Rain is always an obstacle for attendance. Despite this, Christ Church was only half-empty earlier today when, despite the drizzle, it received renowned violinist Pip Clarke accompanied by the discerning hands of Havilland Willshire, the sought-after examiner and celebrated professor.
Mrs. Clarke's violin skills far exceed my capacity to convey admiration, so I'll just praise the initiative of the organizers that secured her presence, and thank Mrs. Clarke's generosity in accepting. I feel that this year's musical peak has been achieved. And, it being February, I'm left with a healthy dose of existential angst fueled by the dread of thinking how on earth today's concert will be topped.
As it usually occurs at these midweek concerts, Mrs. Clarke gave an informative introduction to each piece, which is always an opportunity to learn about the composers and their creations, and is usually also an exhibition of the speakers' expertise and passion for the subject-matter. Mrs. Clarke spoke with the knowledge of a scholar, and the approachable warmth of a friend, which reminded me of those great professors that gave their classes in simple terms in spite of being their fields' eminence.
All pieces were from the mid-romantic era of music. Brahms' Sonatensatz in C minor was first: a dramatic and grandiose piece. Next was Dvorak's Romance in F minor B.38 (for those who attended, the program says «F major», but I think this is a typo). This piece is a great example of Dvorak's genius, which often focuses on the bigger scene his music creates; it's a piece laden with longing— longing, not nostalgia: like the Hollywood version of falling in love, where all is idealized and there's never anything unsightly; à la Casablanca, where all is too beautiful to be real; this piece is the musical version of writing «thinking of you» when one means «missing you terribly».
Third was Eugène Ysaÿe' lullaby Berceuse in F minor, inspired by watching his grandchild sleep. All I know is that that belge babe must've been quite broody; this piece is beautiful, don't get me wrong, I'd just worry if I find a parent using it to soothe their offspring, but, then again, I'm not yet a parent.
Fantasy on Themes from Gounod's Opera «Faust» by Henryk Wieniawski was last, played in five parts. The first part has slow, long notes that are undone by the second parts' fast pace. The third part has such a build up that I thought the finale of the concert had been reached and promptly joined-in with those who were applauding, but a fourth and fifth parts were yet to be executed, both technically complex, laden with arpeggios that were solved with accuracy and diction. Now we all applauded again, and to such effect that we received an encore, Clarence Cameron White's Nobody knows de trouble I've seen, the crowning jewel of this afternoon's romantic musical journey.
By the end I turned around, and saw the auditorium half-full, and, through the windows, found a shy ray of sunshine.
Originally published the 21st of February, 2024