Midday Masterpieces (11/7/18)

Hooray! The programming gods looked down on me that first Wednesday of November. When I entered The Greene Space, I saw a piece of paper on one of the seats. I didn’t give it too much tough other than the fact that I’d never seen anything like that there before. As usual, I staked out my usual seat (yes, I’m peculiar that way) and then sat in the window with my lunch and a book. As the concert time came closer, I moved back to my seat, and that piece of paper had made it to my spot. 11/7 WQXR Midday Masterpiece Program Order. My prayers had been answered. I knew what I was going to hear and who the performers would be.

Äneas Humm, baritone; Chris Reynolds, piano
Schumann: Myrthen: “Zwei Venetianische Lieder”
“Leis rudern hier, mein Gondolier”; “Wenn durch die Piazzetta die Abendluft weht”
Mendelssohn: “Schilflied”

Erik van Heyningen, bass-baritone; Bronwyn Schuman, piano
Schumann: Selections from Eichendorff Liederkreis
“In der Fremde”; “Intermezzo”; “Die Stille Zwielicht”; “Schöne Fremde”

Marie Engle, mezzo-soprano; Richard Fu, piano
Strauss: “Freundliche Vision”
Schubert: “Über alle Gipfeln ist Ruh”
Mahler: Rückert-Lieder, 5. “Ich bin der Welt abhanden gekommen”

James Ley, tenor; Seoyon Macdonald, piano
Schubert: “Ständchen”; “Nacht und Träume”; “Der Musensohn”

All four vocalists and all four pianists performed very well. It got me to thinking, though, that vocalists seem to take a lot more time to mature and grow into their voices (and expressiveness) than do instrumentalists. Maybe it’s just the hardware of instruments versus the soft tissue of the voice? More for me to ponder about anon.

The first song had a gentle, rocking barcarolle-style accompaniment that was appropriate for Venetian lieder. The second piece was much brisker and very enjoyable. The third was slightly darker and definitely showed Mendelssohn’s affinity for lieder, and it had a nice, gentle ending.

The five Schumann songs that followed began with a piece in a minor mode and was troubled, rather than sad. The second was more energetic—my notes called it a nice little gem. The third was playful and fun while the fourth had an introspective piano introduction and was dark and brooding though it also had power. The last was brisk and bright; it also had hints of darker things.

In the third set, the Strauss was gentle for the most part and had a feeling of peace. The Schubert had a somber piano introduction and, in fact, was somber throughout. The Mahler had a rather lengthy piano introduction and was quite serious in tone. Some of the vocal lines were also lengthy and fairly dramatic.

The first Schubert song in the final set had a nice arc to it in a somewhat simple style. It was strophic but also included a bit of a coda-style ending. The second had an overall feeling of sadness and had pangs of anguish, as well. The final song was brisk, with bursts of power, although it did have a contrasting middle verse.

In the stage management department, it was great that they brought all four pairs, vocalists and pianists, onstage for a combined curtain call. Well done, indeed, as was the entire performance. Maybe I’ll try to check on these names in a couple of years, to see how they’ve progressed.