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American Visions @ CMS

Randall-Scarlata

Above: baritone Randall Scarlata

Tuesday May 19th, 2016 -  Chamber Music Society of Lincoln Center offering a diverse program of 'Americana'. On entering the auditorium at Alice Tully Hall tonight, we found the stage filled with a vast array of percussion instruments; these were set up in four "territories", each to be managed by a specific musician in the program's second half: a spectacular performance of a fascinating work by George Crumb. 

In the midst of all the chimes, gongs, and other percussive paraphernalia, the sleek Steinway was parked. Pianist Michael Brown took the driver's seat and set the evening on its way with Louis Moreau Gottschalk's The Union, Concert Paraphrase on National Airs for Piano. Composed in 1862 by the wildly popular Gottschalk, this 9-minute fantasia weaves together arrangements of Hail Columbia, Yankee Doodle Dandy, and The Star-Spangled Banner. The work's virtuoso demands were a stroll in the park for Mr. Brown, who simply rippled off the composer's flourishing flights and furbelows with sprightly brilliance. This patriotic little gem sparkled on New York's Primary Day.

Mr. Brown returned immediately to perform Antonin Dvorak's Sonatina in G-major with violinist Chad Hoopes. Written (swiftly) in New York City in 1893, this attractive piece was the composer's opus 100, and he chose to mark that milestone by writing a work for his two children: Otilie (a 15-year-old pianist) and young Antonin (aged 10, and already a capable violinist); the sonatina was first performed at Dvorak's home on East 17th Street, right here in Gotham.

Mssrs. Hoopes and Brown found this Dvorak work most congenial; their performance was finely coordinated and together they gave us a savorable rendering of the folkish elements which are so typically Dvorakian. In the work's four movements, both lyricism and dexterity are called for, and the two musicians polished off the music with style and flair.

A group of songs by Charles Ives were then performed by baritoneRandall Scarlata and Gilbert Kalish. These two expert artists have worked together frequently and their rapport is a delight to witness. Randy Scarlata's wide-ranging voice, his fluency of language, and his natural gift for making it seem like he is singing just to you have always given his performances a special appeal - starting back in his Juilliard days, when I first met him and we began a friendship that has been sustained over the years.

The six Ives songs Randy programmed tonight showed the many felicities of his vocal and interpretive style, and Mr. Kalish was the ideal collaborator. The soft ending of "The Things Our Father's Loved" was haunting; the ironic sense of triumph of "In Flanders Field" showed vocal expressiveness at its finest. A music hall feeling is evoked in the narrative "Charlie Rutlage" which covers many moods and at one point erupts in a huge tumult; "The Indians" veers from the dramatic to the pensive. A particularly masterful rendering of "The Housatonic at Stockbridge" opened with Mr. Kalish's atmospheric piano introduction; the music is then taken up by Randy with finely-inflected phrasing and spine-tingling dynamic control. "The Circus Band", a jolly tongue-in-cheek affair, calls for a baritone who is also an actor, and it ended the evening's first half vividly.

So lovely and pleasant to simply sit in the hall during the interval, watching the percussionists as they made sure everything was in place for the work about to be performed: George Crumb's American Songbook II: A Journey Beyond Time.

I can hardly begin to describe the effect of this ingenious and truly splendid work. The composer, with his ever-rich musical imagination, has taken some of the best-beloved spirituals and spun them into a sound tapestry that is nothing less than magical. The work calls for four top-flight percussionists, a pianist of consummate skill who is willing to extend his range beyond the keyboard, and a great communicator as vocal soloist. CMS brought together just such a remarkable ensemble tonight, and the result was both aurally dazzling and rich in spiritual reward.

Each of the four percussion players - Christopher Froh, Ayano Kataoka, Eduardo Leandro, and Ian David Rosenbaum - had his or her own island kingdom of instruments to preside over. An open-topped piano awaited Gil Kalish, with a pair of small mallets and an odd conch-like horn set out for him: things most pianists have no use for. At the center of it all, Randy Scarlata, ready to pour his heart and soul into the eight timeslessly powerful songs that Mr. Crumb had arranged for this epic work.

Otherworldly sounds transport us immediately; as the work progresses, the textures developed by the percussion orchestra will chill, delight, and fascinate us. The baritone voice emerges from this soundscape in the haunting melody of "Swing Low, Sweet Chariot" - Randy Scarlata at his expressive best. Mr. Kalish must reach into the piano to pluck the strings, and meanwhile the percussionists are setting up echo effects and rich reverberations. The chimes of midnight sound, uncanny deep resonances glow and fade, ghostly shimmers hang in the air. Randy's control of finely-honed piano demi-tints gave me goosebumps as the 'sweet chariot' vanished into the mists.

Bizarre rhythms and noisy cacophony signal 'the walls come tumbling down' in "Joshua Fit de Battle ob Jerico"; Mr. Kalish's horn bleats desperately, Randy Scarlata's voice rages and exhorts. Things fade away before a big bang of an ending. Tremendous!

Soft chimes lend an air of mystery to Randy's poignant singing of "Steal Away". This is followed by the impulsive rhythms of "Rock My Soul" in which Randy sings, speaks, and whispers in turn. An instrumental interlude ("The pregnant earth : a Psalm for Noontide") brings forth delicate effects. Here Mr. Kalish alternately plays and plucks the strings of the Steinway while the four percussionists seem to vie in a contest to see who can play most quietly. Kozmic softness!

Marimba and rattles set the rhythmics of "Sit down, Sister!", in which the pianist also has a say. Randy sings "I just got to heaven and I want to look around!"; the song then teases forward until he shouts "Sit down!" This is punctuated by a sonic boom.

Soggy chimes make us think of weeping; "Nobody Knows the Trouble I See" laments, with Randy's voice low and mournful. The stage lights inexplicably dimmed to darkness by mistake midway thru this song; the music halted but light was soon restored and the musicians picked up where they'd left off. Eerie echoes are heard.

A deep growl...a thudding drum...a welter of gongs and chimes: "Let My people Go!" This is "Go Down, Moses", robustly declaimed by Randy Scarlata, and it is big singing indeed. The music is ominous but fades to a long, reverberant end.

Gongs and chimes, chirps, and the sound of tinkling broken glass create a halo of mystery around Randy's plaintive singing of "Sometimes I feel like a Motherless Child". After a last percussive power burst, Mr. Kalish brings forth some extremely delicate playing, and some eerie tapping. The singer turns to parlando with "Motherless children have a hard time...a long way from home": eventually Randy hums wordlessly as the music fades sway into thin air.

The audience seemed spellbound by the Crumb work; it is not easy music, but instead unsettling, thought-provoking, and richly rewarding in its own way. I was so grateful for this opportunity to experience it, and in such a thoroughly impressive and moving performance.

The Repertory: 

The Participating Artists:

April 20, 2016 |