Zephyr Explores Ragtime

Tue., Nov. 26, 1996

William Berry Correspondent

Zephyr Saturday, Nov. 23, The Met

Zephyr and its usual suspects, some of the local players who would be an asset to any musical community in the world, visited North America last Saturday. Music director Kendall Feeney chose ragtime as the foundation for much of the program.

In 1899, the “Maple Leaf Rag” rocketed Scott Joplin to fame and put ragtime on our map. I was hoping Feeney’s fingers would reveal a fresh insight to the “Maple Leaf,” but settled for the enjoyment of a great piece well-played. With the charming “Bethena Rag-Waltz,” it did serve as a wonderful point of departure for the pieces which followed.

One of the fun aspects of Zephyr’s presentations is Feeney’s funky introductions to the music. Saturday’s lesson for Robert Rodriguez’ “Estampie” was great. Feeney introduced us to the medieval dance on which the seven movements are based and gave us a glimpse of its upcoming permutations. How uncomfortable this same performance could have been without the insights; but with some direction, how intimate it became on the first hearing.

All of the players in the “Estampie” ensemble - James Schoepflin on clarinet, John Marshall on cello, percussionist Robert Rees and pianist Feeney, were beyond reproach. There was a lot of communication between the musicians which made the performance clean and exciting.

The second half of Zephyr’s program was a steeple chase for violinist Tracy Dunlop. She tackled technical and stylistic challenges the same way Fred Astaire danced. William Bolcom’s “Graceful Ghost Rag” in the violin and piano version dishes up some of the piano tune to the violin in double-stops, harmonics and pizzicato.

Daniel Michalak’s “MangoTango” likewise required virtuosity all around. The “Country Fiddle Pieces” by Paul Schoenfield was a wonderful dreamscape full of contrasts which included snippets from the blues, boogie-woogie, swing band and the titular country fiddling. For these pieces, Dunlop plugged in, Feeney turned on, and Rees dropped by. I was a little disappointed by the “electric violin” on this eclectic piece. I was hoping for more fuzz and feedback effects, but the violin was simply amplified, with the small amount of distortion that adds.

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