Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Revisiting an Inviting, Convivial French Late Romantic Collection by the Neave Trio

The Neave Trio got high marks here last year for their album Her Voice, a collection of rare pieces by women composers (some might cynically say that even now, anything by a woman composer is rare). But the ensemble had done rewarding work before that record, including their 2018 release French Moments – streaming at Spotify – a collection of somewhat less obscure pieces from the Late Romantic period. This music doesn’t dissemble. It’s convivial, translucent and attractive and probably won’t satisfy those who fortify themselves with Bartok or Stravinsky. But the trio rise to this music’s warmly Romantic, finely polished level of craft.

One of these pieces is a nocture, more or less. Another is wine-hour – or babysitting-hour – music for the idle classes of 19th century Europe. Another is a late composition by a favorite of the era who has fallen out of favor – and it’s good to see this group recording his work.

The nocturne, better known on its home turf than it is here, is Albert Roussel’s Trio, Op. 2. They open the first movement with a warmly but suspensefully crepuscular, almost tremoloing pulse. The music rises to an insistent, almost breathless peak that quickly fades away into pianist Eri Nakamura’s starry diminuendo. The strings – violinist Anna Williams and cellist Mikhail Veselov -carry the next upward drive to a lyrical rondo, some agitation and a whip of a coda.

There’s a wistful, vividly cantabilee quality to the second movement, the group really taking their time with it, Williams’ nimble flourishes contrasting with Nakamura’s emphatic underpinning. Veselov gets a welcome opportunity to darken the lustre in the moodily waltzing, dynamically shifting conclusion, ending almost like a palindrome.

The drinking music is Debussy’s Premier Trio, a student work written when he was 18, shlepping from country house to country house with one of Tschaikovsky’s patrons…and babysitting. It sure doesn’t sound anything like the Debussy we know and love. Schubertian counterpoint, anthemic opening credits-style hooks, a little prescient modal vamping and lighthearted phantasmagoria: pretty stuff, nothing too complicated or unsoothing. The trio are obviously having a good time with it.

Gabriel Fauré’s Trio, Op. 120 is a late work, and the three establish a rather saturnine mood in the initial exchanges of sober cello and glistening night-sky piano. A lush, lilting contentment gains momentum with Nakamura’s steady triplets and a real coup de grace at the end of the first movement. The second has more of an insistent unison pulse; everybody gets more of a workout in the third, Nakamura especially. The first and second, especially, have long interludes of sheer gorgeousness. Even though he managed to outlive Debussy, Faure stayed Romantic to the end.

August 3, 2020 Posted by | classical music, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , | Leave a comment

Loreto Aramendi Delivers Chills and Thrills at Central Synagogue

Musicians may be nocturnal creatures, but church organists have to be on their game at pertty much every hour of the day..So it was no surprkse when Spanish organist Loreto Aramendi played one of the year’s most exhilarating programs in the middle of the day, a couple of weeks ago on the

Musicians may be nocturnal creatures, but church organists have to be on their game at pertty much every hour of the day..So it was no surprkse when Spanish organist Loreto Aramendi played one of the year’s most exhilarating programs in the middle of the day, a couple of weeks ago on the gorgeously colorful organ at Central Synagogue

The highlight of her eclectically thrillling performance was the great organ composer Louis Vierne’s transcription of Rachmaninoff’s iconic C# Minor Prelude. It was a revelation: anchoring its grim counterpoint with a single, blackly portentous pedal note, Aramendi really took her time with it, a dirge to end all dirges.

Louis Robillard’s transcription of Saint-Saens’ Halloween classic Danse Macabre was another deliciously phantasmagoriacal treat. Aramendi reveled in a bief volley of sepulchral gliasandos with as much relish as the false ending and the finale where the ghost goes on its merry way.

She opened the program with a Buxtehude toccata that was more of a song without words, reminding what a paradigm-shifter Bach’s biggest influence was. Another Robillard transcription, Liszt’s Funerailles, aptly foreshadowed the Rachmaninoff, A final Robillard arrangement, the Prelude and Scicilienne from Faure’s Peleas et Melisande matched High Romantic grandeur to lilting grace.

Ligeti’s tensely circling Coulee, from his Etudes for Organ, was the most monochromatically bleak, and in that sensse, darkest piece on the bill. Aramendi closed with a blaze of fury, giving Charles Tournemire’s cult favorite Victiae Paschali chorale every bit of torrential power she could muster. A small but raptly attentive midday crowd gave her a robust standing ovation.

