Violinist Blake Pouliot leads an ensemble in Bach’s Brandenburg No. 6, June 15 at the Rockport Chamber Music Festival. Rory Crater photograph
There’s always plenty to enjoy during the Rockport Chamber Music Festival, but last weekend (June 13–16) proved particularly engaging. Violinist Blake Pouliot anchored two memorable programs, startlingly different 20th century compositions by Lou Harrison and Astor Piazzolla.
Third Coast Percussion (with guest Ian Ding) teamed up with Pouliot for Harrison’s Concerto for Violin and Percussion Orchestra, a 1950s work with roots in Harrison’s interest in gamelan.
Aaron Keebaugh reviewed the concert at The Arts Fuse, and for a detailed look at the works on the program, especially the concerto, read through his thoughtful appraisal.
Virtuosity is demanded in this concerto. The work makes demands on the listener as well: much of it wanders (not lost) through sounds and phrases, not so much melody as a sonic textures.
Pouliot also joined Third Coast Percussion at RCMF June 13, for Lou Harrison’s Concerto for Violin and Percussion Orchestra. Rory Crater photograph
Harrison worked hard to integrate gamelan, and percussion in general, into the repertory. For mostly unsubstantiated reasons—the only good one being struck deeply each time I hear his music, which isn’t often enough—it seems to me gamelan’s integration will only deepen as time passes. This pairing—outstanding percussion virtuosos working furiously with an engaged soloist to shape this challenging score—was a delight to witness.
Piazzolla’s Four Seasons of Buenos Aires (paired deliciously with the 6th Brandenburg, and with Osvaldo Golijov’s ’90s work Last Round) was similar, and dissimilar. Pouliot led a different ensemble—assembled musicians including artistic director Barry Shiffman and members of Terra Quartet. And it was a virtuosic marvel. But the sweeping, infectious arrangement of Piazzolla’s unmistakable Nuevo Tango couldn’t be different from Harrison’s probing score. Varied energy, but both made for Pouliot’s style.
NOTED
RCMF announced that Suzanne Wilson will replace Tony Beadle as CEO and executive director. Wilson has an extensive background in education—a key component of RCMF, with its deep involvement in the Rockport community. Wilson served previously as CEO of the Midori Foundation, a New York–based education non-profit founded by the well-known violinist. More recently, she spent two successful years as CEO of the Phoenix Symphony, leading that organization during the pandemic, and later securing a $7 million dollar gift, according to published reports, the largest in that organization’s history. Wilson earlier served as chief of staff at New England Conservatory, and as vice-president of education and community engagement of Boston’s Celebrity Series.
Sorry to read of James Nicolson’s passing this month. He always had an affable greeting and informed comment on the way into Cambridge Society for Early Music concerts, an organization he led for decades. Gracious and approachable, the harpsichordist and virginalist, educator and leader was a profound, ongoing presence in Boston’s robust early music life. His CSEM programs were astute and welcoming, an epitome of what all chamber music should strive for.