Opinion: Delightful Concerts At Festival
Opinion: Delightful Concerts At Festival
The weather was again on the side of the Musical Festival of the Hamptons Friday night for another outdoor concert in the festival's third season. Two days of rain and chill subsided about an hour before "The American Connection" featuring the festival's artistic director, Lukas Foss, and the world-renowned clarinetist Richard Stoltzman.
Once again, the beautiful festival tent at the Hampton Classic grounds in Bridgehampton swelled with eager concert-goers.
I have been a Stoltzman fan for many years, having first heard him in a New York premiere of a work by Takemitsu composed for the ensemble TASHI. I recall that I was impressed with both his personal and his musical style. I had never heard the clarinet played with such remarkable tone, control, and warmth.
Consummate Performer
Friday evening found Mr. Stoltzman still the consummate performer. "Three Preludes" of George Gershwin, arranged for clarinet and piano, opened the evening, and Messrs. Stoltzman and Foss were perfectly at ease with the jazz influences of the pieces.
When one of the evening trains rumbled by the tent, dragging its whistle through the Doppler effect, Mr. Stoltzman lifted his clarinet into the air in Benny Goodman style and blew his heart out. The audience was charmed, as they were by a delightful exchange between the two artists after the piece that was reminiscent of a Rowan and Martin routine.
Next Mr. Foss gave us "Piano Blues" by Aaron Copland, whom he called "the dean of American music." Geese chose to fly by during the movement titled "Freely Poetic," causing us listeners to sigh and smile warmly, remembering Copland's musical tributes to America and thinking how apropos to have wild birds fly over our field to salute the composer.
Two By Ives
The piano continued through "Soft and Languid," "Muted and Sensuous," and "With Bounce," each piece living up to its descriptive name under Mr. Foss's authority. At the end, Mr. Stoltzman suggested that Copland must have written the "Piano Blues" in the hopes that it would someday be played by Lukas Foss. I think perhaps he was right.
Two selections by Charles Ives, "In the Morning" and "Serenity," reminded me why I have bought all of Stoltzman's recordings. He can hold a long note like a violinist with great bow control. The air quality seems to change when he plays, as if one can actually feel the clarinet.
In "New York Counterpoint" by Steve Reich, we hear Mr. Stoltzman multiplied by 11. The piece was written for 11 clarinets, and for this performance Mr. Stoltzman recorded 10 of the parts and then played the 11th along with the tape.
Tricky And Humorous
It's a wonderfully tricky and humorous work, and while composed in the minimalist style, it never demands that the listener wait for ages for something to happen, but rather begins to build from the first notes. I have heard it many times on recordings, and it was a treat to see Mr. Stoltzman perform it in person with 10 of his own echoes.
In "Kleines Rondo" by Paul Hindemith (incidentally, the teacher of Lukas Foss), the two performers bounced off one another with the same jocularity that characterized their colorful verbal exchanges between musical selections.
Mr. Foss shared with us that Hindemith had influenced his own compositional style, from its early classical leanings to a more "modern American" form.
Uniquely Bernstein
In "Composer's Holiday," which Mr. Foss originally wrote for violin and piano, we hear direct snatches from "Dixie" and developmental material that carries both the theme and rhythm throughout.
"I think," said Mr. Stoltzman at the end of the piece, "that this piece is better on clarinet." Responded Mr. Foss, "I don't think Itzhak Perlman would agree with that."
The evening closed with Leonard Bernstein's "Sonata for Clarinet and Piano."
"In this piece," remarked Mr. Stoltzman, "you will hear things that sound like 'West Side Story,' but he hadn't written it yet." With that in mind, one can certainly hear snippets that might have foreshadowed "Maria" and "Tonight," along with other uniquely Bernstein refrains throughout the course of the piece.
Brahms Celebration
Mr. Foss and Mr. Stoltzman delivered an interpretation full of great sensitivity to one another's playing, swelling and skimming through passages like two oarsmen in complete synchronicity. They encored with a poignant improvisation on "Amazing Grace." It was quite one of the most enjoyable musical evenings I have ever spent.
Parrish Hall at Southampton Hospital provided a more intimate setting for Saturday's concert, "A Brahms Celebration on the 100th Anniversary of His Death." It has always mystified me why we celebrate the death of composers, but any occasions will do to commemorate Brahms by performing his music.
To begin the performance on Saturday, Judith Kellock, a soprano, was joined at the piano by Andrew Willis for 12 songs of Brahms. The text used by the composer is typically of the Romantic period: searching for truth and beauty, reveling in love, crying for love.
Exceptional Poise
Ms. Kellock is a singer of exceptional poise, as lovely to watch as she is to hear. She appears never to take a breath, yet each note enjoys complete support and full development.
Mr. Willis's sensitive accompaniment added balance and rhythmic richness to complete the musical tableau. The two artists broke during the scheduled songs to present five "Ophelia Lieder," songs set by Brahms from Ophelia's mad scene in "Hamlet."
Ms. Kellock gave a dramatic interpretation in character before singing each song, surely a mark of her artistic versatility. She drew Mr. Willis into this rendition of the Shakespeare text, an enchanting departure from conventional recital setting.
The remainder of the cycle was beautifully executed with both performers displaying a lightness of tone that softened the sometimes gloomy tendency of the text while still lending it dignity and depth.
Better Every Year
The Resident Chamber Ensemble with Brian Krinke and Jackie Carrasco, violins, Ralph Farris, viola, and Zuill Bailey, cello, were joined by a clarinetist, David Oppenheim, for the Clarinet Quintet (Op. 115).
The music of Brahms always de mands complete precision, but especially in small groups each player is exposed and must be on top of his game. The young resident strings play like seasoned professionals, at ease with the challenges of Brahms and skilled at ensemble playing. Mr. Op pen heim's strong rendition of the clarinet part ranged from deep to dulcet, adding a profound richness to the performance.
The Music Festival of the Hamptons has succeeded again in serving a banquet of music to the East End, which seems to get better every year. Judging by the turnout at each venue, there is great support and enthusiasm for the series. The organizers of the event should rest assured that they will be warmly welcomed back for many summers to come.