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From clevelandclassical.com:
Concert Reports by Mike Telin
Jason Vieaux Vieaux, who is also head of CIM's guitar department, possesses that rare gift of appearing to be completely at ease both as a performer, but also in the relaxed manner in which he addresses the audience. Following the long welcoming applause, Vieaux wasted no time getting down to musical business as he began the afternoon with the Grand Overture, Op 61 of nineteenth century guitar virtuoso Mauro Giuliani. Producing a large rich tone, clean technique and a variety of colors, Jason Vieaux made this spritely piece a great recital opener. Prior to beginning the Lute Suite #3 in a minor BWV 995, Vieaux explained that this piece was actually an adaptation of an adaptation, as it first appeared as the 5th unaccompanied cello suite, and was later arranged for lute. Vieaux' approach, though rhythmically straightforward, clearly acknowledged that this was a series of dances. He filled them with musical nuance. The Sarabande was stunningly beautiful. Concluding the first half of the program was the lyrical Juila Florida and the lively Vals, Op. 8, No 3 of Agustin Barrios. Vieaux paced both of the short works beautifully. Following intermission came the baroque suite inspired Quatre Pieces Breves by Swiss composer Frank Martin. In the hands of a lesser artist, this piece could easily become episodic, but Vieaux' technique allowed him to make the difficult shifts that the piece demands without every losing sight of the musical line. Cuban composer Leo Brouwer's programmatic work, El Decameron Negro is based on a West African tale about a warrior who is expelled from his tribe for wanting to play the harp instead of fighting. In the end everything works out, and he is welcomed back and permitted to play the harp. Vieaux told the story while demonstrating the series of Leitmotivs that represent the work's characters and events so well that while listening to his performance I found myself visualizing the action. The final piece on the program was "Sevilla" from the Suite Española of Isaac Albeniz. Upon conclusion, Vieaux was greeted with a well-deserved standing ovation from the audience, who refused to leave until they had heard one more piece. Returning to the stage with a guitar built by Andrea Tacchi, we were treated to Vieaux' own arrangement of Duke Ellington's In a Sentimental Mood, a perfect ending to a wonderful afternoon of music making.
From clevelandclassical.com:
Concert Reports by Daniel Hathaway
Nigel North One of the lovely aspects of a festival -- as this weekend surely was -- is the freedom both to explore a range of music based on a theme or to go deep into a certain topic, like the lute songs and solo works of an English composer who was almost exactly William Shakespeare's contemporary. Hearing twenty-six pieces by one composer on a single program might ordinarily send one screaming from the room, but in the case of Elizabethan music as varied in texture and sensibility as Dowland's, it becomes a rare kind of pleasure. Mr. North, born and educated in England but currently teaching in the early music department at Indiana University, assembled a program of Almains, Lachrimae's, Galliards, Fancye's, Fantasies, In Nomine's, Corantos and songs, grouping them more or less continuously into sets. The performer, almost as soft spoken as his seven course Renaissance Lute (after an instrument from 1590), gave charming spontaneous verbal notes in addition to two full pages of written notes in the program book. Lute concerts (like clavichord recitals) are problematic. One really should be hearing this music at a distance of no more than ten feet from the player; even in the fine acoustics of Mixon Hall, the sound of a lute is a distant experience. Given that Mr. North is a performer who brings great subtlety and nuance to this repertory, you miss a lot in a concert hall setting. Nonetheless, and in spite of Dowland's reputation for musical melancholy, this program was full of things to admire and cherish. The Fantasie was rich with dialogues and contrasts, the "battle galliard" called The King of Denmark brought a bit of fury into the first half, and chromatic pieces broke the prevailing mood of dance music from time to time. Mr. North was completely in control of the technique and expressiveness this music requires. Described in the notes as "a man with a rather difficult complaining character" who nonetheless was praised and honored by his contemporaries, Dowland left a rich legacy of Elizabethan music behind. Thanks to Classical Guitar Weekend for allowing us to immerse ourselves in so much of it in a single concert. Classical Guitar Weekend May 21-23, 2010
Duo Melis I went to the Classical Guitar Weekend in Cleveland, Ohio last weekend and all I can say is "wow." I got there on Friday night in time to see Nigel North on the lute play an all Dowland program in the Cleveland Institute of Music's wonderful new Mixon Hall, a great 250 seat acoustically great setting. Now I love Dowland's work and North is truly first rate; he plays with just the flesh on his right hand and after I adjusted to the delicate sound of the lute it was fantastic. Everyone is always going on about louder and louder guitars but I can say that volume is not everything as his playing was captivating. I found myself being transported back 450 years to Dowland's time and the last piece he played was one of my favorites, "Forlorn Hope Fancy." He also had for sale a box set of 4 cd's of the complete lute music of Dowland for $25.00. This is over 4 hours of music and I considered it a steal and picked it up. On Saturday morning I went to Andrea Tacchi's power point presentation on guitar lutherie. Now this might only be interesting to guitar geeks but I count myself as one and I found it fantastic. It was over 2 hours with the first hour being about his relationship with Robert Bouchet in Paris and the last hour about his shop in Florence. You could hear the passion he has for the guitar and his quest to continue to try to improve the sound and get it as close as possible to the one he "hears in his head." Next up was a master class that was free to observers with Jason Vieaux, this was really cool as it was linked to the Royal College of Music in London where there was another Guitar teacher/player whose name escapes me but you could tell he was very, very good and an excellent instructor. They had four students play and the "master" in London would critique the students that played here and Mr. Vieaux would do the same for the students that played in London. This was very interesting and I see this approach being used more as internet connections get faster.
Daniel Lippel The last recital I saw was with Daniel Lippel and soprano Tony Arnold. I only got to stay for the first half as I had to high tale it back to Indy. Lippel played on his Robert Ruck guitar and a Bernhard Kresse 19th century Stauffer reproduction. These artists were again first rate musicians and I am sorry I couldn't stay for the second half. The program included Schubert lieder and other songs by Vineet Shende and Judah Adashi arranged in a large over arching song cycle. The stuff I missed: Dan Lippel master class, Nigel North master class, Duo Melis master class and performance, Contemporary Guitar Exhibit and my biggest regret - not being able to see Vieaux perform. I always seem to miss him - as I was sick when he played in Bloomington not too long ago - but it gives me something to look forward to. Kudos go to Armin Kelly and the staff at the Cleveland Institute of Music. I am going to block out the entire May weekend next year as there is too much stuff that is wonderful and lot's of it for free! If you are anywhere close make sure you mark Classical Guitar Weekend on your calendar. |
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