Transcendence and Revelations from Women Composers at Juilliard
Dovetailing with the New York Philharmonic’s Project 19 celebration of women composers and women achieving the right to vote in this country, the Juilliard School’s current Focus 2020 series features unprecedented, all-female programming this week. The big basement theatre there was about three-quarters full last night. If brilliant, obscure repertoire is your thing, or if you just like free classical concerts, you ought to be able to get in if you show up by about 7:15. Or you can pick up tickets at the box office during the day. The show tonight, Jan 28 starts at 7:30 PM with mostly piano-centric music by Vivian Fine, Florence Price, Young-ja Lee, Priaulx Rainier and Mary Lou Williams.
Last night’s performance was a revelation. It’s shameful that such sublime and powerful material has been largely ignored for so long, and it was clear from the program notes that a lot of sleuthing was required simply to track down the scores for much of it. Few of these women were fortunate enough to land a composer-in-residence gig, as Liu Zhuang maintained for two decades in her native China. Yet her own publisher was unable to provide the sheet music for her 1999 trio Wind Through Pines. A friend of Juilliard’s Joel Sachs had to be enlisted to supply a copy from his local library.
Rebecca Clarke broke the gender barrier as a hardworking symphony violist, yet was reduced to working as a nanny at one point. And Verdina Shlonsky, an early Israeli composer, had very few performances during her lifetime, dying broke and forgotten in 1990.
The concert was a rollercoaster ride, beginning and ending very darkly. Clarke’s 1941 Dumka, played with inspired, animated counterpoint by violinist Yaegy Park, violist Serena Hsu and pianist Jiahao Han, was a bitterly anthemic, Balkan-tinged theme and variations punctuated by jagged pointillisms and a forlornly lyrical viola solo.
Irish-English composer Elizabeth Maconchy’s 1938 String Quartet No. 3 was a broodingly and often grimly apt choice of concluding number. Cellist Erica Ogihara‘s deep pitchblende drive contrasted with the elegant exchanges between violinists Jeongah Choi and Haokun Liang and violist Leah Glick. Its uninterrupted variations foreshaded what Shostakovich would be doing twenty years later, all the way through to a macabre, slow gallop and flicker of a coda.
The night’s most breaktaking display of interpretive skill was pianist Isabella Ma’s vastly dynamic, sometimes muted and tender, sometimes explosive take of Shlonsky’s 1949 suite Pages From the Diary. The obvious precursor is Pictures at an Exhibition, coyly and fleetingly referenced toward the end. Icy belltones gave way to a marionettish strut that eventually resurfaced as fullscale phantasmagoria, only to flutter away gracefully at the conclusion.
Ruth Schonthal’s 1979 duo Love Letters, played by clarinetist Ashbur Jin and cellist Elisabeth Chang, was a matter-of-fact exchange that began somewhat warily and warmed to a casual stroll, more of a display of camaraderie than red-hot passion. Violist Sergio Munoz Leiva gamely tackled the knotty demands for extended technique throughout the short, sharp phrasing of Barbara Pentland’s solo Variations for Viola. And the trio of pianist Qu Xi, cellist Raphael Boden and flutist Audrey Emata emulated the alternately airy and otherworldly plucked, Asian-tinged pastoral phrasing of the Zhuang piece.
This week’s programming concludes with a big blowout at Alice Tully Hall this Friday, Jan 31 at 7:30 PM featuring works by Betsy Jolas, Grażyna Bacewicz, Ethel Smyth, Thea Musgrave and Sofia Gubaidulina with Raphael Vogl at the organ along with the Juilliard ensemble. Free tickets are currently available at the box office there.