KCMETROPOLIS.org
Kansas City's Online Journal of the Performing Arts

Summerfest presented, as usual, a mix of contemporary works and proven classics during the second of four concert weekends.  In this instance all of the selections proved to be audience pleasers.

To open the program, the ensemble offered a trio by contemporary composer Nancy Galbraith for oboe, bassoon and piano. Called Incantation and Allegro, the piece was energetic, propulsive, tonal and vaguely ragtime in its rhythms, at least during the first of the two movements. After a surprisingly quiet first movement conclusion, the composition took off with a rampant Allegro, repeating some of its earlier themes in almost hectic fashion, and ending with a bang.

The Summerfest trio, consisting of oboist Susan Hicks Bashier, bassoonist Joshua Hood and pianist Jennifer Higdon, were up to the technical demands and delivered a fine performance. In past concerts, this reviewer has often been impressed in particular with Hood's ability to deliver rapid-fire notes from an instrument as sometimes sluggish as the bassoon, and once again he did not disappoint.

For its second offering, Summerfest presented a composition designed to fit Summerfest's theme this season, "Music From the Garden." The Secret of the Golden Flower by the 41-year-old David Morgan calls for a sextet of five strings plus a solo flute. After opening with a moving cello solo (played by the estimable Alexander East), the piece introduces the flute, which serves almost as a solo instrument accompanied by the string quintet.  The overall feel of the early minutes is definitely Oriental, with a melody played in fifths against a continuo background of the low strings. The middle portion of the composition is reminiscent of the clean-cut American style of Aaron Copland, then the piece turns into a flute solo against a syncopated accompaniment at the end.

The sextet performed admirably, particularly flutist Shannon Finney, who seemed to play the lion's share of the melodies.  However, this listener was disappointed with the quixotic ending which brought the piece to a sudden and anticlimactic close.  Perhaps it was intended to invoke an Oriental style of composition, but it didn't seem to "match" with the essentially Western flavor of much of the piece.

After the intermission, the Summerfest musicians turned their attention to one of the classics of the chamber repertoire, Beethoven's Sextet, op. 20.  Composed early in his Viennese days in an attempt to impress the public in his adopted town, the Sextet remained one of Beethoven's most popular compositions during his lifetime. It is not hard to see why. Growing out of the Classical rather than the Romantic tradition, the Sextet evokes the innovative styles of Haydn and Mozart in its first movement, offers some gorgeous melodies in the second, treats us to a galloping minuet in the third, throws in a "theme and variations" in the fourth (all the rage in Vienna at the time), then ends with two more movements filled with brilliant solo passages, sprightly melodies and an uplifting ending.

Familiar as we are with Beethoven's later works, written during troubled times for the composer and reflecting his generally morose outlook on life, it is difficult for us to imagine that this lighthearted piece was written by the same composer who gave us the somewhat bombastic (although marvelous) Fifth Symphony, the Missa Solemnis, and the Ninth Symphony.

The Beethoven Septet offers numerous opportunities for the players to shine, and each Summerfest musician was up to the task. First violinist Jessica Wakefield Hao played delicious melodies with aplomb and served as unofficial leader of the conductorless group. Bass player Larry Rice supplied a solid bottom throughout, turning into an unexpected soloist in the Adagio movement, and supplied a toe-tapping pizzicato in the final Andante. Horn player Tod Bowermaster was the star of the Minuet, where he and clarinetist Jane Carl supplied a series of fanfares, and he also offered a fine horn solo in the Allegro.

Violist Jessica Nance, bassoonist Joshua Hood and cellist Alexander East offered excellent support throughout.

Kansas City remains fortunate to have such talented musicians to keep classical music fans entertained during the otherwise somewhat spare summer months. Bring on the rest of the season!

Upcoming Summerfest concert weekends:

Summerfest III
Chrysanthemums
Saturday, July 25 at 7:00 p.m.
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.