"One would be hard-pressed to choose
a standout performance, but flutist John McMurtery's commanding execution
of Density 21.5 is a strong candidate...McMurtery's sensitivity to Varese's
formal design and his confidence in the flute's extreme registers made
a possibly incomprehensible work intelligible and enjoyable."
- Phillip Ratliff, The Birmingham News
"...'Carceri d'Invenzione IIb,' a tour de force for
flute bristling with invention, was played brilliantly by John McMurtery...[exploring]
the extreme high and low registers of the instrument, zapping back and
forth at hyperspeed..."
- Anthony Tommasini, The New York Times
Midday Artist Series - William Paterson
University
Two cover for eight - Confidence without arrogance
Thursday, September 29, 2005
By Amanda von Goetz
William Paterson University, Midday Artist Series. John
McMurtery (flute), Katherine Palumbo (piano). Shea Center for Performing
Arts, Wayne.
UpTown Flutes, the ensemble-in-residence at Drew University,
is an all-flute group that has garnered numerous accolades and has become
known for its dynamic, topnotch performances. UpTown's appearance at the
Shea Center for Performing Arts in William Paterson University's Midday
Artist Series was awaited with great anticipation.
Due to unforeseen circumstances, however, one of the performers
was forced to withdraw from the concert, leaving everyone panicking and
wondering: "Would UpTown Flutes perform with only seven players?"
The answer was "no." But brave flutist and UpTown member John
McMurtery stepped in to perform a solo recital - on one week's notice
- in lieu of UpTown's original program. Though commendable on McMurtery's
part, this enigmatic attempt to remedy the situation begged yet another
question: "Was it really possible for one player to successfully
substitute for eight?" After the performance, little doubt was left.
The answer was "yes!" McMurtery greeted his audience and spoke
briefly about each piece he was to perform, treating listeners with respect
as he brought them into his world. It was particularly uplifting to see
that the two-dozen middleschoolers in the audience sat transfixed by the
performance from first note to last.
Henri Dutilleux's [Sonatine] is a delightful piece for
flute and piano resting on flowing, watery lines which are occasionally
countered by sharp runs up and down the flute registers. The balance between
McMurtery and pianist Katherine Palumbo was superb. Palumbo clearly possessed
ample knowledge of ensemble performance, supplying solid bass support
that was never overpowering. She was also remarkably accommodating during
quieter moments, when she exercised an exceptional ear for color and delicacy
that allowed the flute's melodic lines to float overhead.
Copland's Duo opened with a flute solo that was simply
breathtaking; the soulful ballad of a lonely bird. The texture soon grew
richer when joined by the piano in a first movement that was aptly entitled,
"Flowing," followed by "Poetic, somewhat mournful."
The performers appeared completely relaxed and conveyed their themes simply
and lyrically as the music swept up to a climax, then again calmed to
wallow in melancholic despair. "Lively, with bounce" presented
energetic dialogues in which the piano and flute discoursed in sharply
articulated textures that conjured images of a jaunty dance.
James Romig, a young composer and Music Director of the
Society for Chromatic Art in New York City, is a close friend of John
McMurtery's. "James showed me sketches of his Sonnet 2 for solo flute,"
said McMurtery, "and I was very interested from the beginning in
performing it on some of my programs. We usually discussed details and
ideas for the piece while out on the tennis courts." The work is
a fiendishly difficult five minutes and commands the player to zip back
and forth up and down the registers, jumping and leaping all over creation,
while ornamenting with interspersed running notes, repeated notes and
trills. McMurtery declared that he has performed Sonnet 2 over thirty
times since its premiere, and it is quite clear why: he is great at it.
Romig's work allows him complete freedom to display the wide scope of
dynamics and color that defines his musicianship.
"Prokofiev's Sonata op. 94 was originally written
for flute and piano," McMurtery continued. "It was only later
transcribed by the composer for violin and piano. Violinists will sometimes
claim that their version was first, trying to steal the thunder from flutists,
but it was originally written for flute, and don't let anyone tell you
different." With a playful twinkle in his eye, McMurtery smiled at
his pianist, cued, and began. The piece as a flute sonata exposes many
elements of the score that are amiss in the violin sonata. The opening
theme of the "Moderato" can sound gritty and edgy on the violin,
casting a nervous mood right from the start. On the flute, however, the
first line is simply gorgeous in its simplicity. From the "Allegretto
scherzando," through the sweet lullaby of the "Andante"
opening theme, arriving at the technical fireworks of the "Allegro
con brio," McMurtery and Palumbo gave a great performance, capturing
Prokofiev's signature style of wit and finesse.
From an audience perspective, McMurtery's appeal as a performer
has a great deal to do with his stage presence. He performs as a very
confident - but never arrogant - young virtuoso who does not feel the
need to prove his worth or make unnecessary gestures simply to draw an
audience. Like his beautiful tone, polished technique, and extraordinary
control, his confidence is just another tool in the arsenal with which
he is able to serve the greater good: the music. A wise performer once
posed the question: Do you simply love yourself within the music, or do
you love the music as it passes through you? For flutist John McMurtery,
the answer is as clear as his crystal sound.
