Concert Review—

A Brilliant Beginning For Newtown Musical Group’s 26th Season

By June April

If the concert sponsored by Newtown Friends of Music on Sunday, October 5, is any indication of the 26th season of presentations under the umbrella of NFoM, then this promises to be a spectacular series that should be a joyful experience for the whole family. Judging by the almost immediate flood of enthusiastic emails received by NFoM president Ellen Parella, this is clearly not just one person’s opinion.

There is not a vast repertoire for harp, strings, flute and clarinet, but what does exist (or has been specifically arranged for or commissioned) is like the best of fine caviar.

What made Sunday’s program so outstanding was the brilliant performances of the guest musicians, the choice of music, and the added narrative by the mellifluous voice of Elliott Forrest.

Centered around the beautiful, exceptionally talented and award-winning harpist Mariko Anraku, the five musical selections were each a delight to hear. One can only use descriptive words that suggest the joy of listening to such wonderful music: transported, ethereal, encircling, uplifting, stimulating are just a hint of the impact of a most memorable afternoon.

Beginning the program with a well-known and (happily) oft played work by GeorgeFriedrich Handel, The Concerto in B flat, Opus 4 No 6, the audience knew this was to be a concert that was well-worth choosing rather than being outside on a spectacular autumn-like afternoon.

A solo harp piece, Impromtu (Opus 86) composed by Gabriel Faure, proved to be a well-chosen contrast to the exuberant Handel. Delicate yet artistically challenging, the work demonstrated the range of dynamics a fine harpist could affect.

Eerie, evocative and demonically chilling best describe the next offering on the program. Using the basic story of the master of the macabre – Edgar Allen Poe’s The Masque of the Red Death – French composer Andre Caplet composed a piece that holds an audience in rapt attention. Rather than interspersing the story with the music as she had done in other performances, Ms Anraku asked friend Elliott Forrest to tell the story in one fell swoop. While Forrest uttered the first words, some of members of Avalon String Quartet set the mood with quivering, repetitive and somewhat ominous harmonic intervals.

Even without a microphone Mr Forrest’s powerful and familiar voice resonated through Edmond Town Hall’s auditorium relating the tale of how death comes to claim the lives of all those at a prince’s party.

The musical contrast of the party and its dance music, the imminent chimes of the clock as the reveler’s time runs out, the undercurrent of fear for what is expected demonstrates how well music can tell a story, even beyond words. Some of Caplet’s harmonies heralded Igor Stravinsky’s harsh, but impactful dissonances and the excitement of rhythmic contrasts. The musical tension mounted and the concluding applause clearly reflected the relief and admiration of the audience.

The second half of the program offered two splendid works, Concert a Cinq, Opus 71 by Belgium composer Joseph Jongen and Maurice Ravel’s Introduction and Allegro. Both were sensual and evocative works.

Claude Debussy’s lovely Afternoon of a Faun came to mind while listening to the Ravel, even though the piece was intended to pay homage to Ravel’s mentor, Gabriel Faure. That same pastoral quality in Jongen’s work brought smiles and a determination to explore other compositions by this relatively little-known but wonderful composer.

Joining the four members of Avalon String Quartet (violinists Blaise Magniere and Marie Wang, cellist Sumire Kudo and violist Che-Yen Chen), in the Ravel were the outstanding musicians flautist Michael Parloff and clarinetist Patrick Messina.

Ms Anraku noted that a new compact disc, which was recorded in Japan with the flautist Emmanual Pahud, will be available next year in the United States. That makes three opportunities one can have to enjoy this exquisite woman’s musicianship. A concert at the Metropolitan Museum in March offers another chance to see her perform.

As with many musicians, Ms Anraku began her musical life by first studying piano; she was three years old. Her aunt played harp so that instrument, and the sound of it, was part of her life. At age eight her body was physically ready to address the challenges of playing the harp, and the rest is history.

Studying in Canada and then Julliard, Ms Anraku is a member of the Metropolitan Opera Orchestra. Her reputation brings full houses to the recitals that she gives; which include major concert halls in Japan, Boston, New York, Paris and Rome. In addition to receiving numerous prestigious awards, Ms Anraku tirelessly continues to do to expand the repertoire of the harp.

She is collaborating with traditional Japanese monks and other musicians to create exciting new works, and welcomes the opportunity of playing harp compositions (such as the creations by Toshio Hosakawa) at music festivals.