Above: cellist Efe Baltacigil
Author: Oberon
Sunday July 16th, 2017 - All too soon, Chamber Music Society of Lincoln Center's Summer Evenings series for 2017 has come to an end. Over the course of the three concerts, we heard magnificent music, played to perfection. Each summer I find myself hoping that a fourth concert might be added to the series: the packed houses indicate how successful these summertime concerts are. But perhaps it's just a question of timing, as so many musicians are making appearances at the various summer festivals. Also, the Society is about to commence a run of concerts at Saratoga Springs. So, we can feel grateful for what we have heard this summer, whilst looking forward to the 2017-2018 CMS season.
Anticipation ran high as Alice Tully Hall was again filled to the rafters with Gotham's music-lovers, thirsting for the classics as the doldrums of the summer lazed along. A cordial greeting to Mr. Baltacigil and his colleagues...
...violinist Erin Keefe (above)...
...and violist Richard O'Neill (above), as they appeared onstage for the opening Beethoven.
The D-major Trio opens serenely, but things soon become quite lively. It was quickly evident that our three musicians were well-matched, and as the shifting themes unfolded their playing was marked by a fine mixture of impetus and elegance.
As is so often the case, it is in the second movement, marked Andante quasi allegretto, that we get to the heart of the matter. A nostalgic feeling pervades here, though the textures remain translucent. Mr. Baltacigil's cello enhances the lyrical aspects of the music, and some gracious plucking maintains an active feeling so that things don't turn dolorous. A beautiful viola passage receives loving attention from Mr. O'Neill, and Ms. Keefe's relishing of the Andante's most subtle moments is a distinctive asset.
Delicate playing in the Menuetto dances us along with courtly charm. Then, after a longish pause, the concluding Rondo is quite jolly, with the cello prominent, the viola harmonizing, and the three voices eventually in finely-timed exchanges. A passing lull into lyricism again brings subtle mastery from our expert trio before the piece reaches its happy ending.
A brilliant performance of the Prokofiev Violin sonata in D-major followed. While I have enjoyed the playing of Kristin Lee (above, in an Arthur Moeller potrait) on many CMS evenings in the past, I can't recall having heard her in a sonata performance. Her Prokofiev was, in a word, spectacular. And, with their usual knack for matching up musicians of like quality, Michael Brown at the Steinway played with thrilling verve and clarity.
Above: Michael Brown, photographed by Jeanette Beckman
Originally a flute sonata, this piece was re-worked by Prokofiev for violin as several violinists - notably David Oistrakh - took an interest in it. In the opening Moderato, the violin floats in a lyrical dream. An almost fanfare-like passage leads to some scurrying before resuming its more song-like aspect, with some piercing highs; a pensiveness evolves and a short coda concludes the movement.
The ensuing Scherzo begins as a jig, with dance-like swirls from both violin and piano. A more tranquil interlude temporarily lulls us, but things again speed up to a big dance.
The Andante features a soaring, romantic theme for the violin: Ms. Lee was at her most poetic here before passing the melody along to Mr. Brown, who takes it up at the piano. The music aches the heart until a quiet restlessness steals in; the violin goes high and sounds on the verge of spacing out.
The Allegro con brio finale opens with a rollicking passage and then jogs along for a bit until Mr. Brown's pianistic passion takes over. Things simmer down and become quite delicate; then a song wells up and a triumphant feeling builds. A increase in velocity carries the sonata to the finish line.
Kristin Lee, a beauty in black, was so impressive in her technical command, with Mr. Brown an ideal colleague in both the passion and precision of his playing. As the duo embraced at the end of their superb performance, the audience lavished well-deserved cheers upon them.
Violist Yura Lee (above) joined the ensemble after the intermission for a richly rewarding performance of Antonin Dvorák's String Quintet in E-flat major, Opus 97.
"Spillville is an ideal place; I would like to spend the rest of my days there," wrote the homesick Dvorák of the Iowa town where he had gone (in 1893) to mingle with the local Bohemian community. But while he was there, something else happened: a road-show of Native American entertainments and crafts came to Spillville for two weeks. Dvorák was intrigued by the rhythms and harmonies he heard in the group's presentations and worked some of these elements into his E-flat major Quintet.
One of the most delightful aspects of this work is in the composer's assigning of equal prominence to the "1st" and "2nd" violins and violas; this division of labor gives everyone a chance to shine. And underlying the melodious marvels produced by his colleagues, Mr. Baltacigil's honey-toned cello playing gave the ensemble a pleasing depth of feeling: for both rhythmically and melodically, Mr. Baltacigil is first class.
Dvorák himself was a viola player, and it is to that instrument that the composer gives the quintet's opening statement, played from the heart by Richard O'Neill. Chamber Music Society is like a paradise for lovers of the viola sound (count me in!) where one is likely on a given evening to hear the likes of Paul Neubauer, Matthew Lipman, or Pierre Lapointe. In tonight's Dvorák, Yura Lee shared the viola spotlight with Mr. O'Neill: her rich, pliant tone is always so inviting. Likewise, on the violin side, Mlles. Keefe and Kristin Lee were each heard to advantage.
In the quintet's first movement, Ms. Keefe's lambent tone was particularly enhancing. As ribbons of melody pass from player to player, we can savor the unique sound of each voice as well as their combined appeal when they sang in unison in a passage with an unusual drawling quality. The two violists were having a heyday, unwrapping each phrase the composer has given them and relishing it for us to enjoy.
For the second Allegro movement, Mr. O'Neill again takes the lead. Ms. Keefe and Yura Lee trade passages and then, to the genial plucking of her colleagues, Yura takes up a gorgeous theme which explains why she wanted to be "1st"; Ms. Keefe, playing high and sweet, makes the same case for being "1st" violin.
The Larghetto offers a set of variations, shifting between major and minor. Here a sad melody is given out by the lower voices with a hymn-like quality. More magic from Yura Lee, and then Ms. Keefe plays a sinuous obbligato over the choir; the opposite effect is created when Mr. Baltacigil's animated cello is overlain by the harmonizing violins and violas. The cellist then sings forth while the higher voices take a tremelo stance. Amazing delicacy is achieved in a plucked interlude, the audience breathlessly charmed by the effect. Following a dynamic outburst, calm is restored and Kristin Lee carries the Larghetto to a fade out.
Erin Keefe leads a dance to start the Finale: Allegro giusto. Plucking again; then Kristin Lee, Mr. Baltacigil, and Yura Lee each have their say before a broad flow of melody ensues. Ms. Keefe takes up a 'Native' theme and then Yura Lee has a final viola gesture which leads to a rush to the finish: an exhilarating end to a great evening of music.
~ Oberon