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The second annual Tucson Winter Chamber Festival gets underway.
By Dave Irwin
I HAD A teacher at Northwestern University more than 40
years ago who told me, 'Be careful of chamber music, it's like
a drug,' " says Ralph Votapek, an award-winning solo pianist
who is returning for his second Tucson Winter Chamber Festival.
"If you really get totally immersed in it, you'll never want
to play solo again. It's too comfortable, it's too nice. If I
had many chamber experiences like I did three years ago, I might
have succumbed, because it was great."
The sixth annual festival, led by cellist and former UA faculty
Peter Rejto and sponsored by the Arizona Friends of Chamber Music,
holds a unique place in music as one of the few non-summer events
of its type. As a result, it's drawn world-class musicians to
town to play an ambitious mix of familiar and more obscure chamber
works. The intimate enclave, from February 28 through March 7,
features a combination of free rehearsals and master classes,
reasonably priced concerts and a gala fundraising dinner/recital
with the twelve musicians.
Violinist Benny Kim, much in demand for his solo concerto work
from his position on the University of Missouri faculty, is returning
for his third time.
"Tucson holds a very special place for me," Kim says.
"I love the music and I love the city. When you have the
opportunity to get the caliber of musicians that Peter gets together,
it's absolutely fantastic. The compelling reasons for me to go
to a particular festival are not financial. In this case, there's
a lot of reasons, the personnel and the pieces, plus I know the
town and I love the golf courses. I'll have my sticks with me
for sure."
Among the works Kim will play is Sergei Prokofiev's Sonata
in C Major for Two Violins, Op. 56 with famed violinist Ida
Kavafian, who heads her own Angel Fire Festival in New Mexico.
"I've worked together with Ida a lot," he says. "The
Prokofiev is a great piece. It's for two violins, but it's not
like there's a violin I or a violin II. The two parts get intermeshed
and flopped around so much that they're both equally difficult
and much of the time you can't tell who's playing what part anyway,
so it's very interesting to watch as well as listen."
According to director Rejto, "There are a lot of festivals
that are longer, but they do less in a week. We cram a lot into
a short period of time. I think that gives more of a festival
atmosphere, because there are more continuous events and you can
see the same artist performing in different guises and different
groups with different settings, like the dinner concert or the
Thursday youth concert."
The event has developed its own amusing stories of musicians
dealing with Tucson's unique conditions. Three years ago, Votapek
remembers, violinist Joseph Suk, the grandson of composer Antonín
Dvorák, was concerned by the effect of the dry air on his
delicate instrument. Votapek recalls, "He walked into the
dressing room and said, "I can't stand this climate, my violin,"
and turned on every faucet in all the basins to try and get some
humidity."
"A lot of chamber music is a rush job--it hits a certain
level and that's it," Votapek acknowledges. "So often
the music is hastily prepared--we just do it and I get back to
my solo music. With Tucson, we go in very well prepared."
Among the works Votapek will perform is Oliver Messiaen's Quartet
for the End of Time, one of the most important pieces in 20th-century
chamber music. The unusual instrumentation of piano, violin, clarinet
and cello was dictated by the available musicians at the German
POW camp where Messiaen was held during World War II. He composed
a long, eight-movement, highly religious work whose first performance
was before 5,000 fellow prisoners.
Other not-usually-heard works at this year's festival will be
jazz great Wynton Marsalis' At the Octoroon Ball; Ludwig
van Beethoven's Quintet for Quartet and Viola in C Major, Op,
29; contemporary composer Alfred Schnittke's Piano Quintet
and two works by French romantic Ernest Chausson, the Piano
Quartet in A Major, Op. 30 and his Concerto for Violin,
Piano and String Quartet in D Major, Op. 21.
More familiar works will include two late Johannes Brahms' pieces,
his Trio for Clarinet, Piano and Cello in A minor, Op. 114,
and the Quintet for Clarinet and String Quartet in B minor,
Op. 115; Gabriel Fauré's Piano Quartet in G minor,
Op. 45 and Dvorák's American folk music-influenced
Viola Quintet in E Flat, Op. 97. The Quintet will see
Kavafian playing second violin with her husband, Steve Tenebom,
along with his group, the Orion Quartet, who will be the string
quartet mainstay of this year's festival.
One of the more educational parts of the festival are the free
open rehearsals from 9 a.m. to noon on February 29 and March 3,
5 and 7. These allow the audience to hear the subtle skills that
the musicians bring to the works, tweaking parts here and there
and discussing the composer's intent. Kim and Rejto will also
offer free master classes to students of violin and cello respectively
on Friday afternoon.
"The festival lives or dies on the artists and the repertoire,"
says Rejto. "I always hope that I find interesting repertoire
that isn't heard on the regular quartet series. I feel like it's
a great list of people. It's not a very large group of artists,
but it's pretty intense."
The Arizona Friends of Chamber Music present the Sixth
Tucson Winter Chamber Music Festival Sunday, February
28, through Sunday, March 7. Concerts, rehearsals and master classes
will be at Leo Rich Theatre, Tucson Community Center, 260 S. Church
Ave. Times vary. A gala dinner, which includes a one-hour performance,
will be held Saturday, March 6, at the Arizona Inn. Tickets for
concerts are $15 general admission, with series discounts available.
Students tickets are $5 at the door as available. Tickets for
the Saturday dinner are $80. For reservations and more information
call 577-3769.
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