This concert was the final episode of this spring’s series of monthly Prism Organ Concerts in the magnificent Lexington Avenue space just north of 54th Street, programmed by organist Gail Archer, who’s put out an unusually adventurous series of albums over the past several years, ranging from obscure American repertoire to iconic Messiaen works.  Watch this space for news about next season.

May 22, 2019 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, organ music, review, Reviews | , , , , , , , , , , , , , , , , , , | Leave a comment

Alexandra Joan Stuns and Surprises at WMP Concert Hall

There are innumerable cookie-cutter classical pianists out there. They do as their teachers tell them and play it safe. Most of the time, they succeed with what’s put before them, since the composers they play knew how to enable just about anyone with sufficient chops to get the job done, more or less. Then at the other extreme there are players who say, “To hell with dynamics, this is MY interpretation, my way or the highway!” Alexandra Joan is neither, and she doesn’t fit the middle ground either. What she does is distinctive, and stunningly intuitive, as her solo program Wednesday night at WMP Concert Hall so vividly reaffirmed. Joan is not only a musician, she’s also a scenemaker. Her ongoing Kaleidoscope Series – this season’s final concert is June 1 – brings together music, and sometimes art, and people, a diverse mix much younger than the typical Lincoln Center crowd. If this is one of classical music’s many possible futures, it’s something to look forward to.

This program’s theme was music by French composers, “Unconventional ways to feel or convey French culture,” Joan explained (she’s Romanian-French; she lives here). Focusing on the auspicious moment where Romanticism was busting out of its cocoon into Modernism, she opened with Faure’s Theme and Variations in C Sharp Minor, Op. 73. It’s a lot harder to play than it sounds, especially as the rather poignant, cantabile theme expands. Joan let its glittering moodiness speak for itself: the theme itself draws a straight line all the way back to Haydn, and she let that history resound, particularly throughout the expansive passage of high/low contrasts about three-quarters of the way in.

Enesco’s Sonata in F Sharp Minor, Op. 24, No. 1 was a showstopper, and an eye-opener. Joan is a leading advocate for the late Romantic composer who shares her heritage, “A visionary,” as she put it. Playing from memory, she took on its tense astringencies and restless unwillingness to resolve as if they were her own. In the repetitive, bruised pulse of the lefthand attack in the opening allegro, the twisted, staccato dance that builds to a galloping intensity in the second, presto movement and the walk through Monet’s back garden in the final andante, she gave it an otherworldly gravitas worthy of Debussy. The crowd was stunned.

The waves of intensity, if not the intellectual rigor, lifted for a minute with a handful of miniatures by Mohammed Fairouz, who was in attendance. Still relatively young (he’s in his twenties) and amazingly prolific, Fairouz is a wide-ranging thinker with several considerably powerful, unselfconsciously deep works to his credit – and he can also be very funny. Joan assembled a set that was both amusing and captivating: an attempt to make an etude interesting, in a very successful, Schumann-esque way; a challenge to write a piece containing no dissonances (it was mostly arpeggios); a joke that began way up the scale and ended way down; an austere twelve-tone piece and a brief, vividly autumnal requiem.

She closed the concert with Ravel’s rippling Valses Nobles et Sentimentales, written as a homage to Schubert, explaining that the wit and diversity of these pieces would make a good segue with Fairouz, and she was right. The suite is emotionally diverse, from balminess to poignancy to turbulence, with a comfortable sense of resolution missing from the rest of the program, a rather triumphant way to wrap up the concert. The audience wouldn’t let her go without an encore, so she treated them to a sparkling, bustling excerpt from Ravel’s Ondine.

Also worth a mention is Raphael Haik’s witty, pun-laden photo exhibit held in tandem with the concert. Toddlers in a fierce wrestle portrayed as “speed dating;” an airhead Eiffel Tower; park chairs arranged in several clever configurations, and an enigmatically bemused traveler who just missed his commuter train  delivered quietly provocative questions and plenty of laughs.

Alexandra Joan’s Kaleidoscope Series concludes its 2011 spring season at WMP Concert Hall, 31 W 28th St. on June 1 at 7:30 PM with a diverse program that includes both original works and improvisations, featuring jazz guitar virtuoso Peter Mazza, saxophonist Timothy Hayward and bassist Thomson Kneeland.

May 2, 2011 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , | Leave a comment