Throughout the course of the varied program packed with virtuoso performances presented during the Hayes School of Music's most recent faculty recital, "An Evening of Encores", I found many thoroughly enjoyable pieces to whistle abstractly for many days following the concert. On September 13, the many talented instrumentalists and vocalists in Appalachian State University's staff came together to showcase an awe-inspiring repertoire stretching from the beautifully structured Baroque music of Johann Sebastian Bach to the silky contemporary sound of Herb Ellis. Held in ASU's Rosen Concert Hall, the brief (but unexpected) technical difficulties that resulted in a temporary blackout at the beginning of the performance were soon forgotten by an audience completely wooed by the evening's offerings of song.
The performers, too, seemed little affected by this small setback, conveying a passion and energy that belied the formality of the concert. Dr. Rodney Reynerson, in particular, wished to provide the audience with some context for the piece which he performed; the pianist briefly described the story behind Ravel's "Ondine" (from Gaspard de la Nuit), allowing us concertgoers to hear the fantastical water-maiden's palpitating sorrow behind the scintillating, clear melody and dignified arpeggiations. The energy of all the performers involved brought out the immediate beauty of the music, reaching across the space of the auditorium and giving the effect of a much more intimate setting. From a technical perspective, it may also be noted that though the acoustics of the auditorium were excellent, its large size necessitated that various microphones be set up both in front of and on the stage in order to pick up some softer musical voices.
Speaking of softness, the tenuous, slightly mysterious sound of "Dumka", composed by Rebecca Clarke, evoked a full palette of dynamics, tone and sentiment. Performed by Drs. Nancy Bargerstock (violin), Eric Koontz (viola) and Bair Shagdaron (piano), this piece was my personal favorite of all the program, with it's starting dialogue between the two stringed instruments that was almost tender, yet full of a sense of urgent impertinence. The pleasing, slightly dissonant sound created by the combination of these rang of a gypsy's lament, carrying an imploring sort of forward movement well-supported by a cascading yet marked piano accompaniment. Lapsing into a lighter, quicker melodic idea that continued reaching onward, in a grasping sort of way, there seems to be a bit of a whimsical undertone to the music; this in turn giving way to a pensive continuation of the dialogue, swelling and undulating to the finish, a song of beauty tinged with slight sadness. Resigned and wise, yet filled with tenuous resolve, this duo concertante was given the full treatment by these skilled performers, which a piece of its emotional and tonal magnitude undoubtedly deserves.
A second piece that drew my intense enjoyment and attention was Luigi Bassi's "Divertimento on Theme's from Donizetti's La Favorita" (as already stated, this piece is a divertimento on musical motifs from the aforementioned opera), performed by Drs. Douglas Miller (clarinet) and John Coffey (piano). The clear, energy-filled melody on piano danced around the clarinet's warm, airy sound. With its delicate trills and well-balanced, consonant harmonies, this piece evoked a dance-like feeling, with all the articulateness of a ballerina en pointe. Between its slower, elastic ideas, and the quick but precise phrases that culminated at the end of the piece, the "Divertimento" offered a delightfully sophisticated listening experience that left me with a feeling of levity.
All in all, between the skill of the performers and the diversity of the selections performed, I thought the "Evening of Encores" concert to be thoroughly enjoyable and educational. The proficiency of the instrumentalists and vocalists in ASU's faculty left me much impressed, and I would not hesitate to recommend to anyone any similar concert that may be held at a later date.
