The Catskill Chronicle

Review by Barry Plaxen

JEFFERSONVILLE, NY (July 17, 2013) – “A marked change, as in appearance or character, usually for the better,” is one of many definitions of the word “transformation.”

It is the “theme” of Weekend of Chamber Music’s (WCM) 20^th season, the 2013 Summer Music Festival, and was much in evidence at the opening concert on July 14, at the First Presbyterian Church in Jeffersonville where people were sitting in chairs on the back lawn, watching and listening to the world class performers being introduced by the Festival’s new co-artistic directors, Andrew Waggoner and Caroline Stinson who are, in the paraphrased words of WJFF’s classical music DJ, Gandalf, “beginning their tenure with this extraordinary group that is simply nonpareil, performing in the tradition of excellence they have inherited from WCM creator Judith Pearce,” who figuratively and literally handed them her magic baton this year. (Pearce, Stinson and Waggoner (l-r) are joined by Terry Schommer, WCM Managing Director in photo above.)

Transformations were also in evidence in the music played at the concert by the WCM wind ensemble as all the works were arrangements transcribed for flute, clarinet, oboe, bassoon and French horn. Beginning with two selections from Rameau’s “Concerto a Cinq” and then a movement from Beethoven’s “Wind Sextet” scaled down for five instruments by Robert Stark, to the unknown Russian composer Sergei Wasilenko’s “Quartet on Turkmen Folk Themes” for the first part of the program.

The second half began with the daddy of all “transformationers,” Johann Sebastian Bach who, we know, was ever reworking and transcribing his own music. Waggoner arranged two “Choral Preludes” for the wind ensemble and I must say that after many years of my having difficulty in my hearing and deciphering the various voices with clarity in the Preludes when played on the organ, Waggoner’s voicing for the ensemble brought a whole new world (sound) of Bach to me. I heard new timbres and blendings, and melodies so wonderfully “separated” that I was able to assimilate them all separately instead of hearing a more one-kind-of organ mish-mash of sound. If a wind ensemble cannot duplicate the power of an organ, it rises far above that by defining and illuminating the beauty of Bach’s melodic and harmonic lines gifting us with a totally unique Bach-experience. I vote for that.

And them we came to Pearce’s  (photo left) transformation from all her previous WCM administrative and artistic “hats” to “arranger,” with her wind ensemble arrangements of the Notturno from Borodin’s second String Quartet (“And This is My Beloved” to “Kismet”-knowers) and an arrangement of a theme and six variations from a Mozart flute quartet . It was comforting to see Pearce on the platform performing on her flute, knowing she is not retiring completely, and more-so in that we were treated to another aspect of her talents with the superb arrangements. And inspired, too, as she had Matt Sullivan pick up his English horn to play Borodin’s familiar and beloved (sic) theme, making it more plaintive, I would say, than if played on the oboe.

It was an afternoon of great music, enlightening arrangements, and inspired phrasing by Pearce on her flute, and returning WCM artists Pascal Archer, clarinet (photo left); Matt Sullivan, oboe (photo below right); Gina Cuffari, bassoon; and Adam Schommer, French horn (photo at bottom right of article). What it all comes down to for me is phrasing, with the musicians getting the most out of the music – or better yet – putting their most into the music so that we get the most out of it.

As the first few highly obvious introductory notes to “Summertime” wafted through the air for the group’s encore piece, I wondered what surprise was in store, as a few years ago Pearce had a baritone sing the aria, offering a whole new vision to the work – a father singing the lullaby, instead of the mother. This time, after the intro was over, bassoonist Gina Cuffari (photo left) surprised us all with her wonderful singing voice as she movingly brought freshness to this Gershwin warhorse.

In closing, I think I can represent others in WCM audiences by verbally welcoming Waggoner and Stinson to the WCM helm and saying how grateful I am (we are) with their decision to continue the WCM Festivals. The day’s program is evidence that they, too, are programmers extraordinaire, a fact we already know with their coup: arranging for Pulitzer Prize composer John Harbison to be the composer-in-residence for this season’s Festival that includes music from all eras. Thank you all for a wonderful afternoon.

The WCM Festival performances run from July 18 through July 27 in North Branch, Callicoon and at the home base, the Eddie Adams Farm in Jeffersonville. Don’t miss them. For information and a complete roster: www.wcmconcerts.org and 845-932-8527.