Song Of The Larks
by Barry O’Neal © 2007
Peter Schickele: String Quartet #2 “In Memorium” - Scherzo – Paul Moravec: Atmosfera a Villa Aurelia – Daniel Bernard Roumain (DBR): String Quartet No. 5 “Parks” – Paul Moravec: Vince and Jan – George Gershwin (arr. Stanley Silverman): Five Songs for String Quartet – Giovanni Sollima: “Federico II” from Viaggio in Italia. The Lark Qrt. (Maria Bachman and Deborah Buck, violin; Kathryn Lockwood, viola; and Astrid Schween, cello) with guest artist Yousif Sheronick, percussion – Merkin Concert Hall, NY, NY. Nov. 19, 2006.
The Lark Quartet’s concert at Merkin served as a spirited event to launch their new CD, “Klap Ur Handz” on the Endeavour label, which includes all of the music on the program except the Sollima piece. The concert offered music in a variety of styles that showcased the quartet’s ability to play the music of our time most convincingly. In a bow to the their history of commissions, the group began with the scherzo movement of Peter Schickele’s String Quartet No. 2, bristling with the wit and energy that even his most serious music cannot suppress. A dazzling showpiece, that alludes lightly to both Haydn’s “Lark” Quartet and “Home on the Range,” it was dispatched by these Larks with panache, and made a festive start to the evening.
Next up was Atmosfera a Villa Aurelia by Paul Moravec, graciously introduced by the composer as a tribute to the villa which is part of the campus of the American Academy in Rome. Though relatively short at ten minutes, this is a profoundly beautiful piece that the composer re-wrote especially for the Lark Quartet from a work originally for two violins and viola. It makes much use of the opening viola motive, a pattern of rising fourths and descending seconds, and though very well-wrought, feels like an almost-spontaneous outpouring of tender emotion. It was given the sensitive performance it deserved.
The irrepressible Daniel Bernard Roumain then bounded on stage to introduce, at considerable length (note to DBR: less is more) his String Quartet No. 5 “Parks,” which was being given its live world premiere. Part of a cycle of quartets dedicated to seminal figures in black history and culture (Maya Angelou, Martin
Luther King, Adam Clayton Powell, et. al.) the quartet celebrates the life of Rosa Parks, and is a fine example of post-modern eclecticism. It was performed, on this occasion, in a different more conventional order than appears on the CD, with the beautiful slow movement (subtitled “Isorhythmiclationistic”), played second (rather than last), and surrounded by the two faster movements, “I Made Up My Mind Not To Move” (the words that Ms. Parks used to explain her path-breaking action on a Birmingham, Alabama bus), with its fierce momentum and touches of Glass, Pärt and Shostakovich performed first, and “Klap Yur Handz,” a hip-hop dance as the appropriately lively finale. The delightful ethnic drumming of Yousif Sheronick was added to the latter as well as hand-claps from the less inhibited members of the audience. For this terminally un-hip writer, however, it is the bleak, slow “Isorhythmiclationistic,” that has real personality and shows the potential of DBR’s considerable gifts.
The second half of the concert was lighter in character but no less stimulating. Paul Moravec was back to introduce a second short piece of his, Vince and Jan: 1945, composed in memory of his parents. It reflects on an early photograph of the two, taken just before their marriage, and is developed from a three note motive from their favorite popular song, “I’ll Be Seeing You.” The piece contrasts a slow, evocative opening and closing with a lively, swing-inflected middle section. Only in the closing, sustained moments (evocative of the end of Mahler’s Ninth Symphony) did the Lark Quartet’s intonation falter slightly, as bow arms became understandably tired. There is
no doubt, Mr. Moravec writes beautifully for string quartet.
Five swell transcriptions of George Gershwin’s songs followed, expertly and imaginatively arranged by Stanley Silverman, who was on hand to report that his inspiration was Arnold Schoenberg rquote s arrangements of Viennese waltzes. The Gershwin songs offered were “He Loves and She Loves” (Funny Girl, 1927), “Fascinating Rhythm” (Lady Be Good, 1924), “Do It Again” (The French Doll, 1922), “Clap Yo’ Hands” (Oh Kay, 1926) and “Sweet and Low Down” (Tip-Toes, 1925). This is gorgeous stuff and it was lovingly played by the quartet.
The concert ended with the opening movement from Giovanni Sollima’s Viaggio in Italia. Titled “Federico II,” the music’s multi-cultural character is meant to reflect the “bright, joyous and multi-ethnic atmosphere of the court of the 12th Century Emperor Frederick II. We were in Golijov-country here as minimalist gestures, North-African, Spanish and Italian folk elements jostled for supremacy and Mr. Sheronick once again added an obbligato of improvised drumming. Though not much original personality came through, but it was a lively and toe-tapping end to a varied, entertaining and beautifully prepared meal of un-traditional music for that most traditional of ensembles, the string quartet.
