S. Weiser and C. Steinbuck July 25

A FAURE TO REMEMBER

French composer Fauré was featured in many of this season’s Mendocino Music Festival’s concerts, the final one July 25 with seven songs and two chamber music works, one old and one new.

Before a full Preston Hall house soprano Sylvie Jenson sang the Le Jardin Clos cycle from 1914, ably partnered by pianist Susan Waterfall. These songs are far removed from the La Bonne Chanson cycle, and the popular En Sourdine and Clair de Lune. Dimly lit supertitles were shown behind the piano as afternoon seashore breezes wafted into Preston through open blinds.

The singer used a lower register dark soprano voice and seemingly good French to project the melodramatic character of each song, especially convincing in Je me poserai sur ton Coeur, and in the songs (Dans la Penombre and Dans la nymphée) where less vocal color weas needed, and control of soft phrases was admirable.

The composer’s first violin sonata in A Major, Op. 13, completed the first half with Sam Weiser joining long-time North Coast pianist Carolyn Steinbuck, both playing from score. At 28 minutes the transversal of this splendid work was quite a bit slower than expected, the playing certainly not journeyman but lacking the easy fluency with the soaring themes of the first and fourth movements. The Allegro molto featured the “required” Fauré piano arpeggios but also overpedaling and some note insecurities, albeit with a surprise left-hand inner voice.

Balanced and cohesive playing were heard in the lovely Andante, the charming rocking theme first from Ms. Steinbuck, and the violin line softly melancholic. Mr. Weiser’s light bow control of pianissimo, fast scales and pizzicato in the Scherzo were splendid.

Performance in the finale was vigorous dialogue of violin and piano, hesitant just briefly in piano scale passages, but also always capturing the passionate writing with ample sonorous themes that rose and fell majestically and phrases that had potent momentum. Applause from the 100 attendees was vigorous and loud.

The second C Minor Piano Quintet (Op. 115) occupied the second half, with pianist Keisuke Nakagoshi joining violinists Hrabba Atladottir and Mr. Weiser, violist Susan Freier (viola) and cellist Stephen Harrison in a sensuous performance of one of the composer’s last compositions.

Over 35 minutes the first theme came from Ms. Freier, followed turn by strings and an inconspicuous piano line. This of course changed as Mr. Nakagoshi’s piano part took command, though at time covering the ensemble’s sound. Preston has clear but harsh acoustics in some instrumental combinations.

The deeply emotional Andante Moderato provided Mr. Nakagoshi and Ms. Atladottir with the opportunity to display duos of tender beauty with ever present arpeggios. Every string instrument in this movement, particularly Mr. Harrison’s cello line, played with wide vibrato and made one think it could only be French music, created by a master of his art.

Long lines of rich sonority played out in the finale, the expressivity of the Quintet palpable and Mr. Weiser’s playing leading the way in tender sections. Cello sonority was strong as the rapturous Allegro molto tempo carried on to a triumphal end.

A standing ovation followed the final chord.