Over 200 attended the b-b-b-Big Bash on Saturday, August 10th at
Weatherwatch Farm. There was a dramatic moment at the outset, when a squall
roared through, sweeping tablecloths off the tables and overturning the flower
vases, jeezum crow! All rallied to hang sidewalls around the tent, as quick as
you could say “Jack Robinson.” Then sun came out, and the party began
Inora Brass played for an extended happy hour while folks chatted with friends, strolled the grounds, bid on cool stuff in the silent auction, and bought raffle tickets for various gift cards. It did not take long for 100 bottles of wine to disappear in the wine pull. We dined well on smokey BBQ by Joe Lewis, with special treats provided by Louise Laplante, Josh Vaillancourt, Jerry Rambach, and Wayne LaPier. Steve Martin called the live auction during dessert. Finally, as dark descended, Curley Taylor and Zydeco Trouble came onstage to play, and we danced the night away……
Big heartfelt thanks go out to all who attended and participated
in the fund-raising games, as well as to those who sent donations in lieu of
attending. Deep appreciation, too, for the generosity of our sponsors. We had
100% participation by our board, plus numerous volunteers working the event.
Together it all added up to a major success. Thank you all so very much!
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â€œPerfectly imperfect.â€ Totally intriguing.â€ â€œMost
luxuriant.â€ â€œThe natural beauty of baroque pearls is derived from their superb
luster and irregular, yet beautiful silhouettes. The unique, organic shapes of
these exquisite pearls make them a constant marvel to
behold, each jewel a conversation piece.â€
The above description might also apply to the recent concert by Ensemble Caprice. At first glance the program might have seemed to be a list of familiar composers and a hodgepodge of short works strung together. But what a magnificent string of pearls! The program was actually conceived to tell a series of stories â€“ rather intimate love stories â€“ wherein each (there were eight) told about an aspect of or an event in the relationship of the composer and his lady-love or muse. And there was a common thread linking the stories â€“ that of eternal love transcending time and space.
The eloquent spoken introductions of Matthias Maute and his poetic gestures with red roses set the stage for a most compelling musical drama, brought to life by Matthias Maute and Sophie LariviÃ¨re on recorders, Susie Napper on baroque cello, and Ziya Tabassian on a variety of percussion instruments. Each artist a superb virtuoso soloist in his and her own right, playing together in a tight-knit ensemble and totally in the moment, proved that the whole is truly greater than the sum of its parts. And now we know firsthand why Ensemble Caprice is considered one of the pre-eminent early music ensembles of our time. It was an stunning performance!
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The joint was jumpinâ€™ with two excellent shows Saturday evening and Sunday afternoon. Ray Vega has assembled a first-rate ensemble with some of Vermont’s finest jazz musicians: Brian McCarthy on alto saxophone, Mike Hartigan on piano, Giovanni Rovetto on bass, Caleb Bronz on drums, Scott Dean on congas and percussion, and Vega himself on trumpet, flugelhorn, and percussion. The program was combination of standards and originals by Vega and members of the band. Vega is a master of engaging banter, too. One standout moment, particularly poignant, was his remembrance of trombonist Rick Davies, a beloved friend, colleague, and member of the greater jazz community who passed two years ago, followed by a performance of one of Rick’s tunes. Snowy roads kept a lot of folks from venturing out to Saranac, but the intrepid faithful who showed up were wildly enthusiastic and vocal. And yes, there was dancing in the aisles!
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The duo was with us for a week-long residency. During their first days they hunkered down to work on new arrangements of the repertoire they had recently collected. They are keen to record this new material, their first recording having been nominated â€œBest Traditional Albumâ€ at the Canadian Folk Music Awards. They also spent two days working in schools: with French language classes at the Saranac Middle and High Schools and with grade 4 and 5 music classes at the Saranac Elementary School. An intense busy week!
This concert was rather unusual in that it was a traditional violin recital featuring standard repertoire. Outmoded? You must be kidding! Think retro. Think vintage. And like vinyl, cool again!Â Arturo Delmoni delivered the quintessential virtuoso violin recital, partnered by the superb pianist Li-Pi Hsieh. It was utterly refreshing in that there were no gimmicks, no quotas to fill.Â It was simply great music played with superlative technique and supreme expression. One of our friends commented that Arturo plays so naturally, itâ€™s as if he was born holding a violin.
His program opened with Sonata in E Major by Pugnani and was followed by Beethoven’s beloved Violin Sonata No. 5 in F Major, â€œSpring.â€ Â Then came Grieg’s lesser known Violin Sonata No. 2 in G Major, a stunningly beautiful work that drew the audience to its feet.Â Following intermission came Hexapoda: Five Studies in Jitteroptera, a delightful suite of five jazzy pieces written by Robert Russell Bennett in 1940 sporting such titles as “Gut-Bucket Gus,” “Jim Jives,” and “___Till Dawn Sunday.” Of course, no proper virtuoso violin concert would be complete without a set favorite short works, and Arturo Delmoni did not disappoint. He chose Hungarian Dance in f minor (Brahms-Kreisler), Song Without Words, â€œSweet Remembrance” (Mendelssohn-Heifetz), Legend of the Canyon (Cadman), Claire de Lune (Debussy), Mazurka, â€œDudiarzâ€ (Wieniawski), and Valse-Scherzo, Op. 34 (Tchaikovsky).Â Naturally, an encore was demanded, and Arturo offered Prighiera of Heifetz, so touchingly played, we were nearly reduced Â Â to tears.
