Jacqueline Horner-Kwiatek, mezzo soprano; Margaret Kampmeier, piano
Dr. Horner-Kwiatek is a vocalist who specializes in early music as well as contemporary music. Her program on Saturday included 13th-century solo vocal works, arrangements of folk songs, and compositions in the style of folk songs.
Ms. Kampmeier also played two solos.
Clocking in at nineteen compositions, not every one will be commented on. I am a fan of early music (it’s an acquired taste), so I particularly enjoyed Qui Creavit and Lullay, Lullow, both from the 13th century. The first, which opened the concert, was chant-like and strophic, and relatively simple while the second, coming toward the end of the program, was more song-like.
As a little bit of folk song background, many composers strolled the countryside collecting them and writing them down so that the oral traditions would not be lost. That was the case with George Butterworth (1885–1916), who arranged Folk Songs from Sussex (1912). A Blacksmith Courted Me was quite somber, including, “And though I have lost my love, I will find no other.” Sowing the Seeds of Love was brighter in tempo, and sweet, with a nice running accompaniment. The Cuckoo was an odd little waltz that I enjoyed. The True Lover’s Farewell opened with solo piano, then an a cappella verse, before finishing as a duo.
Three Irish Songs followed, two of which were straight-on folk songs sung a cappella. The third, with piano, was an arrangement (Hamilton Harty (1879–1941)) of My Lagan Love, which was an interesting treatment—sort of an expansion of the folk song tradition.
The first piano solo was next, Prelude #2 by George Gershwin (1898–1937). As announced from the stage, and noted in the printed program, Gershwin actually referred to it as a ‘blues lullaby’. Indeed, it had a gently rocking bass line with a lovely melody above that was deceptively simple sounding. There was also a really bluesy middle section before returning to the rocking rhythms. The second piano solo, toward the end of the afternoon, was For My Daughter, Nina by Leonard Bernstein (1918–1990). It was also gentle, with touches of jazz harmonies, a little more elaborate than the Gershwin, but not boisterous at all.
Immediately after the Gershwin was A Charm of Lullabies, Op. 41 (1947) by Benjamin Britten (1913–1976). Britten being Britten, there were more and more dissonant harmonies in this set of five songs, though they never quite made it to harsh. Well, maybe with the exception of the fourth, A Charm, where the child is threatened with being tormented if it won’t finally go to sleep. Who knew that lullabies could be funny?
The final set of songs, after the Bernstein, were three pulled from the two sets of Old American Songs by Aaron Copland (1900–1990). I was familiar with all three, having studied them and sung them while in college. The Little Horses is indeed a lullaby, though it does have a couple of brisk sections. Simple Gifts is a Shaker song that does have a simple tune and a simple setting. I Bought Me a Cat is charming and funny—sort of a grown-up version of Old MacDonald. The singer buys a cat, a duck, a goose, a hen, a pig, a cow, a horse, and a wife! At the end the singer recounts the sound each makes, going from the wife all the way back to the cat. It’s a great way to end a concert.
Similar to the ‘songs for children’ concert I heard a few weeks ago (Concerts on the Slope), this was interesting programming but there were lots of gently rocking pieces. Not enough to put anyone to sleep, though. And the mix of solo piano pieces and a cappella songs worked in its favor. I had a good time.
ConcertMeister
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