Article Contributed on: 2/14/2009 1:34:14 PM
I have often taken the local universities and colleges to task for not advertising the recitals which are required by their faculty. Everyone is familiar with the old axiom, "publish or perish." Well, in music, it is "perform or perish," that is, if you are on the performance faculty.
Soprano MeeAe Nam and guitarist Alex Komodore are not just on the performance faculty (at Metro State), where, because of their superior performance ability, they teach performers to be, they are world class performers.
Friday night, February 13th, at the King Center, they performed a duo faculty recital that was world class in every possible way. They performed folksong arrangements by Benjamin Britten and Matyas Seiber, the Cantilena from "Bachianas Brasileiras," by Villa-Lobos, the "Letters from composers," by Dominick Argento, and last on the program were five songs by Enrique Granados from his "Coleccion de Tonadillas."
The Britten Folksongs will be forever changed because of the performance Friday. Komodore's playing is so technically perfect, and he is such a profound musician, that it boggles the mind. The songs run the gamut from warm and mellifluous to dramatic to humorous. Nam has never had any problem being expressive when she sings, and she brought smiles to the audience, particularly in The Soldier and the Sailor, and Sailor-boy.
I had not heard the Seiber songs until this performance. Seiber was born in Budapest, but spent much of his life in England. He arranged folk songs, not only from the French, but Hungarian and Greek as well. The third song, "The Nightingale," was haunting indeed, and it was a perfect example of how this duo, Nam and Komodore, work together: following each other musically and emotionally.
For me, the highlight of the evening was the Villa-Lobos. The "Bachianas Brasileiras" was originally composed for soprano and eight cellos. I am not sure who did the transcription for guitar - perhaps Villa-Lobos himself, for he was a fine guitarist, but I do know that Alex Komodore arranged the guitar interlude in the center of the work. His virtuosity is astounding and so is his sensitivity. As I listened to this piece, I wondered just where it was that MeeAe Nam took a breath. She seemed to not breathe at all. And then came the final note which was hers alone. There was a rest before it so that it came out of nowhere, high, and exactly on pitch and held. Of course Nam is always on pitch, but I have never heard anything like it. Again, I am forced to use the word haunting, because both of them were.
After the intermission, came Argento's "Letters from Composers." These are actual letters which Argento set to music - some are funny; the Letter to the Town Council written by J.S. Bach, and some are unbelievably sad; Schubert's Letter to a Friend. Schubert writes that he is lonely and that all beauty is dying away, that each day brings the sadness of the day before. In this song he quotes his own song, "Gretchen at the Spinning Wheel." And he says to his friend that he spends his days joyless and friendless. Giacomo Puccini writes to a friend from Paris, "I am sick of Paris! I hate pavements! I hate palaces!.... I hate the horse, the cat and the toy-dog!" He wants the "wind that blows fragrant from the sea." Komodore demonstrated his virtuosity in this song. It was breathtaking.
The last group on the program was the Granados songs. They were as well done as all the rest - a mixture of humor and pathos which displayed the ability of both of these artists.
Soprano MeeAe Cecilia Nam has appeared as soloist in operas, concerts, and recitals in the United States, Germany, Austria, and her native South Korea. Her artistry encompasses a wide range of vocal repertoire that includes composers as diverse as J. S. Bach, or the avantgardist Gyorgy Kúrtag She has performed as guest artist with numerous ensembles including Colorado Symphony Orchestra, the Evergreen Chamber Orchestra, the Jefferson Symphony, the Ariel Trio, the DaVinci String Quartet, the Denver Young Artists Orchestra, Boulder Philharmonic, Denver Philharmonic Orchestra, Fort Collins Symphony and Colorado Chamber Players. She also sang "Pamina" in The Magic Flute and "Clori" in L'Egisto with the CU Lyric Theatre. Recent appearances as guest soloist were with Colorado Symphony Orchestra in the Most Romantic Classics, the Larimer Chorale and the Fort Collins Symphony in Mozart's Grand Mass in C minor, the Evergreen Chamber Orchestra in Canteloube's "Chants d'Auvergne," the Colorado Chamber Players in Kurtág's ""Kafka-Fragmente," and the Mozarteum Orchestra in Mozart's "Coronation Mass" and "Exultate, jubilate" during the Salzburg International Summer Festival.
This season, she will appear as guest artist in Bach's "Lutheran Masses" with the Boulder Bach Festival and Mendelssohn's "A Midsummer Night's Dream" with the Colorado Ballet.
Alex Komodore is a Denver-based virtuoso guitarist. His powerful interpretations, formidable technique, and natural musicianship have won unanimous praise from critics, audiences, and many of the world's finest guitarists. First Prize National winner in the Music Teachers National Association 1985 guitar category, his subsequent appearances on NPR and PBS broadcasts brought swift national acclaim. John Dileberto of PBS "Echoes", gave his collaborative 1990 CD "Redstone" with flutist Rod Garnett a rare highest rating, which also earned the coveted "Best of Westword" best classical recording of 1990. He has played as soloist, chamber musician, and orchestra soloist in virtually every concert venue along the Front Range. He has performed extensively across the United States, including at New York's Town Hall at the age of 11, a solo recital in historic New York's St. Paul's Chapel at the age of 16, and an appearance at the United Nations while still a music performance major at New York University. His 1994 solo debut recording "Passport" won praises from several of the world's most prominent guitarists, including Christopher Parkening and Sharon Isbin, both who hailed his interpretation of Carlo Domeniconi's "Koyunbaba" as "Terrific!" Of his CD, David Russell, remarked, ""Played with beautiful atmosphere, and great skill."" His many CD appearances on Etherean, Folk Era, Delos, Salt, and Poco a Poco labels have received global distribution, including worldwide airplay at the 1992 Summer Olympics from Barcelona. His recordings and appearances with top-notch choral ensembles such as Kantori and the St. John's Cathedral Choir have also received national acclaim. A tireless teacher, Alex heads the guitar program at Metropolitan State College of Denver, where he is assistant professor of guitar and music theory. Many of his former students have placed in international guitar competitions and top graduate music schools in the U.S. and abroad. His columns on guitar technique and advice have also been featured in Fingerstyle Guitar magazine.
This recital would have attracted newspaper reviewers by the score, had it been properly announced by university where they teach, and, dare I say it, in a city that has some acumen. I am aware of all the financial cut-backs, but there are still prospective students who have no idea that such artistry exists in Denver. Spending money on the advertising of faculty recitals seems like a good way to attract students. (Look at the attention that was spent in the Post recently concerning the group, "The Fray.") Recently, there has been much complaining, if not alarm, that serious music is dwindling. Could it be that it gets no publicity? Do the universities not support their faculty? Believe me when I say that faculty recitals at Indiana University are heavily publicized. If you say, well, but look who teaches there, Watts, Pressler, Laredo, Starker, McNair....... Then I say to you that Nam and Komodore are as fine as they are.
Nam and Komodore are true artists. They deserve every bit of support the university can give them.