Matthew Odell, piano; Patrick Jee, cello; Katherine Whyte, soprano
This was the first in a series of four concerts with this main title to be held this year at the Library for the Performing Arts. The title is a bit of a play on words, as Felix Mendelssohn wrote/published eight volumes of Songs Without Words (solo piano pieces). This concert, however, included songs with words, by Felix and a Song Without Words, by his sister, Fanny. So, a bit of a mix and match.
Auf Flügeln des Gesanges; Wanderlied; Suleika; Schilflied; Neue Liebe – Felix Mendelssohn (1809–1847)
Notturno in G minor; Song Without Words in B minor, Op. 2, No. 2 – Fanny Mendelssohn (1805–1847)
Die Liebende schreibt; Frühlingslied; Romanze; Andres Maienlied – Felix M.
Sonata in D major for cello and piano, Op. 58 – I. Allegro assai vivace; II. Allegretto scherzando; III. Adagio; IV. Molto allegro e vivace – Felix M.
In addition to the music, there were also readings of some of Felix’s letters (the LPA has some of Felix’s 7,000 letters in its archives, as well as several volumes of letters printed in book form).
But, on to the music. The first five songs were sung by Ms. Whyte, with Mr. Odell at the keyboard. The first was gentle and flowing, and strophic (in fact, all of the songs were strophic, with texts by various poets and authors). The second was joyful and brisk, with only two verses. The third, clocking in at five verses, was calmer and more serious. The fourth was a slightly melancholy waltz, with a rocking rhythm, while the fifth was perky, but dramatic, too. Ms. Whyte sang beautifully (in both sets) and Mr. Odell was a more than able supporting artist.
Fanny’s pieces were for solo piano. Notturno was slightly dark but had pretty tunes and phrases. It was mostly gentle, with touches of drama from time to time. It seemed more like parlor music than music for the concert hall. Her Song Without Words was more romantic in tone and featured the tune in the right hand and accompaniment in the left, then a reversal of those roles. The piece had constant movement without being frantic at all. Both pieces were rather lovely.
The four songs in Ms. Whyte’s second set were sweet and sincere, brisk (more so in the accompaniment) with hints of drama, calmer, but with its own drama and including more filigree in the vocal writing—trills, turns and melismas (one syllable sung on many notes), and very brisk, slightly dark and very dramatic.
The first movement of the cello/piano sonata had a big, bold opening with very interesting writing in the lowest range of the cello against a quite rapid piano accompaniment. The second was slightly impish with lots of pizzicato playing from the cello. Even when the cellist was bowing the strings, it was still brisk and fun. After a back and forth song like section and a return to the opening motifs of the movement, it had a very cute ending. The third movement had a lengthy piano solo, eventually joined by a lovely, slightly mournful tune in the cello that also had its own touches of drama before eventually winding down to the end. The final movement was very brisk and bright, though also very serious. It was enjoyable but I found myself wanting to like it just a little better than I did.
If I’m remembering correctly, the next deep dive into Mendelssohn will include a lot more chamber works. I’m glad that this concert had the mix of pieces that it did, and I look forward to the others later in the season.
ConcertMeister
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