PULSE- Niagara's weekley Alternative  Magazine
May 22, 2008
A Musical Feast, Grab A Fork!

For those who have yet to venture into the incredible realm of chamber music, the place to be next Tuesday is Buffalo. There, at The Kavinoky Theater of D'Youville (just a few seconds from the Peace Bridge), the season closer for "A Musical Feast" will present a widely varied musical buffet that most certainly has something for every taste.

The featured composers include George Frederic Handel, Wolfgang Amadeus Mozart, Antonin Dvorák, Maurice Ravel, Darius Milhaud, Arthur Honegger and Johnny Reinhard. The performers on this occasion will be artistic director and violinist extraordinaire Charles Haupt, bass–trombonist David Taylor, cellist Jonathan Golove, violinist Charles Castleman, and pianist Claudia Hoca.

It could be that some of those reading this column may not be overly familiar with either the compositions or their interpreters and perhaps a tad reluctant to venture across the border into the unknown. No worries! Here are the top ten reasons to make the journey for an evening of delectable short pieces from our most universal art.

I've seen Amadeus.

The 1984 film was supposed to have ignited a world–wide renaissance of classical music. That didn't happen, largely because the addiction to instrumental excellence begins with an in–person revelation rather than the larger–than–life characterization of the cinema.

I've never been up close and personal with a singing trombonist.

David Taylor is featured in four works where he not only plays up a storm but will demonstrate his vocal skills as well. Some instrumentalists can even hum and crank out notes simultaneously! (For a sample for his craft Google "Zelig Mood Ring.")

I thought Handel's only hit was Messiah.

The composer of the perennial holiday favourite wrote hundreds of works for all types of ensembles, orchestras and chorus. "Handel's Passacaglia [a repetitive bass line that laid the seeds for jazz] is a wonderful way to open," said Haupt reached by phone at his studio. "It will immediately establish the goal for this program to present a variety of short, accessible pieces over a relatively short time span." I love poetry.

French poet Paul Verlaine's brief and ever–so–moody "Un grand sommeil noir" (a large black sleep) provides the text for Ravel's song by the same name.

I love to dance.

Dvorák's Slavonic dances, two waltzes and a gypsy song are so full of such infectious energy and heady pulse that patrons may well leap out of their seats and onto the stage. "Why not?" agreed Haupt. "Just so long as it's soft shoe."

I've heard that somewhere before.

With the Hollywood machine (and not a few independents) shamelessly lifting the tunes and orchestrations of long dead composers (and with no royalties to pay), chances are that at some point during the concert you'll hear something you already know and wonder how someone else managed to steal it from a film.

I thought a piano trio had three pianos.

The concluding work is a Piano Trio in C Major. Don't be fooled, it's written for one piano, a violin and cello. "It's one of my favourites," explained Haupt. "Mozart's a unique genius in his music's simplicity, melody and rhythmic joy." High praise indeed from an artist who has spent his career unlocking the magic and mystery of black dots on white pages.
I am somewhat religious.

As was Arthur Honegger, whose setting of Psalm 34 will be performed just ahead of intermission.

The unexpected and unusual excites me.

Over the past two years, "A Musical Feast" has provided some of the most enticing arrays of lesser–known works from established composers. From its inaugural presentation (March 2006) the talent and dedication of the performers was immediately evident. They have consistently presented the chosen repertoire at an extremely high standard and bring a welcome change to the so–called standard repertoire favoured by balance sheet conscious presenters of all types of art. Who could have imagined Schönberg's Phantasy for Violin sharing the bill with Benjamin Britten's Six Metamorphoses After Ovid? More recently (November 2007), selections from The Liberation of Jerusalem — a new verse translation by Max Wickert—became the poetic glue to songs by Hugo Wolf and an unforgettable piano trio from the ever engaging Mendelssohn. Having the artistic vision and courage to program such eclectic works makes every visit to this chamber music ensemble special and fresh.

I love poetry.

French poet Paul Verlaine's brief and ever–so–moody "Un grand sommeil noir" (a large black sleep) provides the text for Ravel's song by the same name.

I love to dance.

Dvorák's Slavonic dances, two waltzes and a gypsy song are so full of such infectious energy and heady pulse that patrons may well leap out of their seats and onto the stage. "Why not?" agreed Haupt. "Just so long as it's soft shoe."

I've heard that somewhere before.

With the Hollywood machine (and not a few independents) shamelessly lifting the tunes and orchestrations of long dead composers (and with no royalties to pay), chances are that at some point during the concert you'll hear something you already know and wonder how someone else managed to steal it from a film.

I thought a piano trio had three pianos.

The concluding work is a Piano Trio in C Major. Don't be fooled, it's written for one piano, a violin and cello. "It's one of my favourites," explained Haupt. "Mozart's a unique genius in his music's simplicity, melody and rhythmic joy." High praise indeed from an artist who has spent his career unlocking the magic and mystery of black dots on white pages.

I am somewhat religious.

As was Arthur Honegger, whose setting of Psalm 34 will be performed just ahead of intermission.

The unexpected and unusual excites me.

Over the past two years, "A Musical Feast" has provided some of the most enticing arrays of lesser–known works from established composers. From its inaugural presentation (March 2006) the talent and dedication of the performers was immediately evident. They have consistently presented the chosen repertoire at an extremely high standard and bring a welcome change to the so–called standard repertoire favoured by balance sheet conscious presenters of all types of art. Who could have imagined Schönberg's Phantasy for Violin sharing the bill with Benjamin Britten's Six Metamorphoses After Ovid? More recently (November 2007), selections from The Liberation of Jerusalem — a new verse translation by Max Wickert—became the poetic glue to songs by Hugo Wolf and an unforgettable piano trio from the ever engaging Mendelssohn. Having the artistic vision and courage to program such eclectic works makes every visit to this chamber music ensemble special and fresh. 'll never hear this music played the same way again.

In this age of digital everything, many wait for the online download or the arrival of the DVD to quench their thirst for arts and entertainment. Those performances can be enjoyed over and over again. At live events, the music only gets one chance then it's lost forever. Sharing that, at times, mystical experience with the audience and the performers is one of life's greatest pleasures.

See you at the show.

[S. JAMES WEGG]

A MUSICAL FEAST
@ The Kavinoky Theater, D'Youville College
320 Porter Ave., Buffalo.
Tuesday, May 27. 8pm
amusicalfeast.com