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Eye on Arts

21.3.04

English Mermaid Stranded in Washington, cont. — by Jens Laurson
Contributed by Charles T. Downey at 12:25 AM | Link to this article
A little informational talk between the Schumann and a selection of seven songs from Hugo Wolf’s "Italienische[m] Liederbuch" gave the audience some pertinent information regarding the first two songs, "Auch kleine Dinge" (Little things, too) and "Mein Liebster ist so klein" (My dearest is so small)—namely that Wolf was a mere five feet tall. In that light, the songs shone brighter and obviously more humorously. Le botiglie etc. bla bla bla.

A word or two on Eugene Asti, who had stepped in for Julius Drake at relatively short notice, is more than in order. He is a delightfully competent accompanist who worked out the emotions of the songs as much as can be reasonably expected. But most admirably, he played awfully well without ever being obtrusive or overly timid. Sophie Daneman's most noticeable organ—her voice, that is (were she quiet, it might be a different matter)—doesn't need a pianist's kind consideration anyway.

Reynaldo Hahn's song "A Chloris"—substituted for the scheduled "Dans la nuit," the score of which could not be produced by the performers, who consequently fell in love with the tribute to the beauty of Chloris's eyes—is stolen entirely from all sorts of composers. Moreover, it is heart-rending, beautiful, stunning. It sounds like the lovechild of a Händel opera and Glenn Gould playing Bach (add a spice of Beethoven). I should be surprised if Hahn did not succeed in bedding Chloris, if such were his intentions. Two Gounod songs also convinced me with sheer beauty of composition and execution.

Separated from her seven-month-old boy, either pining for the toddler or the telepathic powers of music must have been the reason for two sets of children songs in this program. The apology of Mme. Daneman in her explanation, however, was wholly unnecessary. The Schumann and especially the Poulenc, in his La courte paille (The short straw), are very worthy and fully recital-competent compositions that add their wit (musical and otherwise) to an atmosphere that can use every bit of it.

Noel Coward, of course, is a wonderful way to end a concert. The beat in "A Room with a View"—nod to Eugene Asti—and Sophie Daneman cooing the audience with her ample charm had the audience eating out of the palm of her hand. "If Love Were All" and "Chase Me, Charlie” made sure that I'll be looking for a record with more of this man's work. Especially since I best remember him (unfortunately, that is) from his role as an over-the-top prison king in the dreadful original The Italian Job. Ian Bostridge's acclaimed account of Coward songs on EMI will likely be the first choice. Up two notches from Rodgers and Hammerstein but two steps away from standard classical repertoire, it is work fully deserving of Daneman's blooming voice that suddenly seemed to use the West Garden Court and all the resonance to its advantage. Way to go out.

But, of course, that wasn't quite all. Most amusingly and oddly appetizing was the (I think) Coward song about the lonesome oyster—an oyster's taste of high society (and vice versa). That set the mood for what is one of the best ways to conclude these Sunday concerts. Having experienced both gustative and musical stimuli, Utopia on U Street is a great way to enjoy one's après-concert over drinks, live jazz, and food. Wayne Walentz and Pam Bricker plus their percussionist were responsible for good music and a splendid ending to the night.

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