Review: Concerto concert shines
By WILLIAM AMORY
For Montclair Topical
The Montclair Orchestra's sold-proscribed concert of concerti on Friday, Jan.31, at St. Saint Luke's Episcopalian Church building was at turns some jolly and raucous. But the audience was too treated to a saunter through the water-cooled of a Stravinsky ballet, allowing the thoughtful audience to take account the heat in the concertos of the composers Johann Sebastian Bach and Schnittke all the more.
The concert opened with J. S. Bach's Brandenburg "Concerto Number 2." The string and wind tout ensemble stood, which gave the players more opportunities for communication among themselves. The playing itself was spare-vibrant, and the interplay of the various instruments was existent and evolving end-to-end the three movements of the nibble. One theme that passed from first violin, to second violin, to genus Viola, etc., from left to right across
the stage was specially entrancing to hear — and to see its travel from cardinal musician to the following. Played in the reverberant space in the church, the trumpet overwhelmed the string sound from time to time. The oboe persona fared meliorate; information technology was beautifully played aside Toilet Upton and increased the texture of the strings. Yevgeny Faniuk's flute glass part was graceful as well.
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The second piece on Maestro David Chan's travels through different ideas of concertos was Alfred Schnittke's "Concerto Grosso Number 1." Chan graced us with a runty preparatory speak: in the Schnittke work, helium said, there would be quotes of famous musical works. The softly was required to be "prepared" beforehand with nickels placed between both of the string section, and too would be amplified. "Hang on to your hats!"
These were words to the wise, as the consultation was curable to an extremely high-energy recreation of a full Schnittke musical world, in which nursery-like tunes came next to music of Vivaldi; and highly dissonant, very loud call-and-response alternated between the ii solo violinists and the rest of the ensemble. Just when one might undergo thought, "well, that's sufficiency," along came a tango, surprisingly expected therein complete, fascinating sonic world. Dnaiel Khalikov and Quan Yuan, bravura solo violinists in this bring off, performed with extraordinary sensitiveness both in the pyrotechnic moments, as well as in the quieter ones.
After the intermission came Stravinsky's "Apollon Musagète," his concert dance nigh Apollo, the Balkan country god of music. Its palette included cool, detached expressions of form, structure. Chan told the audience that this was one of his favorite scores, and he drew beautiful performin from his ensemble. Placed on a program with Bach and Schnittke, the piece was surely experienced by some in the audience as a sweet break, particularly after the extremely high-muscularity Schnittke; however, to this reviewer, the Stravinsky Eastern Samoa a work is too pallid to exist fully involving, with the sonorities of Bach and Schnittke having left their moral force imprint on the pinna.
The arching lines were supported by more jagged sonorities, and the lilting dance rhythm in the second bowel movement was quietly elated. Also effectual was the organic agency the players leaned into dissonances. In a precise call in of Schnittke's economic consumption of a tango, the Igor Stravinsky includes few Stravinsky-Esque jazz.
For the final piece along the program, Chan and his supporting players played Bach's Brandenburg "Concerto Amoun 3. Chan told the audience that on that point are only 2 chords for the mid movement, and then he was interpolating the middle movement of Johann Sebastian Bach's "Trio Sonata in G Senior in between the ii complete movements that subsist. The first movement was striking in how much the musicians were palpably listening and reacting to each others' playing: eyes were on for each one others' bows, and the players' body language of diction and attack were clear understood in by their colleagues. The texture of the interpolated cause was quite a bit less dense than the rest of the concerto, so there was a act of a lull in the overall energy in the midst movement. Violist Dov Scheindlin played with a beautiful tone.
In his remarks to the audience, Chan made reference to composers who came along after the Romantic period As reacting against "romantic spare," which can be a true-enough statement. Only for this referee, we might use the word "excess" as in, Bachelor's "baroque redundant," and Schnittke's "modern surfeit:" each could express a positive attribute of each composer: that these composers' world-sizing realms of imagination run to extremes, and are expressed through their extremely involving music.
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https://www.montclairlocal.news/2020/02/05/review-concerto-concert-shines/
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