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Reviews of Performances |
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August 4 — 15, 2008 |
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WASHINGTON ISLAND MUSIC FESTIVAL |
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Review of the Opening Night Concert, August 6, 2007 by Erik Eriksson, Northeast Wisconsin Music Review |
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Washington Island Music Festival Trueblood Performing Arts Center, WI August 6, 2007
An opening to Remember
Sixteen years. As it has passed the decade-and-a-half milestone, the Washington Island Music Festival has become quite an impressive enterprise, this year offering seven concerts, several lecture/seminars, a children’s music camp and an open rehearsal, all during the course of twelve late-summer days. The concert offerings are substantive and appealing and the performances are uniformly excellent as the WIMF family of musicians, many of them from the Milwaukee Symphony Orchestra, come together to make music they enjoy under the most congenial of circumstances. In the Trueblood Performing Arts Center, the festival has an attractive venue affording patrons comfortable seating, good sight lines and acoustics that allow the music to sound with the right balance between resonance and clarity (the building’s structural problems which have led to external bracing being put in place are being addressed by architect and builder and will soon be rectified). The festival also offers an evening during which the Washington Island Ferry runs a late boat, enabling attendees to come and go without having to remain on the island overnight.
Artistic Director Stephen Colburn continues to make choices in repertory which navigate the middle way between the familiar and the surprising. This year’s first concert held a rather astonishing piece by a composer whose name can be best described as obscure. Nonetheless, it proved musically rewarding and a genuine hit with the enthusiastic audience.
First, however, some words about the first three numbers, all relatively well-known (for good reasons), but more quotidian in nature. Vivaldi’s Chamber Concerto in F (F. XII, No. 26) reflects the composer’s flexibility and rhythmic variety, his ease in moving from major to minor, his gift for constructing melody from mere fragments and his prevailing brightness of temperament. With Wayne Wildman providing clarity from his harpsichord keyboard, the five other players were afforded a tapestry of lightness and forward motion. Flutist Julie Thornton (Principal Piccolo with the Colorado Symphony Orchestra) made much of her leading part, playing with radiant tone and utmost fluency. Violinist Michael Giacobassi continued with the increased assertiveness and crisp articulation that has made his work over the past two seasons so rewarding. His wife, bassoonist Beth Giacobassi, matched oboist Stephen in tonally attractive, firmly molded phrasing while double bassist Catherine McGinn applied the right degree of firmness in maintaining the suppleness of her under-girding phrases. A just balance among the players was in evidence from the first note and remained in place throughout the three movements. Additionally, the high energy level never spilled over into excess; poise was a constant presence as the WIMF artists sealed a thoroughly satisfying performance. The mutual respect and trust required for excellent ensemble work was everywhere evident.
Mozart’s Trio in E Flat, K. 498 was completed in Vienna in 1786 and was conceived for his student Francesca Gottfried von Jacquin. Labeled the “Kegelstatt Trio,” it, so it was rumored, was inspired by a game of ninepins. Its character, however, suggests little of an animated game; rather, it is an example of Mozart’s most graceful and elegant style, unhurried and supremely tuneful. The lengthy Andante is a model of perfection and the Menuetto and closing Rondeau no less so. The three WIMF musicians made the strongest possible argument, playing with poise and energy blended with ingratiating refinement. Stefanie Jacob is a meticulous pianist, yet one whose great care in articulation never interferes with the necessary flow. With mellow, plangent tone and imaginative phrasing, clarinetist Diana Haskell filled her role beautifully while violist Nathan Hackett shaped his part with glowing sound and an internalized urgency that was precisely to the point. With such artistry in abundance, we were accorded a performance that measured up to the most exacting standards, polished and endearing.
