Rebecca Jackson’s Festival Features Stunning Poem/String Sextet Premiere
By Richard Lynde
This year there were two totally different programs, both at the acoustically superb Samper Recital Hall at Cabrillo College on Saturday evening, May 27 and Sunday afternoon, May 28. The event was preceded by three days of the dozen guest musicians spreading joy through outreach programs at many grade schools and even Juvenile Hall. MiM’s 10th anniversary was dedicated to the memory of Jackson’s friend and mentor, David Arben (1927 – 2017), longtime advisor to the festival.
Nika is a USC writing student who coincidentally is the granddaughter of David Kaun, UCSC professor emeritus who happens to be co-founder and a huge supporter of MiM. Jackson said she wished these two very different works for strings to be taken as a “Diptych” (Paired artistic creations) by those who also attended the prior evening’s Schoenberg, since each is based on a poem that prompted the reader to create a significant musical response.
The Shostakovich dance arrangements for two violins — a warm Prelude, a sprightly Gavotte, a tiny Elegy, a Slavic/Viennese Waltz, and a rousing wine cask Polka — were all played with superb precision and expression by Jackson and Liang-Ping How on violin with Sayakawa Tanikawa at the Steinway.
Her “Music for Strings” opens softly with suggestions of sirens from rescue vehicles coming closer, strident then muted sounds suggesting both violence and fear, dramatic and disturbing music that ends with a bang. Or does it? After a short pause, there is a soft and somber “afterward,” perhaps a requiem for the poem’s “no exit” woman.
Whereas the previous event’s “Transfigured Night” had been a triumphant take on a poem’s powerful message of redemption and hope, this world premiere of Cole’s sextet take on Nika’s poem was strongly and memorably disturbing. This talented young duo should make video and audio recordings to preserve spontaneity and to act as “models” for others wishing to perform these significant works, so greatly appreciated by the audience. n
As a perfect conclusion, we heard Erno Dohnanyi’s (1877 – 1960) splendid, uplifting 1895 “Piano Quintet in C Minor,” the then18-year old’s exuberance in the Schumann-Brahms tradition was a fitting finale to yet another great MiM Festival Season. We can hardly wait for next year.