ETHNOMUSICOLOGY

Joel Harder, Dominic Armstrong, Kate Maroney, Lucy Fitz Gibbon,  Caitlin Mead,
and Allison Gish

The very idea of basing an operatic work on a newspaper series! Those of us who love Leoš Janáček's Vixen Sharp-Ears (also known as The Cunning Little Vixen) do not find that strange at all. How many of us knew, before last night, that the composer set another newspaper series--this one of a diary in the form of poems?

Had we not ventured to The Brooklyn Historical Society last night for another one of Brooklyn Art Song Society's adventuresome program, we might have spent the rest of our life thinking that "The Diary of One Who Disappeared" had something to do with evil politics.

But no! It's a highly romantic and bittersweet tale of a young farmer who is lured into a sexual relationship with a seductive Gypsy woman named Zeffka. At first he feels guilty and expects the worst from her family, about whom he has absorbed the prejudicial feelings of his community. He worries about his parents as well but her allure overcomes his guilt and prejudice. When she becomes pregnant he bids farewell to his home, his family, and his former life.  Who knows what will happen to them?

The musical form chosen by the composer was that of a song cycle, but it is one that borders on a one act opera since a few lines are given to Zeffka, a role realized as a mezzo-soprano, with the role of the nameless youth being sung by a tenor.

We were so glad that Artistic Director and Founder of B.A.S.S. Michael Brofman treated us with this novel work and cast it so well. We have never heard Dominic Armstrong sing with such passionate involvement; furthermore, the tessitura of the piece fit his voice like a glove to a hand. He created a great deal of dramatic interest by employing dynamic variety. Singing Zeffka's lines was mezzo-soprano Kate Maroney whose acting and voice were also superb. Although the text does not give much opportunity for staging, the two performers made the most of what was there. Duets were especially lovely.

Adding a fresh dimension was a trio of female voices comprising sopranos Lucy Fitz Gibbon and Caitlin Mead and mezzo-soprano Allison Gish. They sang from the rear of the theater in heavenly harmony and we could only regret that the composer did not give them more to sing.

Collaborative pianist Joel Harder was consistently supportive of the vocal line, never overwhelming the singers. He was particularly effective creating the twittering of the swallows and the delight experienced by the youth in watching his pregnant beloved. There was an exceptional piano solo in which the piano evoked images of the couple making love--or so we imagined!

Just as we were impressed by Mr. Armstrong learning the lengthy cycle in Czech, a notoriously difficult language, so were we impressed by soprano Lucy Fitz Gibbon performing Dorfszenen Sz. 78 in Slovak. It was written by Béla Bartók, a major figure of the early 20th c., arriving on the musical scene a generation or two after Janáček.

We cannot say that we actually heard the folk melodies so assiduously collected by Bartók and his colleague and contemporary Zoltán Kodály but Ms. Fitz Gibbon's performance allowed us to see images of peasant life. The pictures we saw in our mind's eye were that of lives that were tough, even when the music was exuberant. We particularly liked the wedding song, catching a glimpse of a woman who would prefer to stay single!

Along with an attractive bright soprano, Ms. Fitz Gibbon used her entire body in a captivating sincerity of expression that succeeded in bringing each song to vivid life.

From the singer we learned that the cycle has been performed in German and English but rarely in Slovak, a language that appears to be as difficult as Czech. Learning these five songs and giving them such a dramatic performance was a true labor of love, one which we appreciated doubly, inasmuch as the Kodály songs were sung "on the book" by Ms. Maroney.

As regular readers know, your reviewer loses connection when a singer keeps glancing at the score and this becomes the perfect time to pay attention to the piano.  Mr. Brofman, who played for Ms. Fitz Gibbon and Ms. Maroney, is a pianist worth paying attention to. This early 20th c. music is difficult for us to wrap our ears around with its rhythmic complexity and dissonance. Our music education apparently ended before we learned about bitonal and modal harmonies!