After intermission, soprano Marlee Sabo gave us yet another example of her keen sense of repertory, this time turning to the work of Ralph Vaughan Williams. The English icon was devoted to the folksongs of his native land and had a gift for writing effectively, compellingly, for the voice. From the grandeur of the soprano and baritone solo parts in his heroic “Sea Symphony” to the floating eloquence of his “Five Mystical Songs,” his was some of the most affecting music ever composed for that incredible instrument humans carry about in their throats. Vaughan Williams’s songs to texts by William Blake are spare in timbre, scored for solo voice and oboe. With husband Stephen Colburn as expert accomplice, Sabo offered four of them, applying slender tone and unforced, but impeccable diction to make unmistakable Blake’s often biting texts. The sometimes odd intervals were negotiated by both artists with purpose and confidence, handily realizing the full import of these wonderful songs.
The evening’s big surprise was the Grand Septet in C Minor of Alexander Fesca (1820-1849), a German composer/pianist whose precociousness and prodigious list of works written during a tragically short lifetime resulted in acclaim that seems not to have outlived him by very much. As wide as our listening nets have extended, this was the first time we had encountered his work. The experience was instructive; the young man (this work was completed when he was but twenty-two years of age) certainly was gifted, his ideas tumbling headlong into a musical goulash of considerable originality. Some sources have commented dryly on a certain lack of originality, but those authors have failed to take note of the date of composition and just who was composing what at that time. With a timeline fixed in mind, one can observe that young Fesca was more than a little forward-thinking. Many of the modulations are startling, often punctuated by daring pauses. Throughout, the pianist is kept in hyperkinetic mode, commenting, interrupting and emphasizing phrases outlined by the other six instruments. As is true of Franz Berwald’s Septet, the texture is symphonic in its opulence, full and tellingly detailed. While some phrases convey an almost cartoonish frenzy, all else is freshly and vitally conceived and written out with noteworthy craft. Most arresting is the Scherzo movement, episodic and elaborate, alternating urgency with repose. In particular, there are some lovely cello passages (here played beautifully be Scott Tisdale) briefly intertwined with complementary phrases from the viola. The effect is distinctly fresh and immediately affecting. The final movement reminds us that Fesca had achieved success as a composer of opera, for it is grandly operatic in character. Opening flourishes yield to quasi-recitativo phrases for the oboe as if the instrument is about to launch an aria. The composer manages to keep a firm grasp on our interest to the final measure with unending ideas wrought in textures that perfectly service his musical thoughts.
In all, a brilliant introduction to a figure whose obscurity seems difficult to explain. Certainly, this audience responded vociferously, applauding and cheering the performance (exemplary in every detail from each musician) with great enthusiasm. Conversation at the reception afterward turned on the impression the piece had made and its perfect suitability for the occasion. Cheers to Stephen Colburn for having dug it up (parts had to be obtained from the Netherlands and apparently arrived sans a full score).
The Washington Island Music Festival has long since come of age, but it is heartening to observe just how far standards advance year after year. More than just an island treasure, it has become a jewel to delight those who visit from far and wide and carry away with them news of this wonderful event. (Erik Eriksson) |
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Island Music Festival unearths rare work
Now 16 years old, the Washington Island Music Festival is a great event. For two weeks it offers extraordinary music in a wonderful space: The Trueblood Performing Arts Center.
Yet, that is not all that makes the festival work so well. Everyone associated with it is congenial and enthusiastic. The series is put together with a great sense of pride.
Its success can be attributed, in part, to music director, Stephen Colburn, who is the principal oboist of the Milwaukee Symphony and festival founder with his wife, soprano Marlee Sabo.
Colburn and I spoke briefly on opening night and he told me he wants to continually bring a high level of professionalism to the series
He believes Washington Island is the perfect venue for the music he programs. He feels the island is a magical place which helps bring players and audiences back each year.
Colburn likes to program works by familiar and virtually unknown composers.
In that spirit, the Aug. 6 concert performed three well-known names: Vivaldi, Mozart and Vaughan Williams. He also selected a work by someone who is esoteric and essentially unknown: Alexander Fesca.
The program began with Vivaldi’s delightful Chamber Concerto in F.
This work could have been called a flute concerto since that instrument gets all the glory.
