Chamber music turns old landmarks into vibrant venues in Sierra Madre and South L.A.

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As a music enthusiast with a deep appreciation for both classical and contemporary compositions, I was absolutely captivated by this Sunday afternoon concert at the quaint playhouse in Sierra Madre. The program, put together by Tesserae Baroque under the expert leadership of violinist and violist Andrew McIntosh, offered an exhilarating exploration of the limits and possibilities of various instruments.

During summertime, chamber music, which is known for its intimate and intricate nature, harmoniously blends with the beauty of the outdoors. In the United States, various renowned festivals offer opportunities to experience these enchanting performances in unique settings. For instance, at La Jolla SummerFest, you can enjoy chamber music by the sea. The Santa Fe Chamber Music Festival invites you to the desert, while Tippet Rise Art Center in Montana brings you the mountainside experience. Lastly, Marlboro Music Festival in verdant Vermont is another must-visit destination for chamber music lovers seeking a natural summertime escape.

In an unconventional manner, Los Angeles stands out. Known for its rich history of chamber music, boasting numerous renowned string quartets and ensembles, we often find ourselves defying expectations. Our unique take on chamber music can be discovered in the most unexpected places around town.

During the last weekend, I visited two historically distinct rooms. One was constructed over a hundred years ago and played host to a type of music, while the other, though newer, was also linked to a different genre. Nevertheless, these dissimilar spaces shared an intriguing connection: they both had ties to Hollywood – some distant and others close.

At the Doheny Mansion, a 1899 French Gothic, Moorish, California mission style house located in L.A.’s University Park neighborhood and once owned by oil tycoon Edward L. Doheny, the New Hollywood String Quartet held its annual four-day chamber music festival. This year’s theme honored Czech composers. On Saturday afternoon, attendees enjoyed rich performances of Dvorák, Smetana, and Martinu in the opulent Pompeian Room, adorned with a Tiffany glass dome. The event included free champagne.

On a sunny afternoon at Sierra Madre Playhouse, an old theater established in 1910, Tesserae Baroque performed with instruments fitting of the 17th century. A powerful modern baritone saxophone and a contemporary clarinet produced sounds reminiscent of traditional Persian ney flutes.

A postcard, postmarked 1908, depicts oil tycoon Edward L. Doheny’s mansion in one of L.A.’s first gated communities.
(Patt Morrison / Los Angeles Times)

What’s Hollywood got to do with any of this?

To begin with, the New Hollywood String Quartet draws influence from the illustrious Hollywood String Quartet, formed in the 1940s and ’50s, consisting of accomplished studio musicians. Known as America’s finest string quartet, they were celebrated for their exquisitely smooth sound and ability to convey intense drama. Their stunning interpretations of Schubert and late-Beethoven compositions serve as a reminder that the golden age of film scores is significantly indebted to these gifted session musicians.

As a film enthusiast, I’m always on the lookout for new and exciting talents in the industry. And let me tell you, even though the New Hollywood movement emerged in 2001, which is already two decades ago, it’s still fascinating to discover the contributions of its members. It can be quite a challenge to spot their names as they flash by in tiny fonts during the end credits, but trust me, they’ve been involved in countless films that you’ve undoubtedly seen and enjoyed.

As a cinema devotee, I’ve come across many talented musicians roaming around town. Among them, I’m fortunate enough to know Andrew Shulman – he’s the principal cellist of Los Angeles Chamber Orchestra and the second violinist Tereza Stanislav belongs to the Calder Quartet. These versatile artists, Rafael Rishik on the violin and Robert Brophy on the viola, are also frequently traveling members of the group.

On Saturdays, the schedule started off powerfully with Shulman’s rendition of Martinu’s First Cello Sonata from 1939. This piece was composed in Paris as war was about to erupt. In contrast, the program concluded with Smetana’s First String Quartet, “From My Life,” which was penned in 1876. This quartet can be seen as one of the earliest examples of chamber music scores that resemble Hollywood films, as it vividly portrays Smetana’s struggle with deafness and offers flashbacks of his youthful frolics and romantic experiences. The New Hollywood Quartet brought this piece to life in a tangible way, filling the room with an intensity that left quite an impact. (Additionally, this quartet made its cinematic debut in the 1992 heist film “Sneakers,” featuring Robert Redford.)

