– A final post from guest blogger Sam Sfirri:
As I strolled to St. Matthew’s for the last time this Spoleto season, I noticed Charleston’s streets had become noticeably emptier, with the art vendors gradually leaving Marion Square Park. The recently intensified heat seemed to drain all the excitement and creative energy out of those who are looking to see the festival to its impending end. All of those, that is, except Marc Dana Williams.
All of those complaints seemed to vanish in thin air as Maestro Williams skipped to the stage to be greeted by his small ensemble, eager to begin the program. And with the first wave of his hand, Debussy’s poetry unfolded with clarity and a very French certainty. It was clear that Williams has spent much time in France, as he was able to bring out the inner colors of “Prelude a l’apres-midi d’un faun” while still keeping the familiar melodies intact. His time studying with Pierre Boulez (considered an unparalleled conductor and composer) shone through as well. He conducted the entire program from memory. After it was over, Williams turned and shrugged his shoulders to acknowledge the crowd’s appreciation – but he quickly turned the attention away from himself, towards the soloist, and eventually the entire ensemble.
The remainder of the program consisted of Haydn’s Symphony No. 82, nicknamed “The Bear,” and Stravinsky’s somewhat conservative symphonic piece written in 1920, “Pulcinella Suite.” These two works tested the walls of the St. Matthew’s, as they each featured over 27 musicians on stage, not counting Williams and the two idle pianos. The sound was immense, and ended all too soon. After another shrug from Maestro Williams as the last notes died away, it seemed that a palpable sense of gloom fell upon the audience as they realized they would have to wait until next year to get their ears filled so well again.
