Summer officially arrived on July 12 for music enthusiasts as the Chamber Music Northwest Summer Music Festival commenced its season with an engaging performance at Kaul Auditorium.
The concert, titled Revelations, showcased a few variations from its initial program. Notably, the structure of the first half was altered, and several performers were replaced, which added an element of surprise to the evening.
The first half opened with Der Hirt auf dem Felsen (The Shepherd on the Rock), D. 965 by Schubert, featuring soprano Hyunah Yu, clarinetist David Shifrin, and pianist Yekwon Sunwoo.
This unique arrangement allowed attendees to experience the evening’s musical offerings akin to savoring dessert first, as noted by an audience member.
Shifrin set the stage with an outstanding introductory performance that transitioned from pianissimo to forte with remarkable mastery. His glissando style and dynamic range captivated the audience right from the beginning.
Yu’s exceptional coloratura and the expressive word painting throughout her performance left listeners enchanted, embodying the piece’s emotional depth and beauty.
The concert then moved to a new composition, David Schiff’s Divertimento from his opera Gimpel the Fool, a piece well-known since its CMNW debut in 1982.
Schiff spoke about the opera, which tells the poignant story of Gimpel, a baker ridiculed by his townsfolk. As part of the first movement, the cello emerges as the voice of the rabbi, guiding Gimpel with wisdom and encouragement.
The first movement, titled “Overture and the Rabbi’s Advice,” opened with an explosive, klezmer-inspired theme. Shifrin’s clarinet was complemented by violinist Alexi Kenney, cellist Clancy Newman, and pianist Yutong Sun.
Newman’s performance evoked the gravitas of the rabbi’s counsel, weaving together festive dance tunes and melancholic sighs that resonated deeply with the listeners.
“The Wedding Song” displayed a lively staccato, visually conjuring images of joyful wedding festivities, seamlessly transitioning from measured dance to euphoric celebration.
The movement titled “Pantomime and Bread Song” introduced innovative sound pairings, playing with rhythmic discrepancies as instruments echoed each other.
Shifrin’s emotional expressiveness peaked during “The Jester’s Song and Mazel Tov,” where he and Kenney engaged in a spirited duel of melodies, creating a memorable moment during the performance.
The evening’s program then included the world premiere of iPod Variations for Flute, Violin, and Electronics by composer Kian Ravaei. Inspired by his experiences with an early iPod, Ravaei explored musical genres ranging from jazz to Persian music.
Flutist Tara Helen O’Connor and violinist Alexi Kenney joined forces with Ravaei’s electronic elements to create a unique listening experience that flowed through the decades.
The opening piece, “Aria,” set a melancholic yet charming tone before the electronic influences entered the composition in subsequent variations.
Throughout the variations, Ravaei seamlessly blended various musical styles, showcasing influences from legends like Jimi Hendrix and Bob Dylan, all while incorporating flourishes of modern electronic sounds.
Particularly memorable was the movement titled “Byrd and Basie,” merging Renaissance choral elements with traditional jazz, displaying Ravaei’s unique compositional voice.
The closing piece, “Aria da Capo,” brought the evening to a reflective end, wrapping up an eclectic journey through sound.
Following intermission, the performers returned for the Piano Quintet in F Minor by César Franck, played by the Opus13 Quartet with pianist Yekwon Sunwoo, a work less frequently held in concert repertoire.
Curiosity filled the air, as Franck’s reputation loomed over the audience. However, the experience turned bittersweet for some as the composition received mixed reviews.
The opening movement, marked “Molto moderato quasi lento,” featured a back-and-forth interplay between strings and piano that created a dense sound wall, albeit eliciting feelings of stagnation from certain listeners.
Despite moments of beauty lingering within the thick textures, the overall impression left was one of excess—too much sound without enough substance.
The following movements, including “Lento con molto sentimento,” offered brief relief with their sparser textures.
However, the final movement, marked “Allegro non troppo ma con fuoco,” returned to the overwhelming intensity that some felt lacked clarity and purpose.
It was clear that the performers exhibited exceptional stamina, performing nearly 40 minutes of relentless, spirited music.
While many in the audience resonated with the work’s emotional peaks, some critics voiced frustrations similar to those expressed in Shakespeare’s words, “All sound and fury signifying nothing.”
Ultimately, the evening at Chamber Music Northwest provided a rich tapestry of music that spanned diverse genres and styles, capturing a remarkable journey through both modern and classical realms.
Though not every composition resonated with every listener, the festival indeed celebrated the vibrancy of summer music making. It serves as a reminder that the evolving nature of music means there will always be something fresh to discover in the concert hall.
image source from：orartswatch
