The Flowering Viola (5/28/17

Jonah Sirota, viola; Regina Brady, oboe; Ben Larsen, cello;
Jo-Ann Sternberg, clarinet; Molly Morkoski, piano

Morpheus for viola and piano (1917) – Rebecca Clarke (1886–1979)
Elegy for a Lost World for viola and piano (2017 – NY Premiere) –
Robert Sirota (b. 1949)
Violin Sonata (1955) – I. Poco andante; II. Allegro non troppo –
Bohuslav Martinů (1890–1959)
Lullaby and Grotesque for viola and cello (1916) – I. Lullaby; II. Grotesque – Rebecca Clarke
Two Rhapsodies for oboe, viola, and cello (1901) – I. L’Étang; II. La Cornemuse – Charles Martin Loeffler (1861–1935)
Pieces for Viola Clarinet, and Piano, Op. 83 (1910) – II. Allegro con moto;
V. Rumanische melody. Andante; I. Andante; IV. Allegro agitato – Max Bruch (1838–1920)

This was a concert produced under the auspices of the fledgling Concerts on the Slope series. Check them out.

So much music, so much to comment on. The opening Morpheus was tuneful and gentle—slightly modern but easy to listen to, with a mix of a Romantic feel, and hints of Debussy-esque writing. Interestingly, when it was premiered in 1918, it was attributed to ‘Anthony Trent’, since Miss Clarke thought that her name was too prominent in the listed program as both composer and violist. Mr. Trent got a nice notice, as a composer, in the review. Miss Clarke did not!

Elegy was lovingly written by a father for his son—there was a mix of modern harmonies, somewhat discordant, sometimes gentle, sometimes not. The mix worked pretty well, though. ConcertMeister

After re-tuning (violas seem to be famous for that), the Martinů had grand gestures at the beginning but then a calmer ending for the first movement. The second movement was very brisk and active, before also calming down just a little bit at the end.

Lullaby and Grotesque was (i) warm and peaceful, yet also with a strong presence, and charming; and (ii) lively and somewhat dramatic, bold and energetic with a bit of a filip at the end. The Loeffler started low in the viola’s range, followed by rippling phrases for viola, oboe, and piano. With a good interplay between all three, it had a lively and playful feel followed by a bit of a mournful ending to the first movement. The second movement wandered from section to section, but was quite pretty enough at times.

The Bruch was an homage to Schubert, who also wrote for viola, clarinet, and piano. The four (of eight) movements that we heard were somewhat dark and dramatic, as well as moody; dark, slightly subdued, with a feeling of hope followed by a dramatic interlude, and then a calmer section as an ending; contemplative but not quite gentle, morphing into truly gentle and quiet; and ending very brisk and energetic, even in quieter sections, and then a bang-up finish.

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