Patricia McCarty, viola; Arturo Delmoni, violin; Jung Lin, piano; Ronald Thomas, cello
We had a terrific turnout for the Concert of Piano Quartets by Patricia McCarty and Friends. We had been a little concerned because it is a challenge to market a no-name ensemble, even when the players are as pedigreed as these. Fortunately, the astute folks from both print and broadcast media recognized that this was no ordinary ad hoc ensemble and they put the word out – hooray!
The Adirondacks can claim one of the pre-eminent violists of our day in Patricia McCarty. She persuaded some of her friends – each a renowned soloist and ensemble player – to join her in a special chamber music collaboration. Their thrilling and deeply satisfying program included Mozart’s Piano Quartet in E flat, K. 493; Fauré’s Piano Quartet No. 2 in G minor, Op. 45; and Brahms’s Piano Quartet in A major, Op. 26. The audience recognized that they were witness to a unique musical chemistry and responded with multiple standing ovations. It was a transporting heavenly experience!
No surprise that the church was chockablock packed for the Johannes Quartet’s concert Sunday October 25 – over 250 in the audience, with overflow onstage seating “Lincoln Center-style” – in the choir! The community came out en masse to hear our beloved Soovin Kim. He played like an angel — his violin sang sweetly and soared loftily. It was an exciting performance also because it was the debut for the quartet’s new second violin Julianne Lee. The program gave her good opportunity to impress all with her skill – no shrinking musical violet she! Esa-Pekka Salonen’s Homunculus opened the concert. Written expressly for the Johannes Quartet, it is a mightily challenging work, but they have been performing it for eight years now and it has become internalized to such a degree it seems a force of nature, its intensity throbs and surges with relentless sweeping energy and power – totally exciting!
Showing a completely contrasting mood and style, next came Mozart’s String Quartet No. 15 in D Minor, K. 421, played with such wafting delicacy and caressing sweetness, and following intermission, Brahms’s String Quartet No. 3 in B-flat Major, op. 67, which gave the lower voices of CJ Chang’s viola and Peter Stumpf’s cello loose reins to express with luscious tawny tones. Arnold Steinhardt, first violinist of the legendary Guarneri String Quartet, said it most eloquently: “The Johannes String Quartet, comprising four impressively gifted instrumentalists in their own right, have come together to form one of the great chamber music groups of our time. They play with technical polish, with deep musical understanding, and with uncommon inspiration. The Johannes is all I could ever dream of in a string quartet.”
New York City-based musicians of the Emerald Trio work in New York’s vibrant music-theater scene, appearing in the orchestras of the hottest shows on- and off-Broadway. The Emeralds are Karen Bogardus, flutes; Orlando Wells, violin and viola; and Matt Castle, piano and composer.
The Emerald Trio had an intense week of rehearsing and recording, swimming, rehearsing and recording, drinking wine, and rehearsing and recording. Their retreat was all about a program of new works written especially for them by their friends: on-the-scene New York City composers Carolyn Steinberg, Matt Castle, Joseph Pehrson, Gene Pritsker, Dan Cooper, Milica Paranosic, and Davide Zannoni. They capped their stay with a terrific performance of those fascinating works – free and open to the public – on Sunday, August 23 at the historic United Methodist Church in Saranac. Before long we expect the release of their new CD produced by Composers Concordance Records on the Naxos label.
Gretchen Koehler is an elegant fiddler — her classical violin training shines through, yet her style is totally idiomatic. She performed in several distinct fiddling styles: New England, Bluegrass, Québec, Cape Breton, to name a few. She explained and demonstrated the essential rhythmic distinctions between, say, a jig and a reel… jiggity-jig, jiggity-jig and huckleberry, huckleberry! Gretchen has found an improbable music partner in New York City-based jazz pianist Daniel Kelly. His accompaniments provide an unexpected sonic environment and nudge her outside the usual framework of traditional folk. A couple of times he launched into extended jazz improvisations. An excellent musical marriage, and a totally delightful concert! We would be remiss if we did not mention who stole the show a couple times. Gretchen’s 13-year-old son Syl joined in with his own fiddle on “Devil’s Dream” and then jumped up altar-level for some spectacular step-dancing – bravo!
Marina Krickler, Daniel Sedgwick, Marjorie Gere
The Red Hedgehog Trio concluded their two-week retreat with a delightful concert that featured works for solo keyboard and violin-piano duo, as well as for the rather unusual instrumental combination of horn-violin-piano trio. J.S. Bach’s exquisite Partita No. 1 in Bb Major (BWV 825) opened the program, followed by John Harbison’s mysterious and atmospheric “Twilight Music” for Horn, Violin and Piano. Brahms’s lyrical Sonata No. 2 in A Major for Violin and Piano, Op. 100 led into the second half. The fourth and fascinating final segment of the program was “10 X 10” ─ 10 New Miniature Trios by 10 Composers, a collection of ten very brief works (each under two minutes in length) written by ten different composers for their trio. The Red Hedgehogs conceived and developed this project for the 10 X 10 Upstreet Arts Festival, a collaborative arts festival held annually in Pittsfield, MA. This effort represents a first step towards building new repertory for the ensemble of horn-violin-piano – a worthy cause. More power to them!
