I Did Not Know That! (2/18/14)

Programs at the Austrian Cultural Forum New York are always interesting and this one didn’t disappoint. Cornet: Viktor Ullman’s Legacy from Theresienstadt commemorating the 70th anniversary of Ullman’s murder in Auschwitz. Well, as it turns out, there was nary a cornet to be seen or heard. The program consisted of an introductory lecture, Music from Theresienstadt, by Michael Lahr, and then music of Viktor Ullman (1898–1944)—Piano Sonata No. 6, op. 49, Allegro molto, Allegretto grazioso, Presto, ma non troppo, Allegro molto, Dan Franklin Smith (piano); and Die Weise von Lieb und Tod des Cornets Christof Rilke (The Lay of Love and Death of Cornet Christoph Rilke – 12 pieces from the poem of Rainer Maria Rilke for recitation and piano), Gregorij H. von Leïtis, recitation; Dan Franklin Smith, piano. Aha! There’s the cornet—an officer in a cavalry troop who carried the standard.

The music was written while Ullman was in the concentration camp, during 1944—the year he also died there. The first movement of the sonata was dissonant without actually being atonal, was very pianistic, and included some jazz riff overtones. The second was a little more melodic, with a more formalized structure, while the third was mainly repetitive rhythms. The final movement was similar to the first but a little less dissonant, a little more accessible, to my ear, again with jazz influences, and a rather abrupt ending. Mr. Smith played very well, here and in the piece that followed.

The Cornet was quite interesting, with the texts (translated) being shown on screen, but also at times showing a printed page from the score—so you could actually follow along, both piano and the text in German. The printed pages that were shown also included shadowy images including a horse with the rider bearing the standard, the horse and rider sans standard, and a standing skeleton bearing the standard. Very moving images. The music was (this from my brief notes) alternately lively and dramatic, gentle, rhythmic with more verbose text and a piano coda, piano opening with text followed by a piano epilogue, lush, almost pastoral—but a false impression, martial, rapid text and music, and then a denouement. All of the varied music and recitations were carried out quite effectively; a true collaboration through composition.

Considering the rather “heavy” aspect of the lecture, music, and drama, and the fact that all of this was from a dark era in our collective histories, the concert was moving, eventful, successful and thought-provoking. I must remember to check ACFNY’s website more regularly, to broaden my horizons. Musically and historically.

ConcertMeister