Frankly Music’s ‘Concert of Remembrance’

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Photo Via Frankly Music - Facebook

Frankly Music’s ‘Concert of Remembrance’

MYSO’s partnership this year with Violins of Hope, an educational program featuring instruments played by Holocaust survivors, has led to several Milwaukee-area classical groups mounting concerts with Jewish themes. Frankly Music’s “A Concert of Remembrance: Ashes and Echoes” was the most thoroughly Jewish in nature and featured the largest presentation of the Violins of Hope themselves. I counted about 10 instruments on display along the walls of MYAC’s Youth Arts Hall, all with informational placards. 

Frank Almond continues to draw star guests for his concerts. This time he welcomed violinist Eugene Drucker, formerly of the Emerson String Quartet, perhaps the most acclaimed American chamber ensemble of the last 50 years. Also present were cellist Roberta Cooper (Drucker’s wife) and violist Brian Hong. 

I had not attended a professional concert at MYAC before, and while Youth Arts Hall is a worthy multipurpose performance space, some production aspects of this concert came across as sloppy. The lights fully dimmed to black and back three times during a spoken introduction as someone tried to figure out the settings. Almond’s iPad was plugged into a thick extension cord running awkwardly between the music stands, which Drucker had to negotiate a few times while playing. And a stage change that was supposed to happen during comments instead happened after, creating some dead time. It all just seemed a bit too loose for a concert series of this level. 

Setting the Scene 

Almond had lost his voice, so he handed off introduction duties to Eugene Drucker. In setting the scene for a selection of nine Bartók violin duos, he spoke for longer than necessary, though I found it very interesting. Bartók, despite not being Jewish, fit in this program because of his connection to various peoples of Eastern Europe who were suppressed during Nazi rule. I don’t remember the different regions referenced in these pieces, but they had all the hallmarks of Bartók’s style: folky flair, spicy harmonies, and intimate moments that evoked a cozy music session at home. Almond and Drucker played with gusto and nice blend of sound. 

Hong and Cooper joined Drucker for Gideon Klein’s String Trio, giving this midcentury piece a fully realized performance. The muscular outer movements propelled forward, and the central theme and variations oozed with anxiety. A highlight was the polished ensemble in the slower, heartfelt sections. I also liked Roberta Cooper’s cello solos over pizzicato accompaniment. If I had to nitpick, Drucker occasionally seemed behind the beat in the first movement, and Hong pressed a bit too hard in his enthusiasm in the finale. 

Ernst Toch’s Serenade for two violins and viola occupied a more late-romantic style full of chromatic churning. Drucker offered some beautiful high notes, and again I was impressed by the in-sync ensemble, the kind of stuff that elevates the quality to world-class. Hong’s polished sound here was a standout, including the zesty pizzicato viola solo to end the piece. 

Intense Dark Mood 

After hearing a movement of a Pavel Haas string quartet at the beginning of the MSO’s Beethoven 9 concert this month, I looked forward to hearing more here, two movements from his second string quartet “From the Monkey Mountains.” The third movement, “The Moon and I,” created an intriguing harmonic world and an intense dark mood. Hong again shone with his solo, but Almond had a few unpleasant sounds. The fourth movement, “Wild Night,” was an in-your-face rush of energy, made even more lively by the addition of percussion played by Cliff Almond. The music passed through several tempo changes to different dance textures, always underpinned by the strong beat of the percussion. This quartet was a real winner, the work of a unique voice and a fascinating, exciting thing to behold. 

After the long introductions and stage changes and leisurely intermission, this concert lasted two full hours and featured only about 50 minutes of music. With all these fine musicians assembled, why not strive for more efficiency and make room for the whole Haas quartet? That was puzzling to me. And some issues have crept into Frank’s playing over the years. Going forward, perhaps he could take less of a central role in these concerts, while still offering the incredible programming and insight that have made this Milwaukee’s premier chamber series.