Music in the Time of Goya

Aston Magna, Great Barrington, MA
www.astonmagna.org
by Barbara Stroup

Deftly programmed by guest director and guitarist Richard Savino, the six musicians of this final Aston Magna Festival presentation played music that spanned early 18th to mid-19th century Spain while the audience simultaneously enjoyed large, projected images of Francisco Goya's art. Seven thematic sections of the program included whole and partial works by a variety of Spanish composers. These were supported by the artist's images of faith, tranquility, nobility, poverty, degeneration, celebration and finally, brutality and horror. The rhythmic catch of the Fandango that ended the first half was punctuated by the cellist's percussive beat while bullfighting images filled the screen.

The instrumental ensemble was tactfully expressive in both the dances that celebrated life, and the music of war, resistance, and resignation at the program's close, sometimes whispering with string harmonics and often using full dynamic resources.

Jennifer Ellis Kampani sang with strength, sensitivity and color throughout her wide range, and was an agile vocal match to the tumultuous range of emotions portrayed in the music and in the art. The program concluded with the music of François de Fossa, a guitarist and composer who struggled to make art in a city under siege, and who, although lavishly praised for his work, was offered less than the cost of the music paper on which it was transcribed.

After a beautiful concert, the fortunate audience left this auditorium in the green Berkshire hills to find outside a sky as beautiful as Goya's best rococo masterpiece.

Haydn & Bach Concert

Aston Magna, Great Barrington, MA

www.astonmagna.org

through July 11, 2009

by Debra Tinkham

Daniel Stepner, Artistic Director, stepped out with fellow performers, Nancy Wilson (violin), David Miller (viola) and Loretta O'Sullivan (cello), to begin Aston Magna's season opening performance with Franz Josef Haydn's entertaining and fun String Quartet in D Major, Op 20, No. 4.

As is usual with this talented group of musicians, their use of non-verbal communication, in addition to their splendid talent, combined to make the Allegro di molto a wonderful listening experience. The echoes of Un poco adagio e affetuoso, along with the melancholy of the cello, were enough to move one to tears. Minuet alla Zingarese, a menuet in a rapid 3/4 time, was just short and sweet! Finally, Presto e scherzando' harmony was not only in the music, but in the personality of the performers. Haydn's Arianna a Naxos, cantata for soprano and strings, welcomed Dominique Labelle, vocalist, and Anne Trout, bass viol. Labelle captivated listeners with her full-bodied, rich voice, comparable to a hearty, full-bodied burgundy. This mythical operatic story combines the talent of several composers and still remains slightly cloudy as to where the credit should be given. It is the usual story of love, suffering, anger, and in this case, a happy ending.

Intermission was followed by the enjoyment of Johann Sebastian Bach's Weichet nur, betrubte Schatten, a wedding Cantata, sung by Labelle, and the evening concluded with Heitor Villa Lobos' Bachianus Brasileiras No. 5, again, tastefully performed by Labelle.

Aston Magna has a bevy of upcoming beauties, including Handel's The Beggar's Opera on July 4th. The fireworks of music are sure to please the most discerning listener. So much music; not enough time to expound on the brilliance and talent of the "Aston Magna Meistros." Bravo!

Aston Magna Summer Concerts

Simon’s Rock, Great Barrington
concerts every Saturday
by Debra Tinkham


Aston Magna and Johann Sebastian Bach’s “Art of the Fugue” went off flawlessly at Simon’s Rock College. This venue featured eight talented musicians -- talented being a gross understatement -- on nine baroque-period instruments.

Daniel Stepner, Artistic Director and violinist extraordinaire, began the program by briefly explaining the definition of fugue, which meant "chasing." And chasing they did, via duet, trio, quartet, octet – the whole “nine yards”. Without going into a long history of Bach’s Fugues, suffice it to say, they are problematic, they are original, they are inverted (it gets complicated).

This extremely loaded program, without intermission, was an evening of perfection. Stephen Hammer, oboe; Stepner, violin; Andrew Schwartz, bassoon; and David Miller, viola, began with a simple (original form) Contrapunctus I. Not only during this piece, but throughout the evening, the artists were unified in their playful interaction, while at all times keeping a keen eye out for Stepner’s direction.

Let’s jump to the end – Contrapunctus XIV -- which was, as Steven Ledbetter puts it, “… perhaps the greatest and assuredly the most complex fugue Bach ever created.” But, the big question is, did Bach fail to complete the fugue? Several scholars have attempted to finish the composition, but Stepner says: “We’ve done it with the ending trailing off…which seems the only honest way to end the piece. There are several creditable endings but these all seem ultimately unconvincing.” Will we ever know?

Aston Magna has completed several recordings by J.S. Bach; W.A. Mozart, Handel, Schubert, Monteverdi, and others as well as a book on Schubert and a soon to be released book of J.S. Bach. Perhaps an investment in their music would be an excellent alternative, if unable to attend a concert.

Aston Magna Concert

Simon’s Rock, Great Barrington
By Debra Tinkham

The young Felix Mendelssohn’s music took the stage in Great Barrington with the Sinfonie no. 10 in B minor – three short movements, without break. Although originally written for two violins, two violas and the violincello/bass, the performance featured a string quartet. Before the Sinfonie started, it had already ended. This is a true sign of the Aston Magna performers. They make it so wonderful, it’s over before it has begun.

Quintet No. 1 in A Major, Opus 18 displayed an array of wonderful dynamics and emotions. Cellist Loretta O’Sullivan especially had a mesmerizing style during her performances. However, enough just cannot be said of Daniel Stepner. His flair, flamboyance, style, brilliance, devotion, commitment, and pure love of what he does is so apparent.

Octet in E-Flat Major, Opus 20 featured Stepner, with the most flamboyant part of the eight, but the audience could not miss the overlapping interactions of the other seven performers. The four movement Opus, a la octet, gave many forms – ongoing contrasting themes, chromatic scales throughout, an ever present liveliness and yet an emotional stoicism on the faces of the performers.

During the Scherzo movement (third) those in attendance experienced a whimsical, almost mystical, soft-spoken fairy tale. The different styles of this octet were certainly varied, and as their personalities become one with their instruments, it still boils down to an evening that you not soon to forget. The summer season has just begun, with more Aston Magna concerts in store.