This was a great program featuring fellows of The Academy—a two-year fellowship program under the auspices of Carnegie Hall, Juilliard, and the Weill Music Institute in partnership with the NYC Dept. of Education. Not a bad pedigree, eh?
The program was modern classical—Critical Moments 2, George Perle (1915–2009), Wind Quintet No. 1 (1948), Jean Françaix* (1912–1997), and (after intermission) Clarinet Quintet in B minor, Op. 115 (1891), Johannes Brahms (1833–1897).
The program included a sextet and two quintets, with very little overlap in personnel; therefore, individuals will not be named. The first work had nine movements (I–IX (d’oh!)) most fairly quick in tempo, with only #VII slow. Very interesting mix of instruments (flute, clarinet, violin, cello, piano, percussion), specifically the percussion (vibraphone, timpani/snare drum, blocks/gong, and cymbals (with sticks/brushes)). The piece had enough structure and listenability to keep it interesting without too much over-the-top discord/dissonance.
The Françaix quintet (flute, oboe, clarinet, bassoon, horn) was a four-movement work. My notes included rolling; longer, more fleshed out; variations, including rhythmic variations. The last movement was a bit disjointed—the sections didn’t seem to be connected or leading anywhere specific.
The Brahms quintet (two violins, viola, cello, clarinet) was composed late in his career, and the opening (Allegro) was full and lush, if almost somber. The Adagio had an intensity, both compositionally and in execution. The third movement (Andantino–Presto non assai, ma con sentimento) was sunny in its opening, bright and brief. Movement four (Con moto) returned to somber—really more sober, yet not a downer at all, though the ending was an odd mix of chords, chords, quiet ending.
This Academy is a great experience for budding professionals—the grounding of performance experiences with new opportunities opening ahead of them. Their performances in NYC schools share their love of music and performance and require the players to use teaching moments/interaction with audience members. A win-win situation.
Note: These folks must love what they do—two of the players were alumni of the program.
*The mentor to this group of players told them that Françaix was “either diabolically brilliant, or he didn’t know what he was doing.” I vote for the former.
ConcertMeister
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