But opting out of some of these cookies may have an effect on your browsing experience. You also have the option to opt-out of these cookies. These cookies will be stored in your browser only with your consent. We also use third-party cookies that help us analyze and understand how you use this website. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. He had ample reason to be pleased.This website uses cookies to improve your experience while you navigate through the website. With the requisite imagination, one could discern the shade of Debussy moving about that recital hall. It also demanded (and received) the highest order of musicianship from these performers. The sonata is reputed to make “unnatural” demands on the cello. They played this towering work with the synchronism one might expect only from a longtime duo.
But all of the movements called on the striking skills of cellist Virginia Ewing Hudson, with again the strong accompaniment of Lyman. 1 in D Minor for cello and piano was labeled Léger et nerveux (Light and nervous). The last movement of the closing Sonata No. The second and most substantial of the movements quoted at some length from the German Ein feste Burg, but the claimed quotations from the French La Marseillaise were subtle and as the program notes indicated, quite “oblique.” The three-movement work was by turns violent and somber. Margaret Evans and the aforementioned Kent Lyman collaborated with praiseworthy precision in the “big” work of the evening, En Blanc et Noir (In Black and White) for two pianos and four hands. The two were in excellent harmony and dramatic form with “…an agony that seems somehow soothing / And gives simultaneous delight and distress.” With the second song, “The sound of the horn,” the performers reached the proper balance of piano and voice. In these lesser-known pieces he was ably assisted by Elon University pianist, Katherine Thomas. Featured here were the graceful violin of Carol Chung and the masterly piano of Frank Pittman, the rightly celebrated Meredith veteran and freelancer.ĭeMar Neal brought a vibrant baritone to the set of three songs, Trois Mélodies de Verlaine. Providing a stylish start to the evening was the Sonata No. In a final moving reference to Clyburn, they played the sublime Andante movement from Chopin’s Sonata in G minor for Cello and Piano.
Then there was a Chopin encore by cellist Virginia Hudson Ewing and pianist Kent Lyman. This mid-program number was in fact genuinely “Debussy-esque” and most fitting, given Lohr’s report that Clyburn had actually influenced its composition. Lohr played “Improvisation” from his set of Tributes. He joined the faculty in 1958 and retired as professor of music after 42 years of service.Īugmenting the evening’s four Debussy works were a couple of altogether appropriate complementary pieces. Clyburn (1932-2012), Meredith’s revered and renowned Professor Emeritus. This program, indeed the entire weekend-long Debussy Festival, was dedicated to the memory of James L. The setting was Carswell Concert Hall on the campus, featuring six Meredith faculty members, assisted by two guest musicians. And that’s exactly how Meredith College approached the matter. How would you mark the passing of 150 years since the birth of the great French composer Claude Debussy (1862-1918)? You might begin by simply mounting a Sesquicentennial Tribute to the composer.
0 kommentar(er)
