The Patterson/Sutton Duo performed an hour-long recital at the Laramie Country Library at 7pm on Thursday, May 29.
The Cheyenne Guitar Society partnered with the Library to present the duo:
Kimberly Patterson, cellist, who earned her Master of Music Degree from Julliard School and her Doctorate of Musical Arts from Boulder, Colo. and Patrick Sutton, Guitarist, who earned both his Bachelor’s and Master’s degrees in classical guitar performance at the Lamont School of Music.
Informal attendance counts estimated a crowd of 175 came to listen to the duo perform in the Cottonwood Room on the ground floor of the library.
The Duo’s first selection was 3 Nocturnes for Guitar and Cello by Frédéric Burgmüller (1806 – 1874), a romantic era composer.
Sutton opened the piece, playing a light ascent then descent in a triple meter. Then Patterson entered with a lilting melody reminiscent of lullabies or, perhaps, the homesick sighs of a traveler.
Following the final Nocturne, the duo performed Park of Idols (2005) by Stephen Goss (b. 1964). In a thesis she wrote in 2012 for the University of Colorado, Patterson says that,
“Park of Idols is a kaleidoscopic pastiche that takes the cello and guitar through myriad styles of avant-garde rock, classical music, and jazz, creating a work that is sonically unpredictable, yet always pleasing.”
The duo will present a lecture on Park of Idols for the Guitar Foundation of America Convention on June 24, 2014 in Fullerton, Calif.
Patrick Sutton and Kimberly Patterson pose after their performance Thursday, May 29.
Park of Idols was followed by two movements from Quatre Pieces Intimes (1997) by Dušan Bogdanović (b. 1955), and by Reflexões No.6 (1986) by Brazilian composer Jaime Mirtenbaum Zenamon (b. 1953).
Quatre Pieces Intimes starts with a slow, pensive movement called Priere which opens with sustained cello tones under which the guitar plays rain-like droplets of notes.
The second movement, Mouvement, opens with a syncopated structure in the guitar which the cello mimics; creating an effect not unlike a rabbit hunt.
Reflexões No.6 is a three movement work. The name, said Patterson, means “reflections” in Portugese, and though she knew the meaning, she said the pronunciation was still coming along.
The first movement of Reflexões No.6 is called Fluido. The guitar in this movement plays rapidly beneath a legato cello line.
The second movement, Doloroso, maintains the fluidity of the first in the wafting cello line, but here the guitar plays fewer runs and replaces them with periodic glissandos.
The final movement, Vivissimo, is a piece written in distinct triple meters and is full of life and vitality.
The duo performed with skill and ease, and brought to their selections a character and quality which enthralling their audience.
Often, between especially pensive movements, the audience paused before applauding as though they were slowly emerging from the music.
The final Vivissimo, however, brought the audience to their feet while the duo took a bow and left the stage.
Their exit was brief, however, and they returned a short while later to perform their encore piece: Bachianas Brasileira No.5 (1947) by Villa Lobos (1887-1959).
“This one I can pronounce!” Patterson said as she introduced the piece, saying that the piece is very beautiful and rather haunting.
The original piece was written for solo soprano and eight cellos.
After the final bow, the duo lingered another hour to speak with those who attended before calling it a night and heading home.
Patterson, Kimberly. (2012) An Overview of Stephen Goss’s, Park of Idols. Thesis, University of Colorado. Retrieved from: http://www.stephengoss.net/images/publications/pdfs/Patterson%20Lecture%20Final.pdf