Debussy’s Cello Sonata is one of my favorite works by that composer. Here, Bailey and pianist Robert Koenig had the style down just right. Aside from one passage in the last movement where the pianist drowned out the cello, this was imaginative and extremely well-executed playing, the highlight of the concert. The performance of Franck’s Violin Sonata, in a cello arrangement approved by the composer, indicated that eventually Bailey will play it very well. But he told us that it was his first performance of the work, and that showed in some sloppy details and shaky ensemble. The overall conception of the piece, though was just fine, a proper balance of rhapsody and momentum. Admittedly the piano part of this piece is very difficult, probably more so than that of the violin or cello. But it was still a bit discouraging to hear Koenig fake his way through some of the thornier passages. The concert concluded with beautifully played performances of arrangements of works by Francoeur and Massenet, and a dazzling Rimsky-Korsakov “Flight of the Bumble Bee.”
Maverick has no Saturday night concert next weekend, just in case you were planning to go hear “Madama Butterfly” in Phoenicia. However, folk singer Elizabeth Mitchell presents a Young People’s Concert at 11 a.m. Sunday afternoon, August 4; the Amernet String Quartet is joined by soprano Nancy Allen Lundy, violist Yizhak Schotten, and cellist Robert DeMaine for the song cycle “Transport to Summer” by Russell Platt, settings of poems by Wallace Stevens. I’ve very much enjoyed Platt’s music in the past. The generous program also includes Debussy’s String Quartet and the sextet “Souvenir of Florence” by Tchaikovsky. A talk by the composer and performers takes place at 3 p.m., with the music starting at 4, all at the Maverick Concert Hall in Woodstock. The following Saturday, August 11, the only music is a Young People’s Concert at 11 a.m., by pianist Jon Klibonoff. That evening at 6:30 p.m., Actors & Writers presents a repeat of its successful “Standing on Ceremony: The Gay Marriage Plays,” a program I enjoyed greatly back in June. Klibonoff plays a Prelude Concert on Sunday, August 12, at 3 p.m. Then, his ensemble, Trio Solisti, plays at 4 p.m., music of Chausson, Glass, Cage (which they don’t exactly “play,” since it’s the silent “4:33”) and Ravel. There’s always a load of information on this series at www.maverickconcerts.org.
Since I was unable to be in two places at once on July 28, I sent my deputy Jay Wenk to hear the “Jazz at the Maverick” program. His report follows:
Saturday night was cool and rainy for the Maverick jazz series, but it didn’t keep a full house from gathering for “Cole Porter in Paris.” The performance was hot, swinging, and sophisticated, perfectly suited to Porter’s songs. His lyrics combine humor wrapped in refined bawdiness with no hint of coyness or embarrassment. The music moves seamlessly through chromatic key changes and rhythmic variety that, for me, is in the tradition of Schubert’s Lieder.
Perry Beekman is absolutely at ease leading the Quartet. He is a strong clear baritone, he writes the arrangements for the group, and his virtuosity on guitar is stylistically and dynamically in tune with the intent of the songs. Terry Blaine combines the jazzy and supper club qualities personified in Porter’s work. Her voice reminds me of the now mostly forgotten Bea Wain, with a caring touch of Ella, and Billie’s arm movements. Occasionally, her production was mannered, as in “Love for Sale” and “Miss Otis Regrets.” She did a great duet with Perry on “It’s Delovely.”
Inside the program was another gift of the evening; a removable section with the lyrics of all the songs performed. It’s not every day you find, and can keep, “I feel quite sure affaire d’amour would be attractive, while we’re still active, let’s misbehave”, from Cole’s musical “Paris”, 1928.
Bard’s SummerScape is already underway, with performances of Chabrier’s rare opera “The King In Spite of Himself” on August 1, 3, and 5. The first weekend of the Bard Music Festival takes place August 10-12, including more “St.-Saëns and His Times” concerts than you can shake a stick at. For me, the highlight of this Festival will be a choral concert on Saturday, August 18, which includes Lili Boulanger’s magnificent setting of Psalm 130. She would undoubtedly be known as one of the great composers of the 20th century if he had not died at the age of 24. Lacking an entire supplement’s worth of space to detail this festival, I refer you to the highly detailed and useful website, www.fishercenter.bard.edu.
