Saturday’s chamber music program was titled The Music of the Kennedy White House: 1961–1963 and featured The Serendip Piano Trio – Christiana Liberis, violin; In Hwa Lee, cello; and Alexander Wu, piano, arranger. Par for the course for a concert with Mr. Wu, he had interesting tidbits that he shared with us about the pieces on the program.
I. Felix Mendelssohn (1809–1847), Piano Trio No. 2 in d minor, opus 49, third movement – Scherzo – Leggero e vivace
II. Albert Hay Malotte (arr. by C. Deis), The Lord’s Prayer; George Gershwin (1898–1937), Virtuoso Etudes based on Gershwin (1924) (arr. by Earl Wild), Etude No. 3, The Man I Love, Etude No. 7, Fascinatin’ Rhythm
III. Leonard Bernstein (1918–1990), Somewhere from West Side Story, for violin and piano (arr. by R. Penaforte)
IV. Aaron Copland (1900–1990), Hoe-Down from Rodeo (Ballet Suite) (arr. by A. Wu)
V. Pablo Casals (1876–1973), Cant dell Ocells (Song of the Birds), for cello and piano
VI. Dave Brubeck (1920–2012), Blue Rondo a la Turk
VII. Paquito D’Rivera (b. 1948), Danzón (best guess, as it was announced from the stage)
VIII. Mendelssohn, Piano Trio No. 2 in d minor, opus 49, fourth movement – Finale – Allegro assai appassionato
All of the pieces had links to the Kennedy White House, but I may not have written all of them down. Pablo Casals played the Mendelssohn piano trio there, and he often ended concerts with his own Cant dell Ocells (and did so at the WH). Earl Wild played for the Kennedys and at the WH of five other presidents. Dave Brubeck played for the Kennedys, and saxophonist Paul Winter played the D’Rivera for the Kennedy WH. So, on to the music.
The Mendelssohn Scherzo was a bright and energetic way to open the concert and it had a delightful ending; the Finale was a brisk romp and a great way to close the concert. The famous Malotte “Lord’s Prayer” was played as a tribute to spirituals and the civil rights aspect of the times. Apparently Mahalia Jackson sang it there—this was a piano solo. The Earl Wild etudes are really wonderful pieces (I think I may have commented on them before). “The Man I Love” was a bit tentative, but Mr. Wu tore at the keyboard for a virtuosic performance of “Fascinatin’ Rhythm.” After it was over he said, slightly under his breath, “Too many notes.” I disagree and I’m pleased that I got to hear all of them.
“Somewhere” was a combination of a straightforward rendering with some jazz riffs thrown in for good measure. “Hoe-Down” was full-bodied fun, with a false ending and then an ending that actually topped it. The Casals cello piece had a mournful quality (hello! It’s the cello!) but also somehow a positive spin. Maybe the freedom of the birds? (That’s my spin and I’m sticking with it.)
The Brubeck was bluesy and jazzy—perfect for the Kennedy era. It took a basic 1-2-3-4-5-6-7-8 (or 1-2-3-4-5-6-7-8) rhythm and re-formed it to 1-2-3-1-2-3-1-2. I hope that makes sense. Try tapping the rhythm yourself. (Try it twice.) D’Rivera’s danzón had ballad-like sections contrasted with Latin rhythmic sections in a true mix of classical and jazz techniques.
All three musicians were top-notch players and they performed with that chamber music mentality where at any given time any one of the three is running the show. But really, Mr. Wu ran the show—he’s just a darned good entertainer, and his commentary is clear, easily accessible, and fun.
An Astor Piazzolla tango, “Oblivion,” written as part of a film score or used in a film score, was a well-played encore. It had a calm opening, was tuneful and easy to listen to, and was full and rich. Much like the entire afternoon.
ConcertMeister
No comments:
Post a Comment