CONTENTSCONTRIBUTOR BIOS: Evan Hause, 3 LIVE EVENTS
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Now 80, but Rorem Won’t Bore ‘em David Cleary ‘NED ROREM BIRTHDAY CONCERT, TO CELEBRATE THE BEGINNING OF HIS 80TH YEAR.’ Ned Rorem: Book of Hours (1975); Five Songs to Poems by Walt Whitman (1946-57); Romeo and Juliet (1977); Trio (1960). Performers: Aaron Caplan (guitar), Matthew Doherty (harp), Michael Lofton (baritone), Jan Pfeiffer (cello), Joh Ranck (flute), Stephen Yenger (piano). Community Music Center Of Boston (MA). October 10, 2002. While Ned Rorem is a Massachusetts resident, his music doesn’t seem to appear on Boston new music ensemble concerts very often. Perhaps those who make such decisions feel he is sufficiently well represented in more mainstream Boston music events. Whatever the reason, it was good to attend a Beantown-based tribute concert offered up in celebration of the start of this accomplished tonemeister’s 80th year. Book of Hours (1975), for flute and harp, and Romeo and Juliet (1977), a flute/guitar duet, demonstrate as many differences as similarities. True enough, both are multi-movement character piece entries that find ways to assimilate plucked string and woodwind tone, while making sure each instrument gets to play a cadenza. And both are intimate, reserved selections that take the term "chamber music" quite literally—both would seem to be especially apt for presentation in a small performance space, such as the venue encountered this evening. But they are in no way clones of each other. The flautist is the star of Book of Hours, while Romeo and Juliet demonstrates a more equal sharing of the melodic load. Both pieces, while essentially tonal in nature, show contrasting levels of dissonance (the later work generally sounding spikier). And while both employ expanded arch-type formats with extended solos near the center, the flanking material is handled quite differently, the most notable example being the near repeat of the opening and closing movements of Book of Hours. Both are delicate and highly attractive listens, cleverly constructed. The Trio (1960) for flute, cello, and piano shows that Rorem doesn’t just write fragile eggshell works for small ensemble. This piece is for the most part an energetic one, loaded with outgoing, gruff figures in its first movement and mysterious, yet playful gestures in its finale. Uniquely, these sandwich two slow movements, the first being a specimen of two-part counterpoint in the non-keyboard instruments embellished with forceful piano chords. The other, with its slowly unfolding melodic lines supported by repeated chromatic keyboard verticals, shows an unmistakable Messiaen influence. By and large, it’s a sturdy pleasure. When one thinks of the sort of music Rorem writes for solo singer and piano—idiomatic, triad-based vocal lines over straightforward, rhythmically regular accompaniments—chances are one can cite Five Songs to Poems of Walt Whitman (1946-57) as a textbook example. One can also say that this is a dramatically effective and temporally well balanced cycle, artless in the good sense of the term. It’s no wonder singers love to give works like this. Sorry to say, the performances were not the best, for the most part lacking in style and execution, though there were two notable exceptions. Matthew Doherty, estimable flautist of the Arcadian Winds, gave a solid accounting of the harp part in Book of Hours. The other strong effort was turned in by baritone Michael Lofton, who (despite exhibiting an extremely florid sense of stage presence) gave the Whitman songs with a big booming voice that featured a rich low range, vibrant upper tones, good control of dynamics, and solid diction. CMCB faculty members John Ranck (flute), Aaron Caplan (guitar), and Stephen Yenger (piano), as well as guest cellist Jan Pfeiffer, rounded out the roster of players. |