Report by Zachary Dierickx
The Selmer Artists Recital took place on Thursday, August 4 at 2:30 p.m. in the Crafton-Preyer Theatre. The concert began with Jonathan Holden, assistant professor of clarinet at Florida State University, accompanied by Gail Novak on piano, performing Time Pieces, Op. 43 for Clarinet and Piano by Robert Muczynski. Holden delivered an engaging performance, bringing out an electric quality to the first movement “Allegro risoluto.” He displayed nimble phrasing in the third movement, “Allegro moderato,” quickly shifting character between lyrical and forcefully articulated passages. This same quality came through in the final movement, “Introduction: Andante molto – Allegro energico” in which Holden accomplished large registral leaps with ease.
Unfortunately, it was announced that Michael Norsworthy, clarinet professor of the Boston Conservatory, had a temporary injury which prevented him from performing. We were not able to hear Acequia Madre by Magnus Lindberg that Norsworthy was scheduled to perform. Instead, the program continued with Wesley Ferreira, assistant professor of clarinet at Colorado State University, accompanied by Timothy Burns, piano, performing Zarabandeo by Arturo Marquez. Ferreira emphasized the dance-like quality of the music (albeit a dance in uneven meter) through his agile phrasing and movements on stage. Ferreira was then joined on stage by Kimberly Cole Luevano, associate professor of clarinet at the University of North Texas, to perform Francis Poulenc’s Sonata for Two Clarinets. The two blended well with complimentary tones and intonation. Their lively performance drew a chuckle from the audience at the conclusion of the piece.
The final work of the recital was Atonement by Evan K. Chambers. The work was performed by the Haven Trio, made up of Kimberly Cole Luevano, clarinet, Lindsay Kesselman, soprano and Midori Koga, piano. The first movement, “Dance Out the Poison,” used only clarinet and piano and was reminiscent of the first movement of the Muczynski Time Pieces both harmonically and rhythmically. The second movement began when Kesselman slowly walked onto the stage, already in character, foreshadowing the delicate music to follow. The three performers collaborated with elegance and grace to bring out the beauty of this composition.