|
Please note: Throughout Classical New Jersey Society reviews some words are found preceded by an asterisk (*). This indicates that the word is defined or discussed in the IOW (In Other Words) section of our website. If you are looking for a special definition or discussion, click on the alpha-clickbar below or the actual word, if it is hyperlinked. A | B | C | D | E | F | G | H-I | J | K | L | M | N | O | P-Q | R | S | T | U | V | W | X-Y-Z |
Harp
groupies and Francophiles
A
Brahms masterpiece
Saturday,
February 19, 2005
Paul M. Somers
Riverside Symphonia Chamber Players: Ruotao Mao, Denise Huizenga (violins), Jacqueline Watson (viola), Elizabeth Thompson (cello), Jan Holms (flute), Arne Running (clarinet), André Tarantiles (harp). Roussel: Serenade for Harp, Flute, Violin, Viola, and Cello; Debussy: Sonata for Harp, Flute, and Viola; Ravel: Introduction and Allegro for harp, flute, clarinet, and string quartet; Brahms: Clarinet Quintet in B minor, op. 115. Presbyterian Church, Lambertville.
Flutist Jan Holms and clarinetist Arne Running locked eyes, then played the ravishingly beautiful opening of Ravel's Introduction and Allegro with an intensity grounded in relaxation. Were it not a classical music concert, this could be a description of a pitcher and catcher. But why not? Well played chamber music is as much fun to watch as baseball if, as with baseball, you know what to watch.
The case in point was the Riverside Symphonia's annual concert featuring a group of its principal players, who are among the state's finest. That every work of their concert was well-defined and expressive was due to their almost constant contact with each other through glances and body cues. Of course, it didn't hurt to have André Tarantiles playing harp, a quite visual instrument. But Ruotao Mao's many cues from the first violin chair, and Elizabeth Thompson's constantly roving eyes from behind her cello were just the kind of thing that adds to the live music experience. You just don't get that visual element on any CD.
There was a contingent of harp groupies who came out to hear Tarantiles play the all-French first half. Albert Roussel's usual spikey *polytonalism is softened by the general resonance of the harp. Yet, even though there were times when *legato lines ran through all instruments, it was the sense of *pointillist detached sounds which dominated. Jan Holms' flute solo in the *Andante spun a lyric line over the static accompaniment, and Ms. Thompson's long-arching cello solo soared over rippling patterns from the other players. The support for these fine moments was not only in the abilities of the players but of their sense of sonic balance, probably assisted by someone out in the pews when they rehearsed.
Surely the Debussy Sonata and the Ravel Introduction and Allegro are the standard bearers for chamber music with harp. The balance so well found in Roussel's quintet eluded the performers in Debussy's trio. As all its swirling *arabesques flowed off the stage, it was unfortunate that Jacqueline Watson's viola did not resound in the way that a soloist would prefer. Her technique was strong but she could not be heard as well as the others. Yet it all added up to lovely playing.
The harp groupies had their moments of ecstasy when Tarantiles produced a wonderfully colorful *cadenza in the Ravel work. The whole produced the same moods that one finds in Daphnis et Chloë, just on a smaller scale. Again, the tight ensemble was produced through eye contact and precise cueing amongst the players.
Those in the audience who were of the strictly Francophile persuasion made their departure in the wake of the harp. For them the dreaded big Germanic piece was about to fill the whole second half. "What's the difference?" asked one as he put on his coat on the way out the door. "Wagner, Brahms - they're all too long and serious."
Of course that was a distinctly minority opinion. By far the audience stayed to hear what turned out to be a touching performance of Brahms' masterpiece Clarinet Quintet with Mr. Running and the strings. Certainly the musicians loved playing Brahms, but that is a common occurrence for he is generous to everyone. One of the unmissable pictures was Ms. Thompson smiling throughout
the lengthy work. Even when faced with a passage of some difficulty she had a look of total pleasure on her face.Mao and Denise Huizenga both had fine moments for solo violin (yes, Brahms takes care of second violinists, too). Yet as with the whole evening, it was the exquisite ensemble - even the smallest nuances were together - which brought smiles to the listeners.
And in her variation in the finale violist Watson was heard well as everyone else backed off while she showed her fine ear for phrasing and line. I'll hazard the guess that the problem lies mostly in her instrument or her string choice, not her ability to play out.
The annual chamber concert is one which is very well attended by the Riverside's knowing audience. Other orchestras could easily insert just such a concert in their schedules, given the high level of principal players in New Jersey.