Irish Music in the Concert Hall: Camerata Ireland at Zankel Hall
Growing up in a proud Irish-American family, I am an unapologetic fan of all things Irish: the food, the literature, the craic. And, especially the music: a high-spirited blend of bodhráns, flutes and fiddles, usually played around a table filled with pints of Guinness. And, while nothing compares to hearing live music in Ireland, there's no shortage of quality Irish music right here in NYC, with more than a dozen regular seisúns across the five boroughs (shout out to Hartley's in Clinton Hill.)
But 25 years ago, Belfast native Barry Douglas, winner of the 1986 Tchaikovsky piano competition, decided it was time to think more broadly about Irish music and where it fits within the western musical tradition. With the ink barely dry from the Good Friday Agreement, Douglas founded Camerata Ireland in 1999 with an ambitious agenda to perform both classical and traditional Irish music with some two dozen musicians drawn from both Northern Ireland and the Republic of Ireland (similar to Daniel Barenboim's West-East Divan Orchestra, which began performing in the same year.)
Douglas brought Camerata Ireland to Carnegie's Zankel Hall last night with a program that showcased both aspects of their musical mission. The first half of the concert was devoted to the classical repertoire, with Douglas conducting from the piano. Eimear McGeown, a two-time All Ireland winner on the Irish flute from County Armagh, opened with a concerto for flute and strings (1814) by little-known Italian composer Saverio Mercadante, a contemporary of Donizetti and Bellini. Though it was a light, Mozartian piffle, McGeown played brilliantly, effortlessly tackling the ornamental solos. The same, unfortunately, couldn't be said for the strings, which to my ears lacked shape and tone. Perhaps it was their distinct Irish style of bowing (or is it fiddling?), or maybe I still had the magic of the Vienna Philharmonic ringing in my ears, but there was a distinct lack of blend here which I just couldn't get over.
Douglas finally had his moment to shine with Beethoven's Piano Concerto No. 2 (1795), which closed out the first half. Actually the first concerto Beethoven wrote, the Second bears little resemblance to his later masterpieces, more Mozartian than Beethoven. Still, Douglas gave a sparkling, incisive performance, particularly in the dark, muscular first movement cadenza and the deeply felt second movement (Adagio). In the closing Rondo, Douglas frantically switched back and forth between playing and conducting, calling to mind what the first performances of this work must have been like with Beethoven himself leading from the piano.
The second half of the program was devoted to music of Ireland, though initially staying within a classical idiom. John Field was an 18th century Irish piano prodigy who became a leading teacher and composer of piano music. Field is especially remembered for his "Nocturnes": quiet, contemplative piano works which were said to be the inspiration for Chopin's own nocturnes decades later. Douglas played Nocturnes No. 5 and 8, in his own arrangement for piano and orchestra: the music was melodic and flowing, if a bit simplistic.
The remainder of the program, consisting of Irish airs and reels arranged by Douglas, was where these musicians seemed most at home. Byrne showed much more flair in several Irish songs: "I dreamt I dwelt in marble halls", "The Lark in Clear Air", and especially the tearjerker "I wish I was in Carrickfergus" about a handsome young rover in vain search of his long lost lover.
McGeown returned with her her own composition Inis, written for Irish flute. Made from wood and with open holes, the Irish flute has a resonant sound more haunting and resonant that it's silver cousin. McGeown also played the Irish whistle on a couple of playful tunes, the traditional "Raggle Taggle Gypsy" and her own jig "The Mushroom Tree."
She and Douglas ended the concert with the rollicking "Barry's Reels", written for Douglas by Scottish traditional musicians Catriona McKay and Chris Stout. Full of extended runs in the strings and an almost Steve Reich-like rhythmic pulse, this was the most engaging piece of the night. A tender, heartfelt encore by Irish singer-songwriter Phil Coulter sent the enthusiastic crowd of Irish and music fans out into the New York night.
Camerata Ireland continues their tour with a show in Troy, NY tomorrow night followed by shows at Dublin's National Concert Hall and their own Clandeboye Festival in August. More pics on the photo page.