A heavy rainstorm did not deter the Tannery Pond audience from filling the building. The second concert, like the first, was sold out. Misha Dichter and his wife Cipa are probably the most famous duo pianists playing today, so that should come as no surprise. They played a miscellaneous program of pieces for two pianos, piano four hands, and piano solo. Apart from a certain popular vein, I couldn’t quite understand what held them together, but overall they made for a satisfying whole.
Peter Serkin, Piano Madalyn Parnas, Violin Cicely Parnas, Cello Frank Bridge, Three Miniatures for Piano Trio, Nos. 4-6 Schubert: Piano…
My immediate reaction to Michael Miller’s commentary on the Karajan centenary [Oh no! He’s not back again, is he? – May 2, 2008] was rather choleric, but I’ve settled down a bit since then and can write this from a relatively balanced perspective.
For his Boston farewell program, Alfred Brendel chose a selective cross-section of the repertoire he has cultivated through much of his career, and a fascinating selection it was, both in terms of Mr. Brendel’s taste and the inter-relationships between these mostly classical composers. [Click here for a review of his New York farewell with James Levine and the Met Orchestra.] There was no Schoenberg, no Schumann, and Liszt only as an encore. One felt that he had concentrated on the very marrow of his repertory. On the other hand, it came as a powerful discovery to experience the various forms—the overall shapes—of these four works within the compass of a single concert. Brendel has always been especially strong in comprehending and delineating classical structure and form, and now, at the very end of his public career, he appears to have distilled it to the utmost. Haydn’s rich F minor variations, which unfold over a melancholy walking figure in the bass, preceded the musically unusual, but traditionally constructed Mozart sonata, which concludes with an introspective rondo, also set at an ambling pace, cobbled from an earlier independent work. After this, Beethoven’s concentrated Sonata quasi una Fantasia, seemed like a revolutionary outburst, although all Beethoven actually did was to pare his movement-structures down to the point where they could function in support of an improvisatory style. After the break these three strikingly different, but equally terse classical works were followed by Schubert’s Romantic expansion of classical form to encompass a wealth of drawn-out melodies, harmonic invention, and subtle changes of mood.
Tradition has been lurking under every stone this summer, between local controversies about change at Tanglewood and the host of anniversaries which are being celebrated, beginning with the 60th of the Juilliard Quartet, the historic 59th of the Bartók Quartets at Tanglewood, Aston Magna’s 35th, and now the 30th anniversary of the renowned Tokyo Quartet’s residence at Norfolk Chamber Music Festival and the Yale Summer School of Music. When they were officially founded in 1969 at the Juilliard School of Music under the tutelage of the members of the Juilliard String Quartet, the world of the string quartet seemed to be thinning out, in spite of the appearance of the Guarneri in 1965, and the youthful, mop-headed string players from the Toho School of Music in Tokyo were most welcome. Cultivating a lean tone and an incisive, energetic style, they seemed the antithesis of the aging Budapest Quartet, which still actively represented the middle European Menschlichkeit of the early twentieth century.