Ricochet Duo – Jane Boxall on marimba and Rose Chancler on piano – delighted the crowd with their program DANCES (May 3, 2015). The unconventional instrumental pairing by two dynamic artists creates an enchanting new sound-world with a tantalizing repertory. DANCES is an appealing array of short works, including traditional rags by Harry Breuer and tangos by Astor Piazzolla, Igor Stravinsky, and Lucas Guinot. Contemporary dance-inspired works include “Exposed Zipper” and “Trans Fatty Acid’s Rein” from Tight Sweater Remix by Marc Mellits, “Old Adam (Two Step)” by William Bolcom, “Dance of the Octopus” of Red Norvo, and Pleiades Dances of Takashi Yoshimatsu. “Jovial Jasper” and “The Whistler” by the legendary American xylophonist George Hamilton Green elicited squeals of delight!
Duo FAE performed to an ample crowd on Sunday, March 22, thanks to some wonderful publicity and cooperative weather. Violinist Charlene Kluegel and pianist Katherine Petersen offered three significant works considered masterpieces of the violin-piano repertory: Beethoven “Spring” Sonata, F Major, op. 24, Charles Ives Sonata No. 2, and Gabriel Fauré Sonata No. 1 in A Major, op. 13. All are rich, dense, complex works demanding tremendous mental focus and technical mastery. That the artists rose to the particular challenges and were not ruffled by the inherent difficulties of each is validation of their virtuosity and artistic maturity. It was a heavenly program and these gorgeous young women both played and looked like angels! They are establishing strong professional credentials already, as they complete their Doctoral of Musical Arts degrees at Indiana and McGill Universities, and are poised to burst onto the classical music scene. We will follow them with great interest and enthusiasm.
The Guidonian Hand trombone quartet was with us for a week-long retreat in early February. Their project was to record music they had commissioned and/or premiered over the past several years. Three intense long days saw them “lay down” all the material in the beautiful acoustical space of the old Saranac Methodist church. The editing and mixing is being done in NYC and we hope to have a thrilling CD release party for the guys in the fall at the Fire Hall!
The Hand gave a concert at the church to wind up their residency – a terrific program that juxtaposed art music of the past (Bach, Haydn, Mozart, Debussy) with contemporary works of living composers (Galen Brown, Jeremy Howard Beck, Conrad Winslow). In lieu of printed notes, the quartet members spoke engagingly about the various works – especially helpful with the new music, but there was some interesting nugget about even the old classics. Elegant speaking, exciting music, excellent virtuosic playing! They brought the house down, albeit a slim house due to snowy roads.
The superb violist Patricia McCarty found an excellent partner in pianist Cary Lewis for a duo recital at the historic Methodist Church in Saranac on November 16. Such accomplished and inspired playing – both individual and ensemble – is not an everyday occurrence in our neck o’ the woods. More than a particular in-the-moment chemistry between McCarty and Lewis, they clearly had spent a good deal of time in thoughtful rehearsal to arrive at a performance in which their interpretations were so transparent and well paced.
A meaty program opened with Sonata No. 3 in G Minor of J. S. Bach. Next came the charming Romance in F, Op. 50 of Beethoven followed by Sonata in E-flat, Op. 120, No. 2 of Brahms. After intermission the second half was given entirely to an exciting and beautiful contemporary work by American composer David Avshalomov: Torn Curtain, Suite for Viola and Pianoforte (1990-91). Torn Curtain was inspired by the disintegration of the Iron Curtain in Eastern Europe after the fall of the Berlin Wall, and features themes and rhythms redolent of Russian, Roumanian, Czech, and Hungarian folk music. The audience begged for an encore and Ms. McCarty complied with a meltingly gorgeous rendering of Ravel’s Pièce en forme de Habanera. In every respect this Sunday afternoon concert was a deeply satisfying musical experience.
Did you know that our neighborhood is called Little Siberia by the locals? Yep, we’ve got “Russia Hill” by High Falls on Route 3 and the “Siberian Rod & Gun Club on Dannemora Mountain! Russian Duo offered one of their signature performances to about 100 rapt listeners. Native Siberian Balalaika artist Oleg Kruglyakov simply has this music in his blood, his being. His sense of timing and rubato, his overall musical gesture, is the real deal. His singing of Russian songs completely drew us into his world – at one point he had the audience clapping along unabashedly, deliriously. Formidable pianist Terry Boyarsky is a sensitive and worthy music partner, offering complete support and musical context, yet always allowing the balalaika to shine. What with the changeable weather, we had been concerned about the piano staying in tune, but Terry said not to worry – the balalaika is never in tune! Part of it’s charm.