Opera, music, theater, and art in Los Angeles and beyond
June 10, 2012
After the Romantic hue of the last few days, Saturday evening’s program at the 2012 Ojai Festival took turns into decidedly more modern territory with living composers occupying the major parts of the program. It also moved the spotlight toward clarinetist Martin Fröst. But just before that transition were two notable and entirely serious concertos. Haflidi Hallgrímsson’s Poemi a single movement violin concerto was played by the Norwegian Chamber Orchestra with Artistic Director and soloist Terje Tønnesen. The work references three Chagall paintings, all on Old Testament stories. Tønnesen has done pivotal work all weekend here as “leader” of this frequently conductorless ensemble, and Poemi was his moment to show off his own virtuosic skills. (There was a conductor for this performance, Per Kristian Skalstad.) This served as prelude to the U.S. premiere of Bent Sørensen’s Piano Concerto No. 2 subtitled “La Mattina” (morning). After the teasers of Sørensen’s lullabies on Friday night, it was exciting to hear this equally satisfying large-scale work. Sørensen’s morning isn’t a cheerful or sunny one. It’s fraught with uncertainty and from the opening moments, the orchestral part which ran in tandem with the piano solo reflected a certain decay. Tones drifted and collapsed under Andsnes’s searching solo part. Things get brighter as they go along, and there’s a suggestions that everything may turn out OK despite it all. This was especially true as Andsnes’s technical skills were called upon more and more toward the conclusion. Undoubtedly the piece was one of the highlights of this year’s festival.
Another Nordic composer, Anders Hillborg, provided a very different concerto for clarinetist Martin Fröst, which followed after the break. Peacock Tales has proven popular enough that Hillborg has produced several versions of the piece (one of which you can take a look at in the video at the top of this post) for Fröst. Each version uses different orchestrations, but all maintain the clarinet solo part and the choreography Fröst performs over the course of his solo. Fröst is a fairly mobile performer to begin with often moving like a snake charmer. But this was something entirely different. The 10-minute version for Ojai called for him to don a three-horned mask which he wore for most of the solo. He twirls, poses, and points fingers at his head like some puckish prankster – Till Eulenspiegel with a clarinet solo on top of prerecorded tape. It elicited giggles at times from the audience, but no matter what else it was, Peacock Tales left no one doubting Fröst’s willingness to take some risks.
The rest of the evening, and all of Sunday morning’s program, focused on much lighter fare frequently featuring Fröst. There was Mozart’s Trio in E-flat Saturday evening followed the next day by two works written for Benny Goodman, Bartok’s Contrasts and Copland’s Concerto for Clarinet, Strings, Harp and Piano. All were well played and Fröst’s power as charmer and musician clearly affected the crowd. He sounds comfortable with Copland’s jazzy shadings as well as in the familiar Klezmer encores he repeated in Ojai. There was something rather light-weight about it all, though, on Sunday in particular, and the performers seemed ready to let their hair down. The Norwegian Chamber Orchestra players arrived in sun dresses and shorts for Grieg’s From Holberg’s Time: Suite in Olden Style. In the end, one of the bass players danced with his instrument downstage in a comical turn. Even Christianne Stotijn got in on the fun with a selection of Bolcom’s familiar Cabaret Songs with the support of Marc-André Hamelin. She seemed to be enjoying herself with songs like “Black Max” after so much Mahler and Wagner earlier in the weekend. It was an understandable morning of some levity, but after the previous night’s newer material, Sunday morning did find Fröst marking his time a bit. Stay tuned for a final report on the closing evening of the festival tomorrow.