THEY SAY THE BEST acting—like the best music, best dancing, and best art—is done from the inside. You can learn technique—the outside part—but it doesn’t become ‘art’ until you tap an inner source from whence flows an indescribable something that renders technique secondary: as a tool to be employed.
That’s what Clarence Felder did with his poignant portrayal in the Piccolo Spoleto production of “Beethoven, His Women, and His Music.” But he also did more, because this was not just a play. It was a juxtaposition of man and music: the personal life of Beethoven and the music that flowed from it. Which called for a little dialogue, then a little music, then the repeat of both several times.
Throughout, Clarence had to be host to the audience and “explain” what was happening on stage. Simultaneously, he had to go on a journey inside Beethoven and be transparent enough about it that we might follow along, tap the veins of Beethoven’s thoughts and emotions, and come away with a more profound understanding of his music.
Clarence Felder
So well did it work that I can never again hear Beethoven’s Archduke Trio or Moonlight Sonata as I did before. Not only were these pieces played beautifully by Charleston Chamber Music’s trio, they were evocatively brought alive by Clarence’s performance.
Context is everything. And in the case of classical music, a piece that may otherwise sound formless or meaningless, comes richly alive once you know how and why and from what it was composed.
I have listened to the Archduke Trio in the past, and even more intently in preparation for this Piccolo Spoleto performance. Ditto the Moonlight Sonata, which is broadcast so frequently—at least in parts—that you take it for granted; that is, hear it superficially.
Irina Pevzner
Tonight though, in the Circular Congregational Church, I heard and felt for the first time the true depth of the sonata’s first movement: its tenderness, its sadness, its funeral-like pathos—especially in those last two haunting notes played so feelingly by Irina Pevzner.
As for the Archduke Trio, I had always related to it as a long, formal, parlor-room piece. Too tedious in places for me (a non-musician) to get through. But in the context of Beethoven’s visible anguish, and accompanied by the superb playing of Irina, violinist Megan Allison, and violist Timothy O’Malley, it came alive in a new way.
I heard it cascading with the most beautiful lyrical harmony, then climbing to the noblest heights, then plunging into heartfelt strife. Then suddenly dancing with the lively delight that so characterizes the bright side of Beethoven’s music.
Megan Allison & Timothy O’Malley
Such an extraordinary spectrum in one piece of music speaks volumes about Beethoven the man, his vast range of musical talent, and the virtuosity of a fine actor and three gifted musicians.
Musical concerts ought to be presented like this more often.
I suspect, too, that there’s more in this music waiting to be discovered, so I’ll be listening. And, yes, I will go again next year if Piccolo Spoleto hosts it a third time.
(Click here to see the interview with Clarence and Timothy O’Malley prior to their performance.)
This joint production of Chamber Music Charleston and Actors’ Theatre of South Carolina was conceived by Chris Weatherhead and Sandra Nikolajevs.