Chamber Music Soc of Linc Ctr, Oct 13 2026
Jane and I went to the opening concert of the Chamber Music Society of Lincoln Center season. It was a program of music by four American composers, all pieces written in the 20th century. I've been to many concerts of theirs and every single one has been outstanding in terms of programming and performance. I'm a subscriber and wish I had started that many years ago.
William Bolcom, *Three Rags for String Quartet* (1989)
Lun Li and Kristin Lee, violin
Daniel Phillips, viola
Nicholas Canellakis, cello
This piece was loaded with acerbic wit and moments of tenderness. The first movement was jaunty and spooky with a warm lovely bridge section featuring a tasty viola solo. The second movement had a wry Viennese quality - - what they call one eye wet, one eye dry. A little wistful but not by any means sad, let alone tragic. I described the final movement in my notes as "leggy" (it made sense at the time), with a reflective B section. The whole quartet was brilliantly constructed.
Here's the Harlem Quartet playing it (and some other stuff):
Amy Beach, *Quintet in F-sharp minor* (1907)
Anne-Marie McDermott, piano
Francisco Fullana and Richard Lin, violin
Paul Neubauer, viola
Dmitri Atapine, cello
This was the discovery of the evening, what a glorious piece of music. It reminded me of my favorite piece of chamber, music the Chausson sextet (which CMS is playing at the end of the season, I'm already a-slobber with anticipation). It has a similar sweep, dash, drama, and overt emotionalism. The second movement was warm, luscious, and (again quoting my notes) crepuscular. The final movement was full of kinetic energy and drive. The piece ended with a recap of the music that started the piece, a nice framing device.
Here's the Jupiter Quartet and Ran Dank playing it:
Bernard Herrmann, *Psycho: A Narrative* (1960, revised 1968, edited by John Mauceri 1999)
All of the string players above plus Nina Bernat, double bass
Do you know that I'm nutty for Hitchcock in general and for Herrmann's work with Hitchcock in particular? I see *Psycho* as the apex of both of their careers - - every frame of that movie is beautifully executed and the score is one of the greatest movie scores ever. I was really looking forward to hearing the music independent of the film and it did not disappoint. CMS gave us a bit of lighting drama: the lights went down to indicate the second half was about to begin and the lights went all the way down on the stage, with the exception of a dim (menacing) red glow at the back of the stage. The musicians came out in the dark, took their seats in silence, and jumped right into the aggressive music that starts the movie, with the lights flashing on just as they started. I wonder how they managed to all start at the same time, in the dark.
The music was amazing, of course, it totally holds its own without the movie. It was great to hear CMS playing it their own way here and there, mostly with the dynamic contrasts. I was disappointed that the audience laughed when they got to the shower scene. The poor woman is getting murdered, it's ungallant to laugh.
Here's the WDR Funkhausorchester gettin' down and gettin' funky with it. If you ask me the chamber version for nine string players is more incisive.
Aaron Copland, *Appalachian Spring Suite* (1944)
Everyone listed above plus:
Tara Helen O'Connor, flute
David Shifrin, clarinet
Marc Goldberg, bassoon
I'd never heard this piece live before - - it was warm and charming, also more inventive and challenging than I had expected. The harmonies are a bit off kilter sometimes, which I enjoy. The piece also has plenty of rhythmic vitality. The finale is grand and tear-inducing. The audience gave them a much-deserved standing O.
Here's a performance from La Jolla - - luxury casting with Anthony McGill playing clarinet:
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