Flutist Julie Thorton’s playing was vibrant and knowing. She gave attention to small details and her performance was delicate and refined. She obviously loves this short work.
Mozart’s Trio for Piano, Clarinet and Viola followed. The work was penned when the composer was at the height of his powers. It has stunning melodies but there is a sense of melancholy lurking around
The viola is central to the trio and Nathan Hackett’s entries were well-defined. He allowed the music to sing with his warm, liquid tone.
Following intermission we were treated to four songs by Ralph Vaughan Williams after words by Robert Blake. The piece is exquisite.
Many of the British composer’s works are elegant and dreamy. This work is no exception.
While much smaller in scope, it shares a place with his ‘Serenade To Music,’ ‘Sea Symphony’ and the heavenly ‘Floss Campi.’
Colburn and Sabo gave the work a hushed, sensitive reading. Sabo is an accomplished vocalist and her voice is well-suited to Williams’ music and Blake’s words. Their interpretation was first-rate.
Then there was that Fesca piece. Hardly anyone attending the concert knew who Fesca was. Fortunately, Colburn helped fill in the picture
Fesca only lived from 1820 to 1849. His life was cut short at an early age due to a disease of the lung. Over his 29 years, Fesca wrote many works, including two operas.
He composed his ‘Grand Septet’ when he was 26. It’s a surprise the piece is not better known. The composition is well-written and has imaginative music especially in its last two movements.
Its instrumentation calls for piano, oboe, horn, violin, viola, cello and bass.
Fesca gives prominence to the piano, and festival member Wayne Wildman performed the demanding part with energy and appreciation for Fesca’s melodies.
The third movement has repeated lines when the low strings play pizzicato against the piano. The ensemble made this wonderful music glow.
The final movement chugs along well but suddenly everything stops and the violin has several poignant and longing solos.
Timothy Klabunde performed these passages with warmth and grace.
The Fesca work was a great discovery and I look forward to other works that Colburn plans to unearth.
The Washington Island Music Festival runs until Aug. 17. For tickets and information call 920-847-3434.
Marty Lash is a member of the North American Music Critics Association and the American Theater Critics Association and a former contributing editor and classical music reviewer for the Illinois Entertainer. He can be reached at mrl220@msg.dcwis.com. |
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Review of the Opening Night Concert, August 6, 2007 by Marty Lash, Door County Advocate (Published August 8, 2007) |
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Review of the Closing Night Concert, August 17, 2007 by Marty Lash, Door County Advocate (Published August 22, 2007) |
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Wash. Island Music Festival worth the trip Over the last few years that I have been writing review for the Advocate, the Washington Island Music Festival never quite made it onto my radar screen.
However, through the encouragement of friends, I managed to get over to the island for several concerts this season. I’m glad I did. The festival’s music making is wonderful and the ensemble plays with a sense of mission.
The ensemble also performed Gustav Holst’s ‘Quintet for Piano and Winds.’
In the spirit of Handel’s �Messiah,’ the selections were a joy to hear.
Marty Lash is a member of the North American Music Critics Association and the American Theater Critics Association and a former contributing editor and classical music reviewer for the Illinois Entertainer. He can be reached at mrl220@msg.dcwis.com. |
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Review of the Closing Night Concert, August 6, 2007 by Erik Eriksson, Northeast Wisconsin Music Review |
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Washington Island Music Festival Trueblood Performing Arts Center, WI August 17, 2007
Make a Joyful Noise!
Closing night for this year’s Washington Island Music Festival was certainly high-spirited enough – and thoughtful, too. The energy level was as high as that for the opening, sustained by this gathering of musicians who so obviously enjoy each other’s company, each other’s resolute musicianship. The atmosphere is full of expectation and anticipation, as much for the artists as for the audience.
To begin this finale, Artistic Director Stephen Colburn turned to the most prolific composer of the Baroque era, Georg Philip Telemann. His Concerto in C for Four Violins is one of no fewer than ninety-five concerti written for a variety of instrumentations and is typical of the craft Telemann brought to all of his vast achievement. This bright, animated work (despite its beginning with a movement marked “Grave”), was here actually played by three violins and a viola, as violist Nathan Hackett wisely chose not to confound his fingers by having to switch instruments immediately for the evening’s second work. As he kept his timbre light and forward, there was full integration with the other three string players and matters went swimmingly: crisp, rhythmically taut and sweet in tone.
Second on the program was a grouping of two songs by Samuel Barber, perhaps America’s most imaginative creator of works for the human voice (Barber had a pleasant lyric baritone and, indeed, made an affecting recording of this work in question). Barber’s setting of Matthew Arnold’s restless, anguished “Dover Beach,” was written with accompaniment by string quartet affording the text a backdrop with a wider tonal palette. Baritone Douglas Anderson brought to his performance the soft-timbred, but sinewy sound best-suited to the piece – and his interpretation missed nothing of the powerful feelings stirred by the poem. An exemplary realization, it was wonderfully sung, bitingly interpreted and supported with superior participation by the four string players. (Four days after this performance, we learned of the death of soprano Rose Bampton at the age of nearly one hundred: she, a classmate of Barber’s at Curtis Institute, gave the New York premiere of “Dover Beach”) The players remained in place for a performance of an arrangement made by Anderson of Barber’s “Sure on This Shining Night,” appended, as the baritone stated, to serve as a counterbalance to the pessimism of “Dover Beach.” To this exquisite lyric effusion, Anderson brought beautiful tone and interpretive mastery. This was complete fulfillment.
Next, a very early work by Gustav Holst presented a glimpse at a composer in process of becoming himself. Composed in 1896 when Holst was but twenty-two, the Quintet for Piano and Winds in A minor is a work of greater density than his later works, thicker in scoring and more compactly organized (the airiness heard in many parts of his later works had not yet been discovered). Long unpublished, this chamber work is completely ignored in the trim Composers Series biography written by Holst’s daughter, Imogene. Yet, the work repays close attention and was here given a purposeful performance that held the aroma of ringing advocacy. Pianist Stefanie Jacob is an excellent chamber musician and provided the requisite anchoring for the piece. Oboist Stephen Colburn, clarinetist Diana Haskell, bassoonist Beth Giacobassi and French horn player Michael Thornton made much of the dark textures and rather complex weaving of motifs, executing their lines with clarity and careful tonal shading. The work emerged as something quite different from the Holst most people know, but nonetheless worthy of such a performance as it had here.
The second half began with a performance of Bach’s Fifth Brandenburg Concerto, a work so well known that it requires no comment. The performance does, however, danced lightly and with a velocity that was unstoppable. Most prominent among WIMF musicians was harpsichordist Wayne Wildman who made a tasty repast of the florid, ultra-busy keyboard part, bringing knowing smiles from nearly everyone in the audience and from the other musicians as well. The ensemble balanced the closely-knit with an exhilarating feeling of freedom throughout – the blueprint to an exemplary and irresistibly likeable performance.
With the WIMF Chorus, Stephen Colburn next assumed the role of conductor to lead the group in three choruses from Handel’s Utrecht Jubilate. The ensemble had been well-prepared by directors Diane Kahlscheuer and Kathi O’Connor and addressed their difficult music with enthusiasm. With numbers down from last year’s event premiering a work by composer Eric Ewazen, however, the sound was a little undernourished; the effort told, despite the dedication of each singer, in performances that were just a bit tentative. Still, the obvious sense of mission carried the performances through with considerable meaning. For the final number, the chorus turned to Island composer Dan Hansen’s full-of-life setting of Psalm 100, “Make a Joyful Noise.” This vigorous John Rutterish anthem, written for the 2003 christening of the island ferry, Arni j. Richter, excited the choristers, prompting them into a sharp, fully-invested performance. A bracing conclusion to another two weeks of treasurable music on the island, this was. We look forward to more next year – and sharing another lecture/seminar with violinist Samantha George. That too, brought its rewards. (EE) |