Home2Home concert review
April 24th, 2020
by Richard Steen, YSM ‘72 MMA ‘78 DMA
"Borrowing a metaphor from the sport we are missing dearly this spring, the core organizers of the “Home2Home” music concert series hit a home run in their ‘first at-bat.’ As creative impresarios for this series of virtual music concerts (with a twist), this debut effort was a technically polished and spiritually moving experience for performers and listeners alike. Though streamed outbound to listeners, we were in effect transported directly into the homes or apartments of each performer who, as recent YSM graduates and colleagues, are now widely dispersed and sheltering in place all around the US and Canada. We were privileged to be charter audience members because this concept surely has great potential.
Thoughtfully self-selected repertoire favorites, as introduced by each performer, seemed in many cases to have a personally therapeutic or cathartic impact, while we armchair listeners were graced by an uplifting pause in our routines to reflect on musical beauty and life’s priorities amidst this devastating health crisis. I believe it was Bixby the clarinetist, who mentioned how classical musicians yearn for the immediacy of live audience performances, for example, feeling a communal hushed silence of an audience readying itself, or post performance accolades with applause and sometimes rhythmic stomping. In this case, Covid-19 has swiftly asserted itself in society at a crucial point in these young performers’ careers, preventing cohabitation of resonant concert halls or salons and indiscriminately precluding direct audience validation.
"The Sound Bridges,” which cultivates virtual artistic communities of interest, has inaugurated the "Home2Home" series to address this loss of live performance opportunities and exposure. It is remarkable how well this “live happening” turned out, given the speed with which the event’s sponsoring organizers had to act. How ever did they gain the performer’s collaboration in offering brief, yet personalized, introductions segueing to their spirited performances? Having streamed the concert to our TV and stereo system, we found the production values to be excellent with uniformly clear video and audio.
The pacing and juxtapositions of the performances were well balanced. For example, the Beethoven for piano and oboe performed simultaneously in different countries was a brilliant “wow” moment, like a collaborative high wire act cleaverly positioned at the apex of the program. Though the duo performers were also distanced from each other, Nellie and Ron had carefully rehearsed the interpretive aspects so that their performance was nuanced, yet spontaneous. Imagine, how subtle collaborators they would be in the same room.
The two violists made an entertaining contrast, with Ryan’s self-composed performance juxtaposing real-time layered (and de-layered) voice overs, and Alexandra, one of the organizers, a refined performance in a lovely, west-coast setting. As a listener, roving geographically into each performer’s living space, I found an enhanced intimacy as their personalities and physical surroundings enriched their musical statements.
Bixby, the clarinetist, playing the Gershwin-inspired composition with seamless tone and phrasing, producing registral highs and lows as a solo instrument that resonated wonderfully on our stereo speakers. Sophiko played, with rhythmic intensity and contrast, a 'Dance of the Warriors' by her native country’s (Georgia) female composer, while expressing gratitude for her YSM studies with superb piano faculty, including the School's Dean.
Among the fine performances, the Bassoonist with Allemande-defying breath control, prefacing his performance with heartfelt sympathy for Covid patients’ struggles for life's breath, bringing attention to how we should not take our talents or breath for granted. Francisco’s introduction included a ‘shout out’ to his professor of music analysis followed by fine dynamic contrasts in his performance of the opening movement from the first Bach Cello Suite. As Jonathan settled us into concert spirits with his spirited harpsichord playing, Jiji and Gulli as a program closer performed together in perfect synchrony, three varied selections for treble and tenor or bass registered guitars.
It bears mentioning again the unexpected immediacy of being invited into the living and practice spaces of these accomplished musicians sheltered in place all over the United States and Canada. Among this variety in home venues, special mention goes to Ryan’s set, particularly the tall, thin bookshelf with two opposite leaning headsets and other fun artifacts, and Sophiko, in an apartment room that looks a bit confining, but likely speaks volumes about her priorities and character. Pursuing her DMA in New York, right in the epicenter of a global calamity, Sophiko expresses buoyant optimism about the future.
They certainly must be doing something right at YSM in their selection and cultivation of such outstanding professionals and caring world citizens.”
PROGRAM
YSM MM ‘17, DMA ‘23 | Jonathan Salamon, harpsichord
G.F. Handel - Suite in E major, HWV 430 II. Allemande, V. Air with Variations ("The Harmonious Blacksmith")
YSM MM ‘16 | Bixby Kennedy, clarinet
Paul Harvey - Three Etudes on Themes by Gershwin - I. I Got Rhythm, II. Summertime, III. It Ain’t Necessarily So
YSM MM ‘17 | Francisco J Joubert, bassoon
J.S. Bach - Partita for Flute in A minor, BWV 1013, I. Allemande | Suite for Cello in G major, BWV 1007, V. Minuetto I, VI. Minuetto II
YSM MM ‘18 | Sophiko Simsive, piano
Meri Davitashvili - Khorumi
YSM MM ‘16 | Ryan Davis, viola
Original composition - Colour You Like
YSM MM ‘17 MMA ‘18 | Alexandra Simpson, viola
J.S. Bach - Sonata in G minor, BWV 1001, I. Adagio
YSM MM ‘16 | Cornelia Sommer, piano, YSM AD ‘16 | Ron Cohen Mann, oboe
L. van Beethoven - Violin Sonata No. 1, Op. 12, I. Allegro con brio, arr. Ron Cohen Mann and Cornelia Sommer
YSM ‘17 | JIJI, guitar, YSM MM ‘17, MMA ‘18 | Gulli Björnsson, guitar
A. Vivaldi - Prelude & Corrente, RV64C. Debussy - Suite Bergamasque: IV. Passepied (Gieseking)Ryuichi Sakamoto - Merry Christmas Mr. Lawrence