SummerFest’s ‘In Loving Memory’ Program Salutes the Late Joan Jacobs

By Eileen Wingard

LA JOLLA, California — The SummerFest concert on Sunday, August 11, was dedicated to the memory of Joan K. Jacobs, who died this past May. She and her husband, Irwin, in addition to their numerous philanthropic contributions to Arts, Health, Education and Jewish institutions, were involved with SummerFest since its inception. They were a constant presence at SummerFest performances.

This concert’s featured works were all dedicated to the memory of people dear to their composers. Ravel’s Sonata for Violin and Cello was in memory of his fellow impressionist composer, Debussy;  Arensky’s  Piano Trio was in memory of the great Russian cellist, Karl Davidov; and Faure’s Requiem, was written to be performed at the funeral of his friend Joseph Lesoufaché, an architect.

An additional work was added at the beginning of the program in memory of Joan Jacobs.  Cellist Alisa Weilerstein, SummerFest artist, and Pianist Inon Barnatan, SummerFest Director, came on stage to perform Rachmaninoff’s Andante from Sonata in G minor for cello and piano. Their heartfelt playing helped convey the sadness of Joan’s loss and the solace that beautiful music can bring. Members of the Jacobs family, including her husband, Irwin, were in the audience.

The printed program opened with the four movement Sonata for Violin and Cello by Ravel, performed by Stefan Jackiw, violin, and Sterling Elliott, cello. In the first movement, Allegro, the two instruments were played in two different keys, resulting in unusual sonorities. The scherzo-like Vif was characterized by jazzy pizzicato passages and eery harmonics. The third movement, Lent, was one of sublime repose, whereas the final movement, Vif, avec entrain, seemed to ignite electric vitality as Jackiw and Elliott soared to the final climax.

The Arensky Trio’s first movement burst forth with its passionate themes, beautifully intoned by violinist Blake Pouliot, followed by the effortless warmth of cellist Alisa Weilerstein. Arensky was a virtuoso pianist and wrote challenging parts for that instrument which Inon Barnatan handled with seamless technique and excellent ensemble.  The piano was especially noteworthy in the nimble Scherzo. The cello theme of the Elegia was sublime and the Finale rang out with triumphant jubilation.  An especially poignant moment was when the cello recalled the first movement theme before the final ending of the Finale, singing it like a soulful prayer rising heavenward before descending to earth for the frenzied closure.

The Faure Requiem was sung by the Voces8, a three women/five men vocal ensemble from England. The seven sections were accompanied by three violas, three celli, a string bass, a harp and a violin. The harp and violin played in only two sections, although the violas, celli and bass accompanied throughout. The vocal ensemble sang without vibrato while the strings used vibrato. That created an interesting contrast. Because the Requiem has no fast movements and speaks only of Paradise, omitting the usual Dies Irae movement it created a feeling of repose. Contrasts were achieved by the addition of the violin and harp in two of the movements, and the use of a baritone solo in one movement and a soprano solo in another.  The soprano was particularly impressive with her pure sounds filling the hall.

In the 6:30 p.m. Prelude to the concert, Voces8 was joined on stage by a 30-piece community choir composed of choral singers from throughout the county, assembled the day before to sing four selections. They were introduced by Voces8 director, Barnaby Smith. Their first selection was Locus Iste, a short liturgical chorale by Bruckner.  The second and fourth songs, Music on the Water by Jonathan Dunn and Proud by Marshmello included audience participation. He had the audience singing accompanying chords, led by members of Voce8, and imitate sounds of falling rain by snapping our fingers. By changing what we sang from rounded mouth to open mouth to humming, we followed Smith’s directions in altering the texture of the sound. He also directed us to sing at varying dynamic levels. It felt special to participate so actively in the choral music making.

Whether in the audience as a listener or in occasional audience participation, SummerFest is always interesting, entertaining, inspiring and full of surprises. If you are a fortunate ticket holder, be sure to arrive an hour earlier for the  Preludes. They always promise to enhance the listening experience.

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Eileen Wingard is a freelance writer specializing in coverage of the arts.