Memorial Day weekend came to San Francisco with a preview of the cold
and grey days we usually expect in August; but the Old First Concerts
series, at the Old First Church, provided an excellent refuge from the
cold with a chamber music recital by the MusicAEterna trio. This piano
trio was founded in 1999 by Aenea Mizushima Keyes, who studied violin
with Dorothy Delay and composition with Meyer Kupferman at Sarah
Lawrence College and is currently on the faculty at the San Francisco
Conservatory of Music. This recital provided Keyes, in the company of
cellist Monica Scott and pianist Miles Graber, to exercise both of her
skills in a program entitled "Past to Present."
From the past
Johannes Brahms provided the most warmth with his Opus 8 B major piano
trio. This work was published in his early twenties but almost entirely
reworked 35 years later. The most important addition to the later
version is the third Adagio movement, which I previously described
as foreshadowing his explorations of the intermezzo form in his late
piano compositions. MusicAEterna offered a performance that captured
both the youthful exuberance of the initial effort and the more
forward-looking speculations of the later.
As composer Keyes was represented by a short suite entitled Snapshots from Japan, reflecting on her personal experiences in that country and inspired by ukiyo-e
woodblock prints. Each movement is an impression of a different
artist. Tsukioka Yoshitoshi's movement is entitled "GHOST," evoking his
Thirty-Six Ghosts series, and is coupled with the concept of
sorrow. This is followed by "GARDEN" and the concept of balance as a
reflection on Kitagawa Utamaro, best known for his studies of women.
The final movement, entitled "FESTIVAL" and coupled with the concept of
joy, honors Katsushika Hokusai, whose "Great Wave off Kanagawa" in his Thirty-six Views of Mount Fuji series is said to have inspired the composition of Claude Debussy's La Mer.
With little familiarity with the source material for Keyes'
inspirations, I found it difficult to form many impressions, although I
was left wondering whether the scurrying sounds of the first movement
may have been triggered by the rats in one of the prints from Thirty-Six Ghosts (from Wikipedia):
This
work was preceded by "Between Tides," by Toru Takemitsu (who had also
approached the subject of ghosts in his soundtrack for Masaki Kobayashi's 1964 film of four stories from Lafcadio Hearn's Kwaidan
collection). I have been listening to Takemitsu's music for about
forty years and have been struck by the diversity of his approaches.
His orchestral sounds can be as spare as those of Anton Webern or as
rich as those of Alban Berg. However, this may have been my first
encounter with his chamber music; and the sonorities tended towards the
richer end of the spectrum. A meditative, somewhat static, quality is
established through a modest repertoire of motifs, each of which returns
over different intervals of time, thus providing an acoustic
representation of tidal ebb and flow that captures both the
predictability and unpredictability of the physical process.
The
program began with Wolfgang Amadeus Mozart's K. 564 G major piano trio,
the last of his compositions in this genre. Mozart has a particular
skill in capturing a sense of intimate conversation in his chamber
music, even when an ensemble like a piano trio imposes major questions
of balance. Unfortunately, the senses of both conversation and intimacy
seemed to elude this particular performance, leaving me to wonder if
Mozart had been neglected after all the attention given to Takemitsu and
Brahms (as well as Keyes' own composition).
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