We can say however that Mr. Brofman himself understands it well and made sense out of it such that we appreciated the emotional tone of the pieces whether they were sprightly, tender, or ironic.

This season's theme continues on March 6th with songs by Sibelius and Grieg.

© meche kroop

BASS SEASON OPENER SCORES BIG

Charles Weaver, Nils Neubert, Yuri Kim, Kate Maroney, Dmitri Dover, Michael Brofman, Sarah Brailey, and Jesse Blumberg

"The stars at night are big and bright, deep in the heart of...." No, not Texas, but Brooklyn!  What a splendid season opener was presented by the Brooklyn Art Song Society, helmed by pianist Michael Brofman! It was definitely worth an hour on the subway and that's saying quite a lot.

The Lafayette Avenue Presbyterian Church has fine acoustics that provided an excellent venue for the soft sounds of Charles Weaver's lute as he accompanied a group of peerless singers, none of whom lapsed into the boring type of interpretations that often present themselves in the face of early music.

John Dowland's songs were composed four centuries ago yet manage to sound fresh today. The texts are in Elizabethan English; they scan and rhyme and match the lovely vocal lines in a way that is heard no more, sad to say, in contemporary song-makers. Mr. Weaver's playing is beyond wonderful.

The opening number "Unquiet Thoughts" was sung in the most handsome harmonies by soprano Sarah Brailey, mezzo-soprano Kate Maroney, tenor Nils Neubert, and baritone Jesse Blumberg. We thought of a tapestry with 5 threads woven together, appearing together, separating, overlapping.

The remaining songs held to that impossibly high standard. Like songs of every epoch, the inspiring texts have to do with love--love longed for, love achieved, love unrequited.  Mr. Neubert has the sweetest tenor and a fine vibrato that was perfect for "Come Again: Sweet Love Doth Now Invite". No less sweet was Mr. Blumberg's baritone in "Sweet Stay a While".

Several songs followed that were not about sweetness ; but perhaps the sweetness of longing is a different kind of sweet. In "Flow My Tears", Mr. Blumberg matched perfectly with Ms. Maroney. and the ensemble returned for "Would My Conceit".

The singing was just as fine in the second half of the program although it seemed to our ears that Benjamin Britten's arrangements of Henry Purcell's delicate songs was a bit heavy-handed and overwhelming. There is nothing new in a composer wanting to put his own stamp on other composers' works but our ears are better attuned to the delicacies of the 17th c.

Several of the songs had been heard mainly sung by counter-tenors and were, last night, strange to the ear.  Accompanied by the wonderful Yuri Kim on the piano, Mr. Neubert and Mr. Blumberg gave an exuberant account of "Sound the Trumpets".

"Music for Awhile" is one of our perennial favorites and Mr. Neubert sang it well over a piano arrangement that sounded strangely portentous.  But that's the way Britten heard it, we suppose.

Mr. Blumberg sang "Mad Bess" with his customary skill at storytelling. We have been enjoying his singing for over a decade and noticed new depth and breadth in the lower register that is most exciting.

Dmitri Dover, always excellent, took over the piano accompaniment for the next set of songs which was given to the lovely ladies to sing. The lyrical "Shepherd, Leave Decoying" united the golden tones of Ms. Brailey with the silvery sound of Ms. Maroney. (Interestingly, their stylish gowns were respectively golden and silver!)

We got to hear Ms. Brailey sing one of our favorite songs "Sweeter than Roses" with a rather romantic piano part and the lovely "Evening Hymn" sung by Ms. Maroney. Ms. Brailey returned for a stunning solo "The Blessed Virgin's Expostulation" in which Mary expresses doubts in her faith, accompanied by Mr. Brofman himself. Very moving.

The remainder of the season continues its focus on England. On October 6th one can hear more Britten and some settings of Shakespearean text, at Deutsches Haus at NYU.  And on Oct. 22nd there will be a celebration of Ned Rorem at Bargemusic.