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New York Polyphonyâ€™s concert “Faith and Reason” was all that we hoped for, and more!Â Presenting them in Redfordâ€™s Church of the Assumption was spot-on.Â The precious old stone church has cathedral-like resonance, and the voices rang out and floated in the air.Â The vocal blend was miraculous, while each of the four singularly beautiful voices remained distinctive and strong throughout.Â It is clear why New York Polyphony enjoys a reputation as one of the finest vocal chamber ensembles in the world.
The program’s juxtaposition of ancient music with contemporary composition was brilliant. Thomas Tallisâ€™s 16th-century Mass for Four Voices was flanked by short works of Andrew Smith (b. 1970) and Gabriel Jackson (b. 1962), Kyrie and Ite Missa est, respectively, both composed especially for New York Polyphony. The second half was devoted to Gregory Brownâ€™s Missa Charles Darwin, commissioned by New York Polyphony. Using the traditional structure of the Latin mass as framework, Brown set excerpts of Darwinâ€™s writings. It is a very successful, thought-provoking work, not least because the texts, while beautiful and poetic in and of themselves, are very pertinent to our concerns today about the environment. The concert concluded with Three American Folk Hymns arranged by Gregory Brown.Â We had a great turnout of 150 – ran out of programs and cookies;-)
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We were delighted to welcome Emerald Trio back for their second residency (the first having been in 2015, when they recorded Big Green Apple, their debut disc of all-new works composed especially for them, released last year to glowing reviews). This residency was all about breaking in a new pianist and work-shopping a new piece commissioned by Hill and Hollow Music for Emerald Trio. Composer-pianist James Sheppard wrote (pretty much on-site at Harvey House) a collection of five Adirondack-inspired miniatures that captured many moods and conjured many colorful images: “Adirondack Run,” “Saranac Shimmers,” “Alone Mountain,” “Farmersâ€™ Duet,” and “Night Time Whiskey.” The premiere performance was enthusiastically received â€“ the audience loved it! Â We know that it will be programmed a lot on future Emerald Trio concerts.
We were privileged to be host for an off-campus concert by advanced students of the renowned Meadowmount School of Music. The program began with Weilu Zhang playing two movements of the Sonata for Solo Violin in A minor, BWV 1003 by J.S. Bach.Â Then followed the exquisite Ravel Trio in A Minor with Liam Kaplan, piano; Nanao Yamada, violin; and Jeremy Tai, cello. Â After intermission Jeremy Tai performed a movement Kodalyâ€™s wildly virtuosic Sonata for Solo Cello, Op. 8.Â The concert’s glorious culmination was Schumannâ€™s Quartet for Piano and Strings, Op. 47, with Matthew Harikian, piano; Weilu Zhang; violin; Aaron Rosengaus, viola; and Luiz Venturelli, cello.
Founded in the Adirondacks in 1944 by the legendary Russian violinist and pedagogue Ivan Galamian, the school soon became â€“ and continues to be today â€“ a pre-eminent summer program for young musicians training for a professional career in music. Meadowmount offers a bucolic environment with a balance between the enjoyment of nature and the pursuit of high art. Â Individual instruction in the solo repertoire, participation in weekly master classes, guest artist master classes, and involvement in a chamber group coached by both the piano and string faculties provide for a tremendous amount of growth. Â Alumni of Meadowmount have won every major competition worldwide, and are among the very best of international soloists and chamber musicians, concertmasters and principal players of the worldâ€™s leading orchestras, and the distinguished artist-teachers in every major university and conservatory. Â Among hundreds of distinguished artists who attended Meadowmount in their youth are Joshua Bell, Lynn Harrell, Soovin Kim, Jaime Laredo, Yo-Yo Ma, Itzhak Perlman, Arnold Steinhardt, Pinchas Zuckerman.
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Classical violinist Jonathan Aceto brought out his ZETA electric violin for a great turnout at Weatherwatch Farm.Â He played two fascinating contemporary works for MIDI violin, background tape, and visuals: the hair-raising SAMPLER: Everything Goes When the Whistle Blows by Salvatore Martirano, inspired by the 1985 terrorist hijacking of the Achille Lauro cruise ship; and the otherworldly Desert Voices by Priscilla McLean, with a slideshow of photos of the Sonoran Desert, where many of the sounds on the background tape were recorded. In between, an aural Â â€œpalate cleanser,â€ Jonathan played the â€œSarabandeâ€ from J.S. Bachâ€™s unaccompanied Suite No. 3 in C with Grand Canyon reverb.
But to get everyone primed for the concert beforehand, the McLeans had created an interactive installation that utilized world music, sounds of nature, intriguing experimental techniques, and projected images. Small groups of 3 to 5 entered into a darkened room to experience, create, and manipulate music and sounds. Later, to round out the evening was a screening of Rainforest Images II, the evocative music-video by Barton and Priscilla McLean based on their adventures in Borneo, Malaysia, and Costa Rica.Â All the while there was plentiful eating and drinking – all good fun, punctuated with many beautiful, uplifting moments.
The outstanding performance demonstrated not only Liseâ€™s powerful virtuosity, but also her extreme delicacy and touching devotion to this music. Â She is capable of creating a tsunami of sound, yet courageous enough also to dare a barely heard pianississimo.Â Not a single passage or note is trivial â€” every scale, roulade, and arpeggio meaningful.Â Multiple lines and fast passage work are heard with astonishing clarity, while arching melodies unfold with sublime spaciousness.Â Lise de la Salle has it all, and the audience recognized it!
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