Ensemble Epomeo

String Trio

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Newburyport Arts Journal: Review

By JC Lockwood (Original Here)It may not have been exactly what organizers had envisioned. Okay, it definitely wasn’t: A fundraiser that doesn’t rake in the dough wasn’t what all the meetings and all the strategy sessions were about. But it’s hard to believe anyone felt less than sigh-and-snuggle-before-rolling-over-and-lighting-up-a-smoke satisfied after the Trio Epomeo’s June 6 performance for the Newburyport Chamber Music Festival. Except, perhaps, for the Schnittke fans, who, once they got a taste of the Moderato section of the Russian composer’s String started growling for the Adagio — a kind of musical blood lust. But it was not to be. A last-minute adjustment of the program had the trio — violinist Byron Wallis, cellist Kenneth Woods and violist David Yang, who is also NCMF artistic director— jettisoned the Adagio to make room for Beethoven’s Trio in C minor, Opus 9, in its entirety. The program had originally called for closing with just a taste of the Maestro, playing the Rondo and calling it a night.Was it a good trade-off? Opinions vary, even among Schnittke fans. The Newburyport performance, the penultimate stop of Trio Epomeo’s three-country, two-continent tour, had been conceived as musical tapas, of sorts, giving the audience a taster’s menu, a variety of works to sample, a selection of moods and colors, rather than complete works. But, even within this context, the emphasis was on the modern, and the mood tilted toward darker hues: Hans Krasa’s chilling “Tanz,” which opens with a waltz and ends with oblivion; Alan Hovhaness’ ethereal, otherworldly Trio, the musical manifestation of a deep, mournful sadness that seems to exist on a cellular level; Gideon Klein’s “Based on a Moravian Theme,” a concise and unforgettable emotional musical rollercoaster; and, finally, closing the first half of the performance with Schnittke’s alternately lulling and jolting crash-bang String Trio.Within this context, the Beethoven seems a little out of place historically, musically and even geographically, given that the work presented had an eastern Europe perspective — even the encore, a Kodaly Intermezzo. At the same time, it was comforting, steadying, closing with Beethoven, a lovely piece — lyrical, expressive, an incredible vehicle for exploring possibilities of the instruments. And, again, when you encounter such inspired playing —wonderfully executed and, at times, absolutely breathtaking performances by players at the top of their game, up close and personal— all this talk about the what’s what of the program becomes mere sport. So, again, within this context, the decision to go Ludwig becomes a fielder’s choice.It was a magical evening — seriously under attended, but magical. The trio, which came together last year at the Festivale d’alla Musica da Camera d’Ischia in Italy to explore the possibilities of just one piece (the Schnittke Trio, natch) and discovered that they clicked musically, sounded like they had been playing together forever. The performance space (the Carriage House, a marvelous listening room fashioned out of an 19th-century out-building on the Lord Timothy Dexter Estate by NCMF patrons Julia Farwell Clay and Walter Clay) is a delight, as was the after-party — the social aspect, the schmooze, has been an important part of festival since its inception. There was plenty of food and wine and a chance to chat up musicians. We heard stories about Wallis’ recent tour of North Korea, of all places. Or the time when he and Wood, who worked together during a musical interlude in Arkansas, wandered into a rock and roll club. Wallis kind of hung back, but Woods, who performed in a rock band back in his Indiana University days, jammed with the band, playing guitar behind his head, a la Jimi Hendrix. But the best news we got, before the last of the wine had been poured, was that trio plans to record the Schnitkke. Stay tuned!

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Engaging the Audience

Reblog from Kenneth Woods- A view from the podiumIt is a fact of life that most organizations think of programming largely in terms of marketing. While almost all musical organizations have some desire to do interesting things, there is always a certain amount of pressure to focus on “getting an audience,” which usually equates to conservative programming.After many years as a music director, who knows that if you don’t have an audience you don’t have an orchestra, I’ve had to face the simple mathematical truth that, more often than not, Beethoven sells more tickets than Schumann, and Schumann sells more tickets than Haydn, and Haydn sells more tickets than Bartok. With most of my groups, we can predict with some accuracy what percentage our audience will tail off from 100% by having one, two or three relatively unfamiliar pieces on a concert.However, the problem with this outlook is that it only focuses on the experience and reactions of the audience up to the moment they enter the hall. Conservative programming is programming designed to get the public to come, but is it programming that gets them to come back?Of course, there is a false dichotomy, which everyone is aware of- it is very, very possible to construct a creative, interesting and unique program that the audience will enjoy. The problem is getting them in the door to experience it.Fair enough, but I think one of the fundamental weaknesses of modern classical institutions is that we have settled for a passive and passionless relationship with our audiences.Several times this year, I’ve been deeply struck that when you are able to do something that really challenges the audience, they come away from the experience more engaged and MORE PASSIONATE about the orchestra or the ensemble then they would have been for just another predictably bland concert.Along these lines, it was very encouraging to get to meet so many audience members after the Ensemble Epomeo concert at the Newburyport Chamber Music Festival. Our program was certainly challengingKrasa- Tanec for TrioHovhanness- String Trio (1963)Klein- Variations on a Moravian Theme (from Trio 1944)Schnittke- String TrioBeethoven- Trio in C minor op 9 no 3(Encore- Kodaly- Intermezzo)We’d been warned it was a conservative crowd, but from the level of energy in the room at the recession, you’d have thought we were playing for a new music festival audience. People were engaged, fired up, talking about what the pieces meant, about what they had experienced. As often happens, we had people literally jump out of their chairs in spots of the Schnittke. After a first half that mostly dealt with dire questions of life and death, the Beethoven could also be heard as the ferocious, imposing and revelatory work it is, not as something safe and mild-mannered.The same thing happened with the SMP recently did Ives 3 and Shostakovich Chamber Symphony alongside Schumann and Mozart for our usually conservative Guildford audience, or, for that matter, when we did the Fifth Prokofiev concerto. In both instances, attendance was off a bit from our usual sell-outs, but I think more people talked to their friends about those concerts than would have if we had had just done Mozart. It’s another form of math- if 75% of your public show up for the wacky program, but 90% of them tell their friends about the experience isn’t that going to be better in the long run than if the hall is 100% full, but only 20% of the audience remembers the evening as anything other than nice, or mention it to anyone else?Of course, we’ve got to get people in the door- sometimes that means working harder, sometimes it means making conservative programs and just doing a great job. When I started at OES, the idea of the orchestra doing one new piece a season was anathema. It took some time and a few well-chose bits of more accessible 20th c faire before we could begin to consider a commission, but by the time I left, we were doing them regularly, and patrons were FUNDING them. How cool is that?I had one of those memorable 20 second conversations today after our Exeter performance on the Aliento Chamber Music series. Before the Schnittke, I had mentioned to the audience that the piece was written around the time of his first stroke, and that  the first movement does seem like a terrifying struggle for survival. After the concert a woman greeted me and said she had cried through the whole piece. Her daughter had a stroke last year, and when she began to get well enough to communicate, she told he mother in some detail about what it felt like and how terrifying it was. The woman said that throughout the piece, she kept thinking of her daughter’s stroke and couldn’t escape the parallels. “It sounded just like what she went throug.” She said it was terrifying from beginning to end, that she cried through the whole thing, and at the end, she felt somehow better, even a bit healed.Wouldn’t you rather that than an under-rehearsed hack-through of the Trout?