Music Reviews

Jul 12, 1999 - Rorem, Hummel: Superb "Little" Night Music

By Jack Neal

Chamber music audiences never tire of Beethoven, especially when Beethoven is given inspired performances such as those supplied by violinist Philip Ruder and pianist James Winn. That was just as true for Monday's (7/12/99) third installment (out of four) of The Biggest Little Summer Night Chamber Music Series at Nightingale Concert Hall as it's been whenever Beethoven has been performed by the series' exceptional collection of musicians.

The Ruder-Winn rendition of Beethoven's feisty and elegant Sonata for Violin and Piano in D Major, Op. 12, No. 1, which opened Monday's concert, was no exception. Insightful, inventive and vigorously played, this performance of this Beethoven sonata left nothing to be desired.

Fine performances of Beethoven on this remarkable series of chamber music concerts is a given. What makes these concerts transcendent, are the explorations into new, or at least less well known, works.

Ned Rorem's Bright Music for Flute (Mary Miller), Two Violins (Ruder and Ruth Lenz), Cello (John Lenz) and Piano (Winn) was the evening's "find." Rorem, one of America's best and most accessible composers, should not be a "find" at this point in his career. Rorem is 77, has been mentored by Virgil Thomson, studied with Darius Milhaud and Francis Poulenc, and - in addition to a prodigious musical output - has written several books, including "The Paris Diary of Ned Rorem." Rorem, who is especially noted for his vocal writing, won a Pilitzer Prize in 1975 for "Air Music."

Rorem's "Bright Music" is divided into five relatively short movements: Fandango, Pierrot, Dance-Song-Dance, Another Dream, Chopin. The over-all sound of the work is surrealistic. Out of a modified serial harmonic structure, with the weirdly exotic sounds (to 19th century ears) that that kind of harmonic inventiveness engenders, the loveliest melodies blossom, literally pop out as if from nowhere - often wonderfully exuberant waltzes - that make for thrilling listening.

The work is as impressive as it's busy, and it's very busy, very linear, with an ingenious use of color for so few instruments. Even with its complex organization, it's easy to listen to. It has a rhapsodic quality along with a sense that event is leading to event in a direct and convincing fashion. The sense of inevitability in the workmanship has an attractive mysteriousness in it. It's a most impressive work and it was given an equally impressive premiere (quite possibly, American; for sure, Nevada).

As an entirely different breed of work Johann Hummel's Septet for Piano (Winn), flute (Miller), Oboe (Andrea Lenz), Horn (John Lenz), Viola (Soo Kyong Kim), Cello (Kevin Price) and Bass (Scott Faulkner) was quite another matter, but no less impressive. Hummel was a student of Mozart's and one of the great pianists of his time. It's not surprising that he wrote in such a virtuoso, high-octane way for piano. What's surprising is how wonderfully he wrote for the other instruments to complement the piano, while retaining each instrument's sense of individuality.

Hummell's Septet is lush and enthusiastically romantic. That there was a sameness from movement to movement didn't diminish the pleasure each movement brought one at a time. Hummel's wash of sound is much more idiomatic of mid-19th century writing than the traditions of the late 18th century, which was when Hummel was in his formative years. Whatever, this is romantic stuff that players can sink their teeth into, something that happened without any noticeable reservations for Monday's performance. The work's every moment was lavished with such joyous artistry it was impossible not to be captivated.

The last concert in this exceptional week-long The Biggest Little Nght Chamber Music Series is Wednesday (7/14/99) at Nightingale Concert Hall on the University of Nevada, Reno campus beginning at 7:30 p.m. The concert will feature the music of Hindemith, Dohnanyi and Mendelssohn. For ticket information call 775 784 6847.