(c) meche kroop

A GIFT FROM BROOKLYN TO MANHATTAN

Michael Brofman, Joseph Gaines, Kelvin Chan, Jocelyn Dueck, Kate Maroney, Miori Sugiyama and Justine Aronson

We have long been fans of Brooklyn Art Song Society (BASS) and have always enjoyed Justine Aronson's scintillating soprano.  We were delighted to learn that they were performing in Manhattan and more than happy to brave the final snow of the season, as was the crowd in the packed house.

Usually, the programs are curated by Artistic Director and pianist par excellence Michael Brofman.  Last night at the Tenri Cultural Institute, the program was given over to venerable composer Daron Hagen. Understandably, his own compositions occupied the major part of the program with the remainder chosen by him.

We listened to Mr. Hagen's instrumental compositions in advance and liked his writing. Although last night we enjoyed some of his vocal writing, much of it was not to our taste.

The program opened with three selections from Schubert's Winterreise, one of our favorite song cycles. They were performed by tenor Joseph Gaines who has a pleasant sound but indulges in some pretty distracting grimacing.  We found his delivery of "Mut!" a bit heavy-handed.  The hero of the cycle is meant to be putting up a cheerful front to hide his underlying grief.  Mr. Gaines' forceful delivery seemed unidimensional and missed the sorrow.

He was far better in "Die Nebensonnen" and evinced a lovely plaintive vibrato.  Miori Sugiyama's collaborative piano was highly sensitive and we particularly enjoyed her work in "Der Leiermann".

What followed was Mr. Hagen's cycle After Words (2013).  Speaking from the audience, he told us that this was supposed to be two angels witnessing life on earth and commenting on Winterreise.  Sorry to say, but Schubert's masterwork does not require comment!  And a work of art should not need an explanation.  We failed to see any cohesion that would constitute a cycle.

In the first song, the piano line often echoed Schubert's "Der Leiermann". Further entries in the cycle were settings of texts by Seamus Heaney whose free "verse" did not resonate with us.

We did enjoy the piano writing in "The Rain Stick" and found the vocal line of "Rimas - X" to be quite lovely as Ms. Aronson and Mr. Gaines went back and forth from Spanish to English.  Text was by Rubén Dario.

His Larkin Songs (2001) were purported to be about Larkin's life but we had trouble relating to the cycle.  There was something about the prose that failed to achieve universality.  That being said, we enjoyed the punchy humor of "Interlude #1" expressing irony about the reading public.  And we especially enjoyed Mr. Brofman's piano which reflected the delicacy of the vocal line in "Going".  But for the most part the verbal cadences of the text did not lend themselves to a musical vocal line.

This cycle was performed beautifully by baritone Kelvin Chan who also did a fine job with Hugo Wolf's Michelangelo Lieder, accompanied by Mr. Brofman's powerful performance on the piano.

In the second half of the program, we heard some of Mr. Hagen's cabaret songs, sung with panache by mezzo-soprano Kate Maroney, ably accompanied by Jocelyn Dueck. She has a nice easy dramatic style and in the duets with Mr. Gaines sounded just fine .  Our favorite of Mr. Hagen's works was "You Don't Fall Up You Fall Down" from I Hear America Singing (2014).  We also enjoyed Mr. Gaines' performance of "I Believe in Song" also from the same cycle. What a fine motto for an evening of song!

His "The New Yorkers" (2011) attempted to show an Upper West Side couple's development over four decades from "We can beat New York at its own game" to "We can love New York". We might have enjoyed it if there had been more specificity about the couple's experience.

Songs from Benjamin Britten's Cabaret Songs were also on the program--the oft-performed "Tell Me the Truth About Love" and "Funeral Blues".

This is the third time this week that we have attended song recitals in which so-called "art songs" shared a program with "popular songs". This seems like a trend. For our taste we like our "art songs" most when they have endured from the 19th c.

(c) meche kroop

HE SAYS SHE SAYS

Mr. Myer, Ms. Sugiyama, Ms. Maroney, Mr. Brofman, Ms. Strickland, Mr. Williams

A chance to hear songs we hadn't heard before sung by singers heretofore unknown to us was enough to bring us to Brooklyn for Part II of Clara, Robert and Johannes, presented by the worthy Brooklyn Art Song Society.  Discovering a new performance space, Old Stone House, was the icing on the cake.  Who knew?

What an excellent opportunity it was to hear the complete lieder of Clara Schumann; unlike other women composers of the day, Clara was able to compose and perform with the support of her husband in what must be considered one of the great love affairs of the 19th c.  Having defied Clara's recalcitrant father, the couple married and enjoyed a life of musical partnership until Robert's untimely death.  In spite of the adoration felt for her by Johannes Brahms, she ostensibly remained faithful to her late husband. But she sadly stopped composing when her husband died.

With her generous soprano, Laura Strickling opened the program with  Clara's Sechs Lieder, Op. 13. partnered by Miori Sugiyama on the piano.  We were quite taken with "Sie liebten sich beide", a tale of missed opportunities in which the gorgeous piano line drifts away without resolution, like the couple that never expressed their love.  Choosing a text by Heinrich Heine is never a mistake!  Of course one could say the same about Rückert; and Clara's setting of von Geibel's "Die stille Lotusblume" was incredibly tender and sweet.

We enjoyed Ms. Strickling's singing even more in the six lieder of Op. 23.  Her blooming upper register gave joyful life to these texts by Rollet, particularly "Was weinst du, Blümlein".  We enjoyed the gentle arpeggios in Ms. Sugiyama's piano in "Geheimes Flüstern".  In "An einem lichten Morgen" we were treated to the metaphor of the loving sun addressing an opening flower.  Could this be 19th c. eroticism?

"Zwölf Gedichte Op. 37" comprised a dozen songs by the loving marital pair, settings all of Rückert's texts.  Clara's "Er ist Gekommen", sung by mezzo Kate Maroney, had some intense passion in the piano part, giving Michael Brofman (Founder and Artistic Director of the Brooklyn Art Song Society) an opportunity to show the range of his formidable interpretive skills.  We have always adored Mahler's setting of "Liebst du um Schönheit" and were delighted to learn that Clara's setting is equally melodic, if not as well known.  Ms. Maroney sounded quite lovely.  Several of the songs were sung by baritone David Williams who has a pleasing tone and a nice lower register as heard in "Rose, Meer und Sonne".  We particularly enjoyed the Maroney-Williams duets, particularly the song that ended the first part of the program "So wahr die Sonne scheinet" with its gorgeous harmonies; the voices blended beautifully.

Accompanied for this set by pianist Spencer Myer, Ms. Maroney performed Frauenliebe un leben Op. 42.  She seemed most invested in the excitement of "Helft mir, ihr Schwestern" and "An meinem Herzen".  We have always been able to overlook the anti-feminism of Adelbert von Chamisso and to just enjoy the music.  The poetry of the early 19th c. scans and rhymes in a way that delights the ear and inspires some gorgeous vocal writing that we rarely hear in contemporary music.

The recital was made even better by the projection of texts in both German and English, a wise decision in our opinion.  But it was made somewhat less enjoyable by the use of music stands which imposed a barrier between the singer and the audience.  We understand the need for them in modern music in which the vocal line is unmelodic and the text doesn't scan.  But for music of this period we would have hoped that the singers would have  made the effort to memorize.  Perhaps that is asking too much.  One further thing that detracted from this delightful evening of song was the occasional mispronunciation of German vowels and consonants; it was probably of no consequence to 99% of the audience but our ears pick it up as much as we aim to shrug it off.

On the whole, it was a fine evening and we were thrilled to hear songs that have been overlooked in so many lieder recitals.  We will have still more gratitude for B.A.S.S. as they continue with Part III of Clara, Robert and Johannes on November 17th in another charming venue, the Firehouse in Williamsburg.

© meche kroop