String Sextets (10/25/14)

Saturday (10/25/14) saw my second visit to the Chamber Music at Rodeph Sholom series. This one was interesting because of the juxtaposition of a pair of string sextets—one a New York premiere and one an established piece (though it was new to me). The program began with a flute solo.

Syrinx, L. 129 (1913) – Claude Debussy (1862–1918)
Saratoga Sextet (2014) A Day in the Life of an Artist – Eliot Bailen (1955–)
Souvenir de Florence (1890) Sextet in D minor for strings, Op. 70 – Piotr Ilyich Tchaikovsky (1840–1893)

Susan Rotholz, (flute); Jill Levy and Doori Na (violin); Sarah Adams and Michael Roth (viola); Eliot Bailen and Lindy Clark (cello)

Syrinx was a very good choice for a curtain raiser—brief, at times haunting, and beautiful. It brings to mind the opening of L’après midi d’un faun, and it set a nice mood of anticipation.
Mr. Bailen took a few moments to talk about his composition before the piece and after, as well. The three movements were: I. Beginnings; II. Inspiration; and III. Drive. Even after the explanation that the second movement segued directly into the third, I was unable to distinguish the transition. According to audience comments afterward, I was not alone.

The first movement was serene and slightly amorphous to begin with. There were modern harmonies, but not necessarily sharp dissonances, that soon flowed into a dance-like section—a jig or a reel, slightly off track. There were harmonies that recalled Aaron Copland, and the music petered away into nothingness. The second began with very pretty chords, chorale like over an ostinato bass line. (My notes actually said “heartbeat.”) Once again, there were dissonances, but they made sense, eventually (third movement?) leading to different sections and episodes, finishing strongly. It was a pleasant and interesting piece and, as always, it’s worthwhile to hear new compositions, and to have some insight from the composer. Fun stuff.

The Tchaikovsky sextet’s first movement (Allegro con spirito) jumped right into what sounded like a very rhythmic, oddly strident Slavic dance, but I think that was the intent, then a very pretty violin solo led to a warm section and a dramatic section, slightly lengthy but definitely listenable. Adagio cantabile e con moto had a lush opening—violin solo against pizzicato accompaniment—followed by melodies passed back and forth to the cellos and violas that were lush and romantic throughout. (I actually wrote an aside in my notes at this point to check the dates of Tchaikovsky’s Serenade for Strings because I was hearing either paraphrases from it, or the Serenade borrowed from this score. It turns out that the Serenade is a good ten years younger.) The second movement continued (and it was lengthy, approximately twice as long as the opening movement) with a mysterious mood, with bursts of power and musical phrases, and various solos woven together into a true chamber music feel. I also felt that I was hearing more echoes of the Serenade, haunting and almost mournful. Both the Allegro moderato and the Allegro con brio e vivace featured strong dance rhythms, strong tutti writing, and while the third movement’s minor key was predominant, it couldn’t quite drown out the exuberance of the writing. The fourth movement, along with the third, seemed to be heavily influenced by folk tunes and folk dances, and finished quite strongly. I’m very glad that I got to hear this work, as it reminded me so much of the Serenade, which is one of my favorite works.

The playing was top notch for the entire concert—I’ll keep on the lookout for more of this series, and I’ll keep you posted as I can.

ConcertMeister