Above: double-bassist de luxe Edgar Meyer
~ Author: Oberon
Tuesday December 10th, 2019 - It's something of a tradition for Chamber Music Society of Lincoln Center to offer an all-Baroque concert as the holiday season approaches. Tonight, with their accustomed flair both for programming and for gathering together marvelous musicians, the Society presented a Baroque fête that was a joy to experience.
An all-star quartet of violinists aligned to open the evening with Arcangelo Corelli's Concerto Grosso in G-minor for Two Violins, Cello, Strings, and Continuo, Op. 6, No. 8, aka the "Christmas Concerto", published in 1713. Violinists Alexander Sitkovetsky, Ani Kavafian, Kristin Lee, and Adam Barnett-Hart (from the Escher Quartet) regaled us with exemplary playing; Matthew Lipman (viola) and Estelle Choi (cello) held the alto/mezzo line, and the superb continuo duo of Kenneth Weiss (harpsichord) and Edgar Meyer (double bass) kept the flow of music on its steady, sublime course.
This Corelli work - and tonight's playing of it music - was so engaging. After a lively start, Ms. Choi's cello and Mr. Meyer's bass gave an appealing resonance to the Grave. Fabulous pacing and agile playing turned the first Allegro into a delicious treat, followed by a rich Adagio which is briefly interrupted by a bustling Allegro. The minor-key Vivace has a particular sway, and the ensuing Allegro (so familiar!) was delivered with a dynamic variety that kept us eagerly involved. Mr. Sitkovetsky and Ms. Kavafian were finely matched in the Pastoralle, with some wonderfully subtle Sitkovetsky fiorature. Mr. Weiss, at the Society's handsome harpsichord, played elegantly.
Frock watch: Ani Kavafian in a very pretty, pleated raspberry creation, Kristin Lee in midnight blue, and Estelle Choi in pale peach. Lively applause drew the players back for a bow.
A warm welcome to flautist Adam Walker, who offered us J S Bach's Trio Sonata in C-minor for Flute, Violin, and Continuo, from Musical Offering, BWV 1079 (1747) for which Mssrs. Sitkovetsky and Weiss were joined by cellist Timothy Eddy.
The opening Largo is sweetly sorrowful, with Mr. Walker's tone having a warm glow. His marvelous fluency in the Allegro that follows was finely seconded by the strings-and-keyboard trio. Flute and violin harmonize cordially in the Andante, whilst Mr. Eddy's mellow timbre added lyrically to the blend. In the concluding Allegro, savouring Mr. Walker's clarity and polish was so satisfying.
Above: violinist Adam Barnett-Hart
Adam Barnett-Hart's stunning rendering of Giuseppe Tartini's Sonata in G-minor for Violin and Continuo, often called the "Devil's Trill", drew the crowd to its feet, with shouts of "bravo" filling the hall. The violinist had the audience in his thrall right from the poignant opening theme of the Andante; as a presage of things to come, delicate trills are woven into the melodic line...and Mr. Barnett-Hart is a master weaver. The music springs forward vibrantly with the start of the Allegro, then finds an immediate contrast as a second Andante begins: the violinist's playing is here so masterful and moving, and he relishes the opportunity to finesse his trills even further.
Mood swings and touches of rubato carry the music forward, until Mr. Barnett-Hart arrives at the start of a huge and fiendish cadenza in which all Hell seems to break loose. The audience, fascinated by the violinist's compelling virtuosity, hung on every note. The only possible reaction was an eruption of vigorous applause and shouts. Mssrs. Eddy and Weiss, devilishly fine accomplices in this marvelous performance, at first refused to stand so that Mr. Barnett-Hart had a vastly deserved curtain call all to himself.
The second half of the program opened with Carlo Farina's Capriccio stravagante for Violin, Two Violas, Cello, and Continuo (1627). The oldest (and oddest!) work to be performed tonight, it curiously sounded the most "modern". Set in one continuous movement, a bit rambling and incoherent, this Capriccio must be great fun to play. The ensemble was led by Kristin Lee, with Yura Lee (in deep lilac) joining the evening along with her fellow violist Matthew Lipman, Timothy Eddy (cello) and Mssrs. Weiss and Meyer.
Rich textures, anchored by Mr. Meyer's deep-purring bass, moved from tempo to tempo, and mood to mood with a seeming lack of a reliable roadmap. This made for a musical adventure, to be sure, most notably when everyone onstage began tapping their strings. Discord springs up, and suddenly Kristin Lee's violin seems to meow. What hath the Mad Mantuan composer wrought? In the end, it's hard to describe except to say: it was lots of fun.
Above: flautist Adam Walker, photographed by Christa Holka
Giuseppe Sammartini's Concerto in F-major for Flute, Strings, and Continuo brought Adam Walker back to delight us with his limpid, colourful fluting. The proverbially tall, dark-bearded, and handsome Mr. Walker, eyes aglint, is as pleasing to watch as to hear, for his music-making and his persona are all of a piece. Joined by Mr. Barnett-Hart, Ms. Kavafian, Yura Lee, Estelle Choi, and Mssrs. Meyer and Weiss, Mr. Walker's deftness of technique and his striking ability to hone his tone down to a gossamer thread intrigued us.
Following a charming Allegro, the Largo's wistful theme, heard over a sad and slowly lilting accompaniment, sent Mr. Walker's melodious sound serