With the approaching turn of the seasons here in Idyllwild, as well as
elsewhere, the outlook generally bodes well for the expected fine
weather for the last celebratory days of summer and the added benefit of
live music events of all varieties. Additionally, with the complementary
publicity of such musical occasions in evidence in as many locations as
possible on the Hill, the important impetus was given for the 3rd Lily
Rock Chamber Music Festival this Labor Day weekend, and surely the
featured Manhattan Chamber Players were as gratified with the effected
response to such public invitations. The advertised programs, with the
Players’ usual emphasis on 19th century repertory, plus added
contemporary surprises, induced a further supportive outlook, which was
plainly in evidence for all 3 auditory offerings. 

Friday evening’s program at the Lowman Concert Hall began with the
introduction of the Festival’s featured artist, clarinetist Mark Dover,
in Johannes Brahms’ “Clarinet Trio in A Minor, Opus 114”. Mr. Dover
brought the usual sobriety expected in any work of the composer’s mature
period; his styling of the piece as a whole was reflected best in the
outer “Allegro” movements, and put forth a somber geniality in the
slower sections, particularly in the 3rd movement’s (“Andantino
grazioso”) changes of clarinet timbres as well as the major/minor mode’s
contrasts. Following that, Festival co-host/director Brendan Speltz and
pianist Daniel Anastasio performed the contemporary American composer
Seth Grosshandler’s “Sonata for Violin and Piano (2020)”, a 5-movement
suite-like piece which seemed to mirror the vicissitudinal moods of that
pandemic year; a brilliant “Introduction and Allegro” (for both
participants), a simplistic yet uncontrived “Pastorale”, a quizzical
“Scherzo”, a somewhat quirky “Theme and Variations” and a concluding
“Epilogue” in quasi-perpetual motion format. As a whole, the work
appeared to follow mid-20th century compositional practices for the most
part (save the final 2 movements) and the Lowman audience (at one-third
capacity) showed a general appreciative response. Then after a short
intermission, the Chamber Players came to the fore with the “Piano
Quartet in E-Flat Major, Opus 87″ of Antonin Dvorak. Here as before, the
outer fast movements proved the capabilities of all involved; where the
prevalent Romantic mood was called for, with the composer’s usual
Central European dance rhythms in abeyance and a certifiably “Brahmsian”
approach was effected here as well as in the slower 2 movements.
Audience appreciation following the performance was also in evidence.

The following Saturday evening’s offerings, again in Lowman Concert Hall
but with a larger contingent of auditors, began with the C Major duet
from the “Three Duets for Two Cellos, Opus 22” of Friedrich August
Kummer. Cellists Abigail Monroe and David Speltz both essayed this
obviously pedagogical work with a panache worthy of the most ambitious
cello student, working through the legatos and pizzicatos quite
formidably; and the audience’s student contingent suitably approved.
This was followed by the “Piano Quartet in E-Flat Major (K. 493)” of
Wolfgang Amadeus Mozart; a work in which the Players caught the
composer’s incipient Romantic mode in all 3 movements. In the middle
movement (which Mozart marked “Larghetto”), pianist Daniel Anastasio put
forth the tempo at an almost “andante” pace, and his string cohorts also
seemed caught up in that spirit (anyone for an “Elvira Madigan” piano
quartet?) The audience reaction went up after the final “Allegretto”,
with the resounding concluding unison chords. Then, auditors were
treated to another recent composition of Seth Grosshandler, the “Suite
for Clarinet Quintet (2023)”. Once again, guest artist Mark Dover
provided his single-reed worthiness while traversing somewhat more
modern territory than Mr. Grosshandler’s violin and piano pieces of the
previous night. The 5-movement “Suite” (or should that be
“Divertimento”?) began with a “Pastorale” and continued with a “Scherzo”
(both in a somewhat Debussy / Ravel / Satie mode), and went on to an
“Adagio and Troika” (where a bleak, Russified landscape is invaded,
fortunately not by Vladimir Putin but seemingly by Lieutenant Kizhe).
and concluding with “Dances” and “Frolic”, with neither movement
invoking the spirit of the titles. but drawing a satisfactory audience
reaction nevertheless. The evening’s conclusion (following a short
intermission) set forth the concert’s highlight: the “Piano Quartet #3
in C Minor, Opus 60″ of Johannes Brahms. From Mr. Anastatio’s dramatic
chordal exordium, through the responses of the string ensemble, it was
plain that the composer’s intent was symphonic in nature, somewhat of a
preliminary sketch for his 1st Symphony (in the same C Minor key), and
also as an echo of Brahms’ early years as a piano virtuoso in the
making. Continuing through all 4 movements, quality sound production and
projection were effectively provided, whether in relaxed contemplation
(in the “Andante”) or in the equally drama-filled “Scherzo” and “Finale”
movements. The participants received a grateful, long-held round of
applause from the audience. 

Sunday afternoon’s proceedings in the outdoor setting of St. Hugh’s
Episcopal Church’s atrium proved a major attraction, as an overflow
crowd of listeners gathered for the Festival’s highlight concert of the
series, featuring 2 masterpieces of the literature by Wolfgang Amadeus
Mozart: the “String Quartet #16 in E-Flat Major (K. 428)” and the
“Clarinet Quintet in A Major (K. 581)”. The first work — the 3rd in the
set of 6 string quartets that Mozart dedicated to Franz Joseph Haydn —
was performed with the complement of Grace Park and Connie Kupka, with
co-host/director Luke Fleming on viola and David Speltz on cello. A
certain “Haydnesque” effect was evident in the performance, as if to
underscore one composer’s influence on the other; truly in the spirit of
the work’s outer movements, as well as in the reflective “Andante con
moto” and the “Menuetto”, with a general nod to each composer’s
worthiness. A short intermission followed; and then came the actual
“highlight” of the Festival, with the featured prowess of clarinetist
Mark Dover. The lines of the clarinet part were clearly established from
the opening theme onward, with the ensemble playing suitably effected in
the open air as well. Mr. Dover’s concept of his part furnished a view
(to this listener, at least) of the respect that Mozart afforded to the
solo instrument, as well as to its intended interpreter (fellow Mason
Anton Stadler). The audience response was similarly both respectful and
enthusiastic in conclusion.

One should also mention the responsiveness of both the staffs of the
Idyllwild Arts Academy and St. Hugh’s Episcopal Church for their part in
the presentation of the Lily Rock Chamber Music Festival, with the hopes
that the series will be continued for a fourth consecutive year come
next September, with appropriate community good will and sponsorship.