Saturday evening concluded the Music@Menlo chamber music festival. Since returning 5 days earlier from my trip to states beginning with an I, I'd been plunged back into it, including such features as:
A masterclass in which, after hearing each of two sets of student performers, the instructor threw his hands up in despair at his failure to think of anything he could critique them on.
A prelude performance of Schoenberg's Verklärte Nacht. Not my favorite work by a long shot, it nevertheless impressed with the intensity of its color, and even more by the players' introduction, in which the second violinist recited a translation of the Richard Dehmel poem that inspired the work, while the rest of the musicians played passages that seemed to correspond with the particular events of the poem. A brilliant job by the performers.
(The poem depicts a woman ashamedly confessing to her new boyfriend that she's already pregnant by another man. He forgives her, and their love is transfigured. Pretty terrible already, and the music is worse. But now you know why Schoenberg wrote it as a sextet, and if you think that's a stupid argument, I once heard a Menlo performer give a talk seriously pitching for a calendar date encoded in the number of bars a piece had.)
Another prelude performance interrupted twice by what sounded like the same very loud cell phone going off. At the end of the piece, festival co-director David Finckel appeared on stage to announce, through tight lips, that the performers would be doing those passages over again, to get a clean recording (audition tapes for their younger performers being an important by-product of the festival). They got an even bigger applause after the remakes than they had originally. And I wonder if Menlo has procedures to ban egregiously errant audience members.
A concert by the 10-to-18 year old students including the usual hefty samples of Dvořák and other hoary classics played with the fresh dedication always heard here, but also a new thing for one of these concerts, a piece by a living composer (which means, as the students excitedly declared, that you can shoot him a message asking if something in the score is a misprint, which you can't do with Dvořák). The piece was a string sextet (yes, another one) by Jörg Widmann, whom I knew from a stunningly crappy piece of merde dropped on the Banff String Quartet Competition last year. The sextet was far better, a concise technobeat moto perpetuo with some minimalist sensibility. I actually kind of liked it. Here, you can listen to them playing it here (the music begins just after 5 minutes in).
An evening concert of late Romantic music bifurcated between elegant, restrained performances and madly impassioned Expressionism, which I reviewed.
And Saturday's final concert, whose major work was a string Octet by George Enescu, which he wrote poised on the century's edge in 1900, at the age of 19. It's half a 19C work and half a 20C one in musical style, and is largely composed of lyrical melody with a good sense of structure keeping the very long, virtually unbroken work from meandering. There are many solos, usually for one of the first two violins (here Bella Hristova and Danbi Um) or the first viola (Paul Neubauer) backed with amazingly interesting harmonies from the rest of the ensemble; these alternated with dramatically intense tuttis. This piece comes right behind the previous concert's Kreisler string quartet for most interesting discovery of the year, but I doubt I will ever hear it played so well again, even if I ever do.
An overlapping ensemble played Shostakovich's early Octet movements, Op. 11, with great drama but without sounding at all like Shostakovich, and the year's theme of showing off the violin came in some brief pieces by Dohnányi (with piano), Martinů (with cello), and Corigliano (without anybody), all played by either Hristova or Um with great display but not that much memorability. Give me Enescu, a relative ranking I never thought I would be making.
As this will be serving as my formal review of the final concert, here, have a photo:
The Enescu Octet showing off. From left around the circle: Bella Hristova (vn), Paul Neubauer (va), Soovin Kim (vn), Clive Greensmith (vc), Nicholas Canellakis (vc), Richard O'Neill (va), Arnaud Sussmann (vn), Danbi Um (vn). Photo by Carlin Ma, courtesy of the Music@Menlo Festival.