Dan's Papers - August 3, 2007 - Sounding Off at the BH Chamber Music Festival

This summer marks the 24th Bridgehampton Chamber Music Festival, which is closing in on its quarter-century milestone next year. Marya Martin, the artistic director and founder of the summer festival as well as a faculty member of the Manhattan School of Music, is a renowned flutist who assembled a small, five-member ensemble in 1984. Twenty-four years later, the group now draws upon 45 musicians, many of whom have international recognition.

The repertoire of Ms. Martin's choice ranges from the pre-20th-century masterworks to those of today's commissioned composers. Commenting on the ensemble's development through the years, Ms. Martin said, "As long as there is a demand, I will continue to provide the audience with good music." The group performs annually in a series of thirteen concerts, ranging from free outdoor gigs to evening performances at the Bridgehampton Presbyterian Church in July and August.

Unlike Lincoln Center concerts, which can be atmospherically uptight, Saturday night's event at the Golf Club was all about relaxing and having a good time. Laughter filled the dimly lit room as Ms. Martin and Mr. Derek warmed up the audience with smiles and jokes. Derek strode onto the podium, announcing himself the "Prince of the Concert" to his artistic female counterpart. The featured performer of the Debussy and Ravel pieces was the prize-winning French harpist Emmanuel Ceysson, known as "the octopus" for his unusually dexterous fingers. He and six ensemble members began the evening with the gorgeous petite suite by Debussy. The opening passages were mystical, as their melodic phrases juxtaposed dissonant and consonant sounds to create an oneiric atmosphere. While the flutist and cellist exchanged the melodies in contrapuntal fashion, the harp provided the underlying harmonies that moved the audience immensely. The strings of the harp mimicked rippling waves lapping against a boat on a peaceful evening (hence the movement's name, En Bateau).

Next, Ravel's "Introduction and Allegro," performed by a different set of players, opened with haunting, atmospheric sounds. The slow, mysterious introduction abruptly shifted to the agitated passagework of the allegro section, jolting the ears as the flute and clarinet shared percussive harmonies. Meanwhile, the other instruments were in constant melodic dialogues, working together to produce a unified sound.

The finale, Tchaikovsky's Souvenir de Florence, brought us back to reality with its symmetrical melodies and rhythmic perfection. At the onset of the piece, the cellist wiggled in his chair, joking about his weight to loosen up the audience once again. Although the harmony overshadowed the melodies at certain points, the middle passages exhibited soaring dynamics and lyricism. The ensemble acted as a magnetic force that allured the audience through the projection of exquisite sounds. Carol Traut, a violist for a German orchestra, explained the challenges of chamber music. "You just can't relax, since all ears and eyes are a few feet away from your stand." The Tchaikovsky ended in grand fashion and provoked a thunderous applause that led to a standing ovation for Mr. Ceysson.

When asked about the harp solos in the Ravel, one audience member commented, "Emmanuel Ceysson was, like, having sex with his harp." Mr. Ceysson, a 23-year-old prodigy, is an orchestral member of the Paris Opera and has performed regularly in the United States after winning the gold medal in USA International Harp Competition in 2004 and the Young Concert Artists International Auditions in 2006. "Unlike in the opera, where you have to sit in the pit for hours sometimes without playing," he says, "chamber music keeps you always alert and is often more challenging and inspiring, especially with such a talented group of musicians."

Attracting a crowd of 190, which is 30 more than last year, the evening was a whopping success that brought together leading musicians and their welcoming benefactors. Regarding next year's 25th anniversary of the festival, Marya Martin said that the repertoire will include top pieces performed by the Bridgehampton group over the past quarter of a century.