On March 14th, 2012 I attended the Aaron Silberman Concert Series in the Engelman Recital Hall at Baruch Performing Arts Center. During this hour-long concert clarinet player Charles Neidich, and piano player Joshua Grunmann performed, Sonata For Clarinet and Piano, op. 28 by Mieczyslaw Weinberg, Threnos (for solo clarinet) by Charles Neidich, Sonata for Clarinet and Piano, op. 120, no 2 composed by Johannes Brahma, and Zigeunerweisen, op. 20 by Pablo de Sarasate. I sat in the forth row of the small hall, and was surprised to see that most of the seats were taken. Half of the audience were students and the other half were people 50 years old and up. When the performers came out I noticed that a young woman accompanied Neidich and Grunmann. I later discovered she was on stage to help Grunmann turn the pages of the works they were performing. One of the big things I noticed was that Neidich’s clarinet was a light brown color and had golden valves. I have never seen a clarinet of that color before. Visually, it was the most interesting part of the performance other then the speed of Neidich’s hands.
Before attending this concert I listened to David Irwin (clarinet), and Cory Hall (piano) perform Sonata for Clarinet and Piano, op. 120, no 2 by Johannes Brahms. This piece live performance piece was broken up into Allegro amabile, Allegro appassionato, and Andante con moto. I found the listening to be clearer then the performance. Though many parts of the performance were exciting, I found that it sounded as if the piano and clarinet often clashed instead of mixing with one another. I found the piano and clarinet should have accompanied each other to a better degree. The clarinet often sounded squeaky and raspy. Neidich often had to readjust the reed of his clarinet during his brief pauses during the work or during the brief intermissions. I enjoyed the recording better then the live performance, but I believe that is due to the atmosphere of the concert hall. The hall was dark, and the seats were comfortable which caused me to doze off a little during the performance. With the recording you’re able to digest the music in a setting you are comfortable in. One of the big reason people of my age aren’t fans of classical music is because they aren’t comfortable in the venue in which it is performed. If more classical concerts were healed in more modern, well light venues more young people would be comfortable, and able to enjoy the music. I would go as far as even taking out the sets and making the audience stand. The recording is also not live so the mistakes are few. What I was able to enjoy from the live performance was the technique of Neidich; his breath control, and quickness in his finger motion. I also appreciated the length of each performance, not too long and not too short.
Overall, I was able to appreciate the lushness of the music and the pure skill it took not only to compose but also to perform. Through this performance I was able to better understand classical music and the classical music culture.
Hunter Weaver-Daniel