ClevelandClassical
012511VieauxRev
Review
Guitarist Jason Vieaux (Rocky River Chamber Music Society, January 24)
by Daniel Hathaway
Now in its 52nd season, the Rocky River Chamber Music Society remains one of the few regular presenters of classical music on the West Side. Its five or so free concerts each year are mainly devoted to fine, local talent, and guitarist Jason Vieaux was their excellent choice for the third slot in the current season.A capacity audience filled the ultramodern sanctuary of West Shore Unitarian Universalist Church on Monday evening, January 24, to enjoy a varied program which (big surprise for a guitar recital!) slightly favored Iberian composers.
From the opening notes of J.S. Bach’s Lute Suite No. 3, Mr. Vieaux captured one’s ears with his clear, rich, singing tone, tempered with subtle and expressive vibrato. The ruminative Prelude led to a nicely paced Allegro distinguished by vivid colors, echoes and dynamic changes. The austere Sarabande was exquisite, the Gavottes charming, the Gigue lively and rhythmic.
Three of Isaac Albéniz’ characteristic piano pieces followed, in arrangements made by Vieaux himself. Sevilla (from Suite Española, op. 47) was richly evocative, with a middle section devoted to an Arabic-flavored melody. Mallorca: Barcarola (op. 202) undulated gently with fine layering between melody and accompaniment. Torre Bermeja (Serenata, op. 92, no. 12) began and ended toccata-like and actually painted the Vermillion Towers of the Alhambra in a dozen hues.
After intermission, Mr. Vieaux played Frank Martin’s Quatre Pièces Brèves. Terse as their titles suggest, the pieces are finely crafted miniatures. Prélude began with a chromatic line, then alternated fast and slow sections. Air started with a chorale which spawned an expressive solo line. Plainte set a tortured melody over strummed chords. Comme une Gigue was a perpetual motion finale, alternating between 6/8 and 3/4 time.
Then, by way of complete contrast, Mr. Vieaux reached into his jazz pocket and pulled out his own arrangement of Pat Matheny’s The Road to You. Introspective and leavened with expressive pauses, the arrangement ended with a lovely, feathered tremolando (for which classical guitarists probably have their own special term).
Turning back to Spain for the final set, Mr. Vieaux gave us colorful performances of a Zapateado or dance piece by Regino Sainz la Maza, the soulful Estudio Sin Luz by Andrés Segovia, the Flamenco influenced Soleá by Julián Arcas and Francisco Tárrega’s Capricho Arabe, which began with a virtuosic cadenza and ended with Mr. Vieaux having completely won over the audience.
They responded with a spontaneous standing ovation. Mr. Vieaux sent them into the night with an encore, Albéniz’ Rumores de la Caleta, played with the same expressive conviction he had lavished on his repertory all evening.
The two remaining concerts this season will feature soprano Jung Eun Oh with a pianist and violinist on March 7, and the Penderecki String Quartet on April 18, both free on Mondays at 8 pm at West Shore Church.
ClevelandClassical
