Chamber Music Concert - Summit Music Festival

[Donald Isler]

Chamber Music Concert
Summit Music Festival
Thornwood, New York
July 29th, 2022

Ysaye: Sonata No. 4 in E Minor for Solo Violin
Chin Kim, Violin

Beethoven: Duo No. 1 for Violin and Cello, WoO 27
Handel/Halvorsen: Passacaglia
Herbert Greenberg, Violin
Jeffrey Solow, Cello

Brahms: Trio No. 2 in C Major, Op. 87
Emil Chudnovsky, Violin
Gloria Kim, Cello
Jinha Park, Piano


The Summit Music Festival, founded more than 30 years ago by pianist Efrem Briskin and cellist David Krieger, reaches the mid-point of its two-week session today. It offers concerts by distinguished faculty and guest artists, plus lessons and master classes for students, some of whom are child prodigies. Two special events this season include programs in memory of pianist Phillip Kawin, who died last year, and violinist Aaron Rosand, who passed away in 2019.

On Wednesday I attended a recital of ten students playing advanced repertoire, and was impressed with their high level of skill. Two highpoints of that program were a very exciting performance of the Wieniawski D Major Polonaise by violinist Sebastian Park (with the wonderful pianist, Pei-Hsuan Tsai), and pianist Michelle Qiu's rollicking reading of the Earl Wild transcription of Gershwin's Fascinatin' Rhythm, through all those scads of notes!

Friday evening's program opened with violinist Chin Kim playing the Fourth Sonata for Solo Violin of Ysaye. In previous years I have heard him play two of the other six solo sonatas by that composer. However, I only learned this time, in comments he made before playing, that 1) he plays all of the sonatas, and 2) at least part of the reason he likes to play them is that Ysaye was the teacher of his own, revered teacher, Josef Gingold. Mr. Kim is up to the many challenges of these works and plays them with flair.

The Fourth Sonata is in three movements, ie fast-slow-fast. It does not break any new ground harmonically but is technically very difficult much of the time. The first movement featured lots of double stops, and part of it reminded me of the Bach Chaconne, in mood, and figurations. Some of the quiet parts were played lovingly, and Mr. Kim showed his terrific bow control at the end of long notes. The second movement begins with a theme that is played pizzicato yet has a surprisingly wide range of dynamics. The third movement seems to be in A-B-A form, beginning with a quasi moto-perpetuo section that is followed by a more lyrical section. When the first section returns it is lighter and gentler, though there is later a very intense conclusion.

The Beethoven Duo, which we heard performed (and very well!) on violin and cello by Messrs. Greenberg and Solow, can also be played on clarinet and bassoon. An early work, it has three movements. The first movement is light-hearted and delightful. The slow movement hints at something deeper. The concluding Allegretto is energetic, yet charming, and has an interesting emotional range.

The same two artists gave a strong performance of the Handel/Halvorsen Passacaglia, from the passionate beginning to the powerful end. In-between there was a great variety of figurations, some of them witty, lots of technical fireworks, and a great back and forth of material between the instruments.

At last year's Festival violinist Emil Chudnovsky, cellist Gloria Kim and pianist Jinha Park gave a riveting performance of the Mendelssohn C Minor Trio. This year they returned to play the Brahms C Major. They're all excellent players and they play so well together that one wonders if there might be opportunities beyond the Festival for them to concertize together?

The first movement of the Brahms has a martial-like opening, yet after not too many bars there is both quiet and tumult, all before one reaches the beautiful second theme. I kept thinking what marvelous writing this is, as I can hear all three voices playing this glorious material! And, speaking of contrasts, this movement also included moments of delicacy as well as a super-charged conclusion.

The second movement has a tragic-sounding theme with a set of variations, deeply felt emotions, and a slow conclusion that suggests unfinished business.

The beginning of the third movement was very fast and brilliantly played. The trio section is one of those wondrously gorgeous melodies that is such a contrast from the main part of the scherzo in mode (major versus minor) and mood, that a slightly slower tempo might have helped it "bloom" just a little longer.

Similarly, one could imagine the finale played a little bit slower too, as there is so much richness in the material. Mr. Chudnovsky explained to me, after the concert, that the main theme is the same as that from the TV show "the Simpsons." This may explain the athleticism of the tempo they selected, as well as making me appreciate being too old for the Simpsons to have been part of my growing up! However, in all other respects, this was an admirable performance, with Ms. Park easily running through all those awkward arpeggios, and all of them bringing out various aspects of the work, from playful to dramatic, leading to a powerful conclusion.

Donald Isler