American Encounters: L.A. Story (1/6/18)

Brinton Averil Smith, cello; Evelyn Chen, Piano

Alt Wien (Triakontameron, No. 11) – Leopold Godowsky (1870–1938)
(arr. Heifetz)
Serenade, Op. 3 No. 5 – Sergei Rachmaninoff (1873–1943) (arr. Smith)
Berceuse from L’oiseau de fer – Igor Stravinsky (1882–1971) (arr. Dushkin)
Saget mir auf welchem Pfade, Op. 15, No. 5 – Arnold Schoenberg
(1874–1951)
Stimmung, Op. 32, No. 1 – Joseph Achron (1886–1943)
Three Impromptus for Unaccompanied String Instruments, Op. 90c –
I. Andante cantabile; II. Allegretto grazioso; III. Adagio, con espressione – Ernst Toch (1887–1964)
Recueil de mazurkas (a Albert Roussel) – II. Moderato–Piu lento–Tempo primo – Alexandre Tansman (1897–1986)
Jazzettes, Op. 26, No. 3 – Louis Gruenberg (1884–1964)
I Nottambuli, Op. 47 – Mario Castelnuovo-Tedesco (1895–1968)
Toccata capricciosa, Op. 36 – Miklós Rózsa (1907–1995)
Four Pieces from Much Ado About Nothing, Op. 11 – Maiden in the Bridal Chamber; Holzapfel und Schlehwein (March of the Watch); Garden Scene; Masquerade – Erich Wolfgang Korngold (1897– 1957)
Prelude, Op. 23, No. 2 – Rachmaninoff
Carmen Fantasie – Franz Waxman (1906– 1967)

This was a concert by composers in L.A.—though not necessarily of/from L.A—who wrote for the movies while living in L.A. These works, however, were not actually used in film scores (that I’m aware of). It was a bit of a loose concept. There were mostly duets but a few solos as well. As a note, Mr. Smith played from memory throughout while Ms. Chen (his wife) played from a score for the most part.

Alt Wien was a sweet, lilting waltz though not overly sweet. Rachmaninoff’s Serenade had an interesting intro, a theme with a slight Spanish flair, and then finished with a flourish. Stravinsky’s Firebird theme was very recognizable, a simple and effective tune and accompaniment that then branched out into repetitions with touches of flights of fancy. I likened it to Bolero, only more interesting. I wish they had grouped these pieces together the way I just did because it was a little tedious having audience applause after every individual work.

Not surprisingly, Schoenberg’s work made a move into more modern and slightly atonal phrases and harmonies. It never made it to harsh, and it was a fairly brief piece. Stimmung was a bit more lively but still had that somewhat plaintive sound that is often associated with cello music.

The three impromptus of Achron were solo cello pieces that were modern again, with hints of jazz. They had an impish quality that I liked. A piano solo followed that was very melodic with an almost Romantic feel to it, even with forays into a few more modern harmonies. A solo cello piece followed. It was expressive and explored the full range of the cello but it was not really my favorite. I Nottambuli was a bit of a mood piece at the beginning, with evocative vignettes strung together that were pleasant, if a bit rambling.

Rózsa’s Toccata for solo cello opened the second half of the concert and was very modern, with bowing, plucking, and double stops that lent it a rather harsh edge. Of the four Korngold pieces, the first was songlike, pretty, and pleasant while the second was dramatic and effective, martial with a few rhythmic twists thrown in periodically. The third was lyrical and lovely—you could imagine love in the air in the garden. The fourth was brisk, almost like a dance run amok but in a fun way.

Ms. Chen showed her mettle with a showpiece for piano. The Rachmaninoff Prelude was very fast and powerful, with many, many notes. The Carmen Fantasie had a bit of a back story. It was written for violin and piano and was here transmuted to cello and played here for the first time. It hit all of the highlights but I fear something was lost in translation. Kudos, though, for the Smith/Chen duo for giving it a go. The de riguer encore was Gershwin's It Ain't Necessarily So.