wrote eight volumes of these). These piano works really do try to capture on piano the ‘feel’ of lieder/art song, which of course Schubert pioneered. There was a nice mix of ones that were both lyrical and dramatic, with complicated and expressive fingering very adeptly interpreted.
Next by contrast was a 1995 short piece by André Previn, composed in one night for Sylvia McNair, Yo-Yo Ma and himself at the Tanglewood Music Festival (in Massachusetts). Soprano Harvey sang wordlessly with Park on piano and Robinson on cello. The emphasis here was on the enduring Romantic tradition of such ‘small scale’ works, drawn indeed from Schubert, though with some unresolved chords and darker shadings as well. Interesting offbeat and rarely heard choice.
Then followed contralto Couden with Sussmann and Kalish on two Brahms songs, one ‘secular/romantic’ and one ‘sacred.’ These were both dedicated to his friends, violinist Joseph Joachim and his wife Amalie (a contralto). And fine examples of Brahms’s considerable ability and range in lieder. The unusual use of/emphasis on viola here makes these nearly chamber works as much as ‘just’ lieder. The ‘Holy Lullaby’ was especially moving, as the composer composed it (to a German translation of Spanish Renaissance poet Lope de Vega text) trying to reconcile the divorcing couple, and in it’s text about comforting a disturbed Christ child, an interesting contrast to his famous ‘Silent Night.’ Couden in particular was stellar here, really reaching inside for a deeply felt interpretation.
Next was a very interesting work by American composer John Harbison: ‘November 19, 1828’ for piano quartet. This commemorates Schubert’s last day alive, and literally places him and his music/biography in another composer’s work. It all sounds very different, although fragments of a Schubert Rondo, and a ‘classical’ fugal work are incorporated too. In some ways, this short piece of several ‘mini-movements’ commemorates Viennese masters from Haydn to Schoenberg/Honegger, and almost sounds like a ‘cheerier’ sort of piece by one of those later composers. Very sensitively played by Chien, Um, Neubauer and Lesser.
After intermission were two very short works by Franz Kreisler and Liszt, followed by Schumann’s complex and important piano quartet in E Flat Major from 1842. Park and Beilman had a lot of fun with the lyrical Kreisler short arrangement of Schubert’s music from the ballet part of Rosamunde. This is an interesting, fun contrast to how Schubert himself adapted the music for his own, much darker, and even at times more ‘menancing’ Rosamunde Quartet, but the lyricism there is echoed too. Then Vonsattel performed Liszt’s short arrangement of the piano part of Schubert’s early lied, Die Forelle (‘The Trout), demonstrating how he incorporated it effectively into his own virtuoso, dramatic style. I liked his lithe, quick-fingered approach.
The Schumann Piano Quartet is one of his most effective ‘bright-hued’ works, combining classical antecedents and Romantic lyricism (especially in the
very lovely and melodious ‘Andante’ movement). It’s one of my favorite Schumann chamber music works in general, so was really glad to hear it live. Vonsattel, Beilman, Neubaher and Lesser were highly engaged throughout, and very cool interaction among all the instruments in various combinations and as an ensemble. One of the most impressive performances of the Festival yet for sure. A nice and often interesting mix of works to show at least some of the impact of Schubert on other composers.