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Damaged In A War In The Early 1990s, The Old Town Section Of Dubrovnik Has Been Completely And Faithfully Rebuilt To Its Fairytale Character Of Previous Centuries.

The town of Dubrovnik, located at the southernmost end of Croatia on the Adriatic coast, is aglow with the music of summer holidays. From July 10 to Aug. Twenty-five, the town hosted 5 weeks of music, theater and dance at its 62nd annual Dubrovnik Summer Festival.

The Festival Julian Rachlin & Pals, now in its eleventh year, has presented chamber music concerts from late Aug and will continue through early September. It was set up by violinist Julian Rachlin, who chose the town as a perfect spot to offer creative and vibrant projects with musicians of international repute.

Damaged in a war in the early 1990s, the Old Town section of Dubrovnik has been completely and faithfully rebuilt to its fairytale character of prior centuries. Many Renaissance-era buildings are utilised as venues for musical performances. For the Festival Rachlin & Chums, the fifteenth century Rector’s Palace is the main venue for this year’s thirteen concerts, beginning with Zubin Mehta conducting the Belgrade Philharmonic orchestra. In addition to performing standard classical stock, Rachlin commissions new works from composers. In the first a few days of September, 3 new works by French-Swiss composer Richard Dubugnon were highlighted, every one painting a totally different and unique view of the cosmos.
Eloquent chamber music

On Sept. One the program included two examples of Russian romantic stock : Anton Arensky’s Quartet No. 2 for violin, viola and two cellos ; Alexander Glazounov’s “Elegy” for viola and piano ; and Stravinsky’s 20th-century “Divertimento” for violin and piano. The centerpiece of the program, though, was the world premiere of Dubugnon’s “Violiana,” written for Rachlin and pianist Itamar Golan. The piece saw Rachlin switching backwards and forwards from violin to viola with split-second timing for 3 movements of expert playing. Exhibiting many moods and colors, most significantly the wonderful muted impressionism of the slower second movement, this piece is noteworthy for its electrified energy level all though and was amplified by the kinetic performance by Rachlin and Golan. Dubugnon also dug satisfyingly deep into the velvety, burnished colour of the viola, exploring its capacity for drama more than most do.

Sept. 2′s programme was devoted to the subjects of the Fukushima nuclear catastrophe. One of Japan’s respected violin teachers, Tsugio Tokunaga, was a featured musician, as was his 18-year-old prizewinning student, Fumiaki Miura. Anchored to the evening’s theme was another commission from Dubugnon : “Variations on a Japanese People Tune” for two violins and piano. In it, the composer took “Red Dragonflies” by Aka Tombo and made a glistening, pretty seven-part theme with divergences. It was performed by Tokunaga and Rachlin, with Sophie Rachlin ( Julian’s mum ) on the piano. While the prior night’s composition utilised a less tonal and more rhythmically targeted language, this evening’s work was intensely tonal and unabashedly emotional, made so particularly because it was preceded by an original poem by Golan that made use of the imaginary symbol of a young girl’s doll to memorialise the Fukushima catastrophe.

Sept. 3 was titled “concert in White,” to which everybody was requested to wear white clothing ; effectively, the audience became a fun fashion show without the runway. The programme consisted of 3 highly emotional compositions whose characters appeared to reflect the steaming hot weather. Dubugnon’s “Three Pieces for Violin and Piano” ( exquisitely played by Boris Brovstyn and Golan ) is destined to become a hot item within violin inventory. It is an stunningly tender duet, as if the piano and violin were in a lovers ‘ embrace. The 3 sections rambled from hallucinatory dreams to a moonlit reverie, then a delightful homage to the music of Maurice Ravel. A wispy glissando to the last, unearthly note was the final, evanescent breath of this fantastic masterpiece.

The following two pieces, Brahms ‘ Piano Quartet in C minor and Arnold Schoenberg’s string sextet “Transfigured Night” continued to heighten the emotional temperature of the evening. The latter’s deep thought portrait of a spirit in the procedure of metamorphosis from deathly gloom to a glowing, heavenly resolution took everybody’s breath away. Transfigured Night” was Schoenberg’s first major work, drafted in 1899, and precedes the employment of the 12-tone language that outlined his subsequent bequest. Its troublesome, complicated score was provoked by a poem of the same name and is one of the height compositions for string chamber musicians. The performance by violinists Brovstyn and Sean Avram Carpenter, violists Rachlin and David Aaron Carpenter and cellists Torleif Theden and Boris Andrianov was a rapturous experience of surging power.

Another amazing aspect to this concert was the last-minute substitution of a few violinists ( who learned their tricky parts in 48 hours ) needed to replace the indisposed Janine Jansen. The heroes were Boris Brovstyn, Sean Avram Carpenter and the 18-year-old Miura. When I asked the teenager how he felt playing with such luminaries as Rachlin, Maisky and Golan, he said, “When I sat across from the wonderful Maisky playing his big solos, I felt just like a little mouse!” Thanks to Rachlin’s organizational largesse, developing artists like Miura have the advantage and valuable experience of sharing the stage with their mentors. Sometime, Miura will be the older lion across from a young mouse.
From baroque to balalaika

The stunning Baroque church of St. Ignatius was the setting for a Sunday morning concert of works by Vivaldi and Bach. Later that day, Russian balalaika diva Alexey Arkhipovsky entertained with his mixing of styles from people to funk, fugue to flamenco, making the silver-colored sound of only 3 strings seem like a symphony. He is the modern-day Paganini of the balalaika, but with a Pat Metheny approach. The holiday will keep going with equal quantities of chamber music and lighter-weight fare through to Sept. Eight as reported tagza.com.
Finale of 4th of July fireworks at Carson Park in Eau Claire, WI

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