At USC, about a mile from where Doheny generously donated to build the beautiful library (now known as the Doheny Memorial Library), once resided an esteemed faculty in the School of Music. Among them was the influential violinist Eudice Shapiro. For over five decades, she dominated the violin department, while also making history as the first female concertmaster at film studios RKO and Paramount. Her social circle included none other than the renowned composer Stravinsky, who held her in high regard as one of his favorite violinists.

I. Stravinsky frequently relied on the violinist Sol Babitz in Los Angeles during the 1930s and 1940s. He performed with the Los Angeles Philharmonic and the 20th Century Fox studio orchestra. II. In the 1950s, Babitz became a trailblazer for modern music in L.A., hosting Monday Evening Concerts and the Ojai Music Festival. III. Additionally, he pioneered early-music performance practices through his Early Music Laboratory, making L.A. a leader in this field internationally. IV. Given that Babitz’s environment was rich with culture and innovation, it is unsurprising that his daughter, writer Eve Babitz, vividly depicted Los Angeles in her works.

As a classical music enthusiast with a soft spot for the Baroque period, I find it utterly intriguing to ponder what the legendary composer Igor Stravinsky might have thought of “Bowling, Animals, and the Ocean,” an eclectic program curated by violinist and violist Andrew McIntosh.

In Sierra Madre, McIntosh was accompanied by Ian Pritchard on the fortepiano and Joshua Rubin who played both antique and contemporary clarinets. Rubin, like McIntosh, is a notable member of New York’s contemporary ensemble, the International Contemporary Ensemble. Among other pieces, they performed two movements from a C.P.E. Bach violin sonata and Mozart’s Clarinet Trio (“Kegelstatt”). Additionally, Rubin was showcased in four recent compositions that primarily featured the clarinet.

In another turn of events, a movie theater in Sierra Madre that has stood for a century began its life as a furniture store. It was later transformed into a silent-movie theater in 1924. Over the years, it shrank to accommodate only 99 seats, but it never abandoned its cinematic roots, continuing to screen films. Post-pandemic, this historic venue underwent another metamorphosis and became a compact performing arts center. Now at the helm is Matt Cook, an accomplished percussionist from L.A., who is also part of Wild Up.

The programming scope is extensive, encompassing a diverse range of musical genres including new music (Wild Up’s upcoming series), early music, world music, jazz, pop, dance, theater, and even silent films accompanied by live music.

As a fan of the Tesserae program, I can’t help but feel excited about the potential awakening of sleepy Sierra Madre. The excellent acoustics and free, convenient parking in the quaint downtown area are just the beginning. With a delightful selection of restaurants to choose from, this town is surely worth exploring. And on less hot days, the inviting mountains beckon for an unforgettable adventure.

Marta Tiesenga, left, and Andrew McIntosh duo in Michael Finnissy’s “Yso.”
(Dania Maxwell / Los Angeles Times)

On Sundays, there was an intriguing investigation into the capabilities of instruments when boundaries are pushed, the creativity of composers when genres are expanded, and the mastery of virtuosos when techniques are challenged. The distinctive tone of McIntosh’s gut-string violin, played without vibrato, brought out the brilliance that Stravinsky admired in Bach’s sonata. The theater-like atmosphere perfectly complemented Mozart’s operatic trio, as well as Rubin’s unconventional clarinet quirks.

Nina Barzegar’s “Emancipation Contemplations” wondered how the clarinet could wail and ululate like the Persian ney, capable of doing so with intensity. McIntosh’s “Uncertainty and Discreetness” gave a solo bass clarinet the assurance of producing a muffled sound. In Michael Finnissy’s “Yso,” Rubin, McIntosh, Pritchard, and saxophonist Marta Tiesenga were challenged with adding intrigue to an improvisational piece containing only 100 notes. Rubin and Tiesenga also theatrically contrasted the bass clarinet and baritone sax, their similarities and differences on full display.

As I was leaving, the president of the board gave out jars of homemade marmalade made from local ingredients to those who contributed $20 to the playhouse. With a $20 bill in hand, I not only made a donation but also received a delightful treat as a token of appreciation.

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2024-07-18 20:48