From kilesmith.com. Read the original here.Ensemble Epomeo has performedThrice blest a few times since last Spring, and is bringing it to Philadelphia this Friday, October 1st. They’re playing at the First Friday Concert Series at Christ Church in Old City, on 2nd Street just above Market. The free concert starts at 8 pm.Read about the work here.Ensemble Epomeo is violinistCaroline Chin, violist David Yang, and cellist Kenneth Woods. Click on the names to read about the vast experience each brings to the group. Ken is also an excellent blogger.Here’s a recent post of his about playing on a borrowed cello. I love reading inside-baseball stuff from musicians. Things I’d never consider play such a big part in the lives of those who make the music for us.Caroline, David, and Ken play with many different people and ensembles, and they each run groups of their own. They are busy as can be, so I’m delighted that they’ve taken on this little work. I’m writing a companion to it, but it’ll have to wait until after Friday.In David’s kitchen a week ago I heard part of a recording of Thrice blestfrom a recent performance, and David was telling me how much the piece has come together and how much they’re enjoying it. I think I nodded but I really wasn’t listening; the lentils and sausage he was cooking grabbed all my attention. Sure enough, “cooking” is in his bio, but you can take my word for it: he’s the real deal.Hans Gál, SerenadeKile Smith, Thrice blestRichard Strauss, Variations on “’s Deandl is harb auf mi”Ludwig van Beethoven, Trio in D Major, Op. 9, No. 2
Reblog from Kenneth Woods- A view from the podiumWell, I’m on my way back to Philly after a busy two days in New York with Ensemble Epomeo. We enjoyed our chat with Carl at WKCR- it was fun but challenging in the studio. They have a larger space for recording ensembles, but had we been in there, it would have been just about impossible to carry on a conversation with Carl between the pieces. Instead, we were in the booth with him, sort of tucked around the edges of the console. Byron and David were both more or less behind me, and we had to use the same mics for talking and playing, which felt odd, but I’m told sounded fine on air. If we can get permission, we’ll make the show available as a podcast on the E2 website.WKCR has a wonderfully daring programming philosophy, a refreshing change from the mild-mannered banalities that most public radio stations feel overwhelming market pressure to stick to. After our two hours of live, mostly contemporary chamber music they were doing an hour of avante jazz. This meant we could present a pretty intense and thoughtful program with confidence, focusing on the most radical and experimental parts of our repertoire. We were also able to curate the morning with some recordings of related pieces on CD- bits of Bartok (the final Mesto from the 6th quartet as a cousin to the twilight world of the Schnittke) and the Beethoven op 95 Quartet in comparison with the Op 9 no 3 String Trio.Our private concert in the evening was fun- I always enjoy house concerts where the audience is there for the music, and this house is one where that is always the case. Of course, we’re learning a lot from doing this program over and over. It really makes me painfully aware of what a pity it is that most concerts only get done once.Of all the pieces we’re doing on the tour, it is the Schnittke that we’ve lived with the longest, but I’m still making discoveries in every rehearsal, and my thoughts about the meaning of the piece continue to evolve. Schnittke seems to have become almost completely unfashionable among critics and most composers since his death, but fashion is the word. Fashions and trends are amusing phenomena, but whether a piece is in or out with the taste-setters of the day has nothing to do with its status as a work of art. When you can live with a piece like this and continue find new layers of meaning, new relationships between musical ideas, new intersections of process and content there’s no room to be snooty. It’s genius.Just one example- there is a peculiarly iconic chord progression that occurs several times in the piece. It goes from a major triad up a half step to a minor triad, which means the two chords share the same third. Schnittke has a way of setting this progression as though it is a moment when we step back from the line of the drama and contemplate what has happened. What is interesting now is that we’re finding more and more ways in which this progression doesn’t just stand apart as a sort of incantation, but is knitted into the piece in countless other ways which aren’t immediately perceptible. Sometimes it is presented horizontally, other times he layers the two chords on top of each other. It also turns out that the progression itself shares it’s musical DNA with the main theme of the work, something that’s a bit hard to hear, but clear on the page if you look for it.We’ve got another concert tonight, doing a slightly shortened and lightened version of our tour program, and we have to finish preparing our children’s program- the first kids concert is tomorrow and I still have some notes to learn in Hansel and Gretel.
Reblog from Kenneth Woods- A view from the podiumI’m back in the UK after a memorable week at the Ischia Chamber Music Festival in Italy.For me and my colleagues in Ensemble Epomeo, the focal point of the week was our concert on Thursday in the Church of Mary Magdeline in Cassamicciola. It’s a stunning church, and we received a very warm welcome from the priest who has been in residence there for 42 years now.Also warm was the air. I’m used to being hot during concerts when I conduct, but I’ve never been so hot playing as I was for the first half of this concert, with the possible exception of a few dodgy outdoor pops concerts. It was certainly a fiery program, and we could have been forgiven for breaking a sweat in a Manchester church in January-Krasa- Dance for String TrioHovhanness- String TrioKodaly- Intermezzo for TrioKlein- “Variations on a Moravian Theme” for String TrioBeethoven- Trio in C minor, op 9 no. 3IntermissionMozart- Clarinet QuintetI have wonderful memories of last year’s festival, and was a bit concerned that this year’s reality couldn’t match up to that of last year. Fortunately, the scenery, weather and food was as wonderful as ever, as was the clarinet playing of my colleague Giuseppe Caranante. He has an uncanny ability to bring a sense of rapt stillness to a performance. I don’t think I’ve every played the slow movement of the Mozart so softly, but it worked, and absolutely nobody coughed! On the other hand, the chamring padre talked through most of the Beethoven trio and the Kodaly.Throughout the week, I’ve been struck again and again but how difficult it is to find a consensus about how participants were perceiving their experience at the festival. Some loved playing in the orchestra, others felt it was an intrusion on their chamber music time (and some just dislike orchestra and conductors). Likewise, some loved the acoustics of the church on Thursday while others complained bitterly about the reverberation. Many people loved the Beethoven, which I think we in the band all felt went the best for us out of the first half, but one participant HATED it! She seemed to particularly loathe our performance of the slow movement of the trio, the miraculous Adagio con espressione. Granted, I don’t think we sounded like any of the old LPs I expect she grew up with- we played the opening non-vibrato, like a sacred procession, and tried to not let the phrases die in the many silences. It may have been radical, but it was the one movement of the night that got spontaneous (and noisy) applause from the entire audience, and I think we all felt it was our most polished work of the evening. I guess some people just need to vent. That kind of reaction isn’t likely to change an interpretation born of many years of study and research, but it is likely to make you think a bit less of someone’s manners….Her comments did bring into focus the question of interpretation and venue. She felt the churchy reverb meant we should have played much more slowly (although I’m doubtful she would have approved even in a carpeted living room). Tempi are like neighborhoods- you can move around and adjust some, but you’ve got to stay relatively close to home. If you can’t make the piece understandable in a given space, it’s probably better to pick other repertoire (in this case, none of us knew the venue and we didn’t get a sound check).In the end, none of us in the trio were looking at this concert as a summation of our work together, just a step along a road that may lead in any number of directions. Rehearsals have been pretty good this week, so I think we have a clearer than ever sense of what we would like to accomplish together. The kind of work we’ve been doing on the Beethoven, including lots of experimentation with vibrato (or the lack thereof) and bow strokes as well as tempi has us excited to put together all the Beethoven Trios, but we’re also discovering the kind of time commitment we’re going to need to make to do the kind of work we all want to do. String trio playing is damn hard work.On the other hand, we got out the Schnittke Trio last night, which we played at last year’s festival and which is replacing the Mozart on our US tour next month. Even though we were bone tired and hadn’t worked on the piece in almost a year other than a read-through, it went well and felt in every way better than it did last year when we’d been playing it day in and day out. Hopefully this means the work we did on these last few programs has been paying off and that as we take on new pieces, we’ll be able to start working on things with a stronger foundation.