In a performance
dedicated to the victims of the recent terrorist attacks in Paris, the Society
for Chamber Music in Rochester presented a cogent (though far from
comprehensive) overview of French music Friday night, focused on woodwinds.
Titled “Colors of France,” the program was the first in a series devoted to
notable composers of various countries and regions around the world, with
Germany and Russia upcoming.
French classical
music is known for its tendency toward warm lyricism and lush harmonic texture,
as opposed to the often heavier orchestration of German Romanticism or even the
unabashedly florid melodic beauty of the Italians. The chamber music players
assembled here – all but one are members of the Rochester Philharmonic
Orchestra – concentrated on compositions that brought out the natural beauty of
their instruments. In the chamber ensemble selections, the combined sound of
different instruments in harmony exuded a lovely charm and clarity that is
quintessentially French.
The evening began
in complete darkness. Flutist Rebecca Gilbert imbued Claude Debussy’s light and
airy “Syrinx” with an earthy sound full of mythic mystery. The result was
somehow both rooted and ethereal.
Next was
“Sarabande et Menuet” by the all-but-forgotten Vincent d’Indy. If the Sarabande
showed off the players’ compatibility of tone, the Menuet was evidence of the
players’ abiding chemistry and camaraderie. Their blend as an ensemble featured
nimble, understated, and artful melodic phrasing. Ultimately, it was the
group’s sense of timing, a natural synchronicity, that
gave the music its resonance. W. Peter Kurau’s French horn was especially
impeccable here, though his grand and luxurious sound faltered during a moment
of sloppy intonation in Camille Saint-Saëns’s “Romance.”
One of the
highlights of the night was oboist Erik Behr’s rendition of “Pièce en forme de
Habanera” by Maurice Ravel, accompanied by pianist Chiao-Wen Cheng. Behr’s
simple, direct tone emphasized the exoticism of Ravel’s music, and he evoked a
strong sense of freedom, even while exhibiting expert control in his phrasing.
Cheng was an ideal accompanist, asserting her presence when appropriate and
blending into the harmonic fabric when the oboe melody took the fore.
In Paul
Taffanel’s Wind Quintet in G minor, it was the exquisite blending of
instruments that was most impressive. Matthew McDonald’s rich, resonant low
tones of the bassoon provided great balance to the higher, untethered, and pure
sounds of the flute and oboe. The interplay between instruments during the
Adagio, in particular, was intuitive and inspired.
Though the
overall sensibility of the concert was earnest and serious, Francis Poulenc’s
Sextet for winds and piano was jocular, even mischievous. Behr’s playing was
consistently astonishing. His shaping of phrases brought out the natural drama
of the phrase in a way that drew listeners into the moment. His ability to pull
us into the music was the evening’s most consistent triumph.
If this concert
was any indication, fans of chamber music will find that the Society’s “musical
world tour” this season is a trip worth taking.
This article appears in Nov 25 – Dec 1, 2015.
