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For the third concert of its garden-themed 2009 season, Summerfest performed no works by living composers, which it often does, but instead featured compositions by three 20^th century masters, Giacomo Puccini, Endre Szervánszky and Edward Elgar.

The Puccini composition was a string quartet written early in his career to commemorate the death of a Duke of Savoy, supposedly named after the flowers often used to adorn caskets. Although this work predated most of his famous operas (and in fact is from the 19^th century), many Puccini-isms are in evidence, including his soaring melodies, the poignancy of minor key writing, and the steady rhythmic cadence provided by the cello, whose repeated low notes brought to mind a bell like that which might have been tolling at the Duke's funeral.

Puccini never liked to waste a good melody, so operagoers familiar with his Manon Lescaut will observe that two of the musical themes used in this string quartet were later recycled into that work, most notably the poignant last scene of the opera where the heroine dies. Death, in fact, imbues this somber but expressive music, which the Summerfest quartet played with poignancy throughout.

Performing the piece were violinists Mary Grant and Anne-Marie Brown, longtime Summerfest violist Michael Kimber, and cellist Alexander East.  All of the players, particularly East, drew impressive poignancy from the strings of their instruments.

The second composer of the evening, Endre Szervánszky, is a name not as well known to American audiences as his Hungarian predecessors Béla Bartók and Zoltán Kodály.  However, his all-wind Quintet No. 1 left nothing to be desired when compared to the works of his more famous countrymen.

The opening Adagio featured an up-and-down series of running notes reminiscent of ocean waves, tossed back and forth among the instruments. Various combinations of players took the melody from each other, and back again, until the movement ended with a horn fanfare which, in the hands of Ryan Gruber, virtually drowned out the rest of the ensemble, as the composer may have intended.

The Allegro which followed featured a fugue sandwiched around a slower B section in the middle.  The high woodwinds, led by flutist Shannon Finney, oboist Melissa Peña and clarinetist Jane Carl, paced the movement.

A slow and moving Andante, featuring the clarinet, led to a lively Allegro vivace with the lower voices, primarily bassoonist Joshua Hood, providing a staccato background to soaring melodies in the soprano instruments.  At times the syncopation was almost jazzy (the piece dates from 1953), and the quintet ended with an upbeat flourish.

As is always the case with chamber music, the interest for the listener lies in the interaction between the individual musicians and how or whether they blend their voices to a common cause.  The Szervánszky was a showcase for the talents of the Summerfest players.  The ease with which they combined their instrumental voices, then broke into vivid contrast, then joined in unison or parallel playing, showcased the composition to best advantage.  This listener would be very happy to see more of this composer's music in future programs.

The second half of the Summerfest concert was devoted to the piano quintet by Edward Elgar, written during a stay in the English countryside during the height of World War I.  According to some it may have been inspired by nearby trees, thus justifying its inclusion in this garden-themed Summerfest season.  One cannot help but feel that the sadness of the war permeated the composer's mentality, however, because the essential mood was somber.

The first movement, an Allegro, was the brightest of the three sections, turning a cello melody into a march-like number and making the piano, ably played by Melissa Rose, almost a percussive instrument.  The second movement gave the audience an opportunity to appreciate the melodic playing of violist Michael Kimber, whose instrument is rarely used for melody (no wonder violists like chamber music).  The final section, marked Andante-Allegro, began with a four-note theme in a minor key, turning sprightly after switching to a major key, played in parallels and with great energy by violinists Anne-Marie Brown and Mary Grant with support from Kimber and East.

Particularly in this last section the Elgar reminds one of chamber music by other British composers, particularly Frank Bridge and George Butterworth.

The fourth and final program of Summerfest this season will feature more music with the garden theme, ranging from the Baroque (Attilio Ariosti) to the late Romantic (Antonin Dvořák).  It should end this summer's sessions on a memorable note.

REVIEW:
Summerfest III
Chrysanthemums
Saturday, July 25 at 7:00 p.m. (Reviewd)
White Recital Hall
4949 Cherry, Kansas City, MO

Sunday, July 26 at 5:00 p.m.
St. Mary's Episcopal Church
1307 Holmes, Kansas City, MO

Summerfest IV
Cypresses
Saturday August 1 at 7:00 p.m.
White Recital Hall
4949 Cherry, Kansas City, MO

Sunday, August 2 at 5:00 p.m.
St. Mary's Episcopal Church
1307 Holmes, Kansas City, MO

For tickets call 816-235-6222 or online at www.summerfestkc.org/

By Don Dagenais

City Classics Music and Dance Columnist; Classical Contributor

A lifelong classical music fan, Don Dagenais is a frequent preview speaker for the Lyric Opera of Kansas City and has taught classical music and opera courses at several Kansas City venues. He has served on the boards of directors of a number of performing arts organizations including the Lyric Opera of Kansas City, the Lyric Opera Guild, UMKC Conservatory of Music and Dance, Opera Volunteers International, the Civic Opera Theater of Kansas City, Inspiration Point Fine Arts Colony, Octarium, and the Friends of the Symphony.  He has been the past president of most of these organizations and is current the president of the Friends of the Symphony. 

Dagenais co-authored a history of the Lyric Opera of Kansas City, published on the occasion of its 50th anniversary (2007) and has written books on the histories of both the Lyric Opera Guild and Opera Volunteers International, as well as an introductory book for opera novices (Your Passport to the Opera).  He has received several local and national awards for outstanding volunteer work for the arts, including a lifetime achievement award from The Coterie Theatre in 2000, the Kansas City Musical Club's annual award in 2001, a Partners in Excellence Award from Opera Volunteers International in 2002, a Bravo Award from Opera Volunteers International in 2004 and a community service award from the Daughter of the American Revolution in 2008 honoring him for his community service to the arts.

In addition to his music interests, Don is president of the board of directors for the Metropolitan Ensemble Theater and has served on the boards of The Coterie Theatre and the Heart of America Shakespeare Festival, serving as president of each organization.  He publishes newsletters for seven arts organizations.  When not involved in the performing arts, Don is a senior real estate attorney with Lathrop & Gage LLP in Kansas City, Missouri, where he has practiced law since 1976 after graduating from the Cornell Law School.