Wednesday, July 25, 5 pm.
MUSIC OF ISRAEL, part 1
Jimmy Briere, piano, Guy Yehuda, clarinet
Mordechai Seter (1916-1994) “Monodrama for Clarinet and Piano”
Prelude: Slow, low piano below a few casual clarinet riffs: –evening– darkness falling, silence.
Recitative: Piano like stone in water sends out gradual ripples and clarinet plays above it like a shepherd musing—“Where are you?” Excitement, alarm; clarinet rising to squeaks and falling to chalumeau then softly pacifying as fear fades and the two-note theme repeats–“Where are you?”
Arioso: Poulencish, playful scampering of goats that vanish, reappear and vanish. Piano thunder, clarinet ominous as approaching storm. Wind picks up, disturbing tension builds.
Secco and Aria: Long sustained sweet note of clarinet over drop drop dropping of piano notes in somber eerie mood—serious—too shrill and dissonant to be pleasant. Drama of introspection modulates to peaceful rest.
Wednesday, July 25, 8 pm.
Mozart, “Trio No.1 in B-flat (divertimento), K. 254.”
Allegro assai: Elegant theme, dramatic, tensile like “Figaro”. Sense of elaborate social toils and escaping therefrom by elusive childlike moves with unpredictable changes of pace.
Adagio: Dignified search for union. Yearning heart in ceremonial dress. Good taste in the mouth. Inspires stillness.
Rondo-tempo di Menuetto: Busier world here, not frantic but moving to a stronger pulse—less personal. Dialogue as in a rendezvous at a civil gathering, with the odd tension emerging and being staged. Playful games of courtship and seduction. Male female discourse among social prattle.
Marja Mozetich (1948), “Piano Trio”.
Slow opening, mellow and lovely—in a romantic style. Strings sighing with piano stepping lightly behind. Strings surge richly, piano making a drama of it. Male female dialogue of cello and violin on a field of piano sounding like an old fashioned wartime radio drama theme based on Rachmaninoff updated by Phillip Glass.
Deep dark tones and hectic chords develop the passion tinged with energy, perhaps, anger or some emotion of equal force. Thin sounding passage — a string-line stretched to fineness, harmonic quivering that comes to rest.
Piano initiates a moonlit calm, a romantic passage of responses between the strings backed by a flow of piano notes, builds to a new level of passion—swirls of it, rippling out and out and out, building force like a river running towards its destination, spreading in a peaceful expanse with ease and assurance.
Cello begins a new dialogue. Piano energizes the tempo and rhythm until it is a mighty force, a self propelled engine of relationship with never a dissonant chord. A kind of dangerous Tango beats out rich texture of vivid tropical forest colours. The piano, unfased, holds the centre.
Return to home theme, repeated to sustain familiarity, and, fade away.
Ravel, “Piano Trio in A minor.”
Light melody ascending and descending on piano, charming arc-like ostinato theme, popular in feeling, like a movie theme.
Piano beats out a drama: theme penetrates life of the city. Theme expands, diaphanously floating like a fantasy—a lightshow play of images projected onto stonework and banners of public buildings. Theme sustained all the way through, recurring like a memory refreshing itself, drawn out to evanescent thinness.
Energetically surging. Cello plucks pizzicato with great enjoyment. Violin refers back to the melody. Abrupt ending.
Slow Satie-like low register figures descending the keyboard in a slightly oriental manner. Piano proceeds at an even pace soloing soberly about a kingdom in harmony that cello and violin resolve.
2nd theme is orientalish, but livelier, redolent of the boulevards and chestnuts in blossom where lovers rendezvous in sidewalk cafes amid reports of great events stirring on the border—perhaps a war.
The piano plays wakeful notes, prelude to thunder and passages of sustained buildup of force that possesses the art of quickly concealing itself, only to re-emerge and seek a stage towards the end of the situation where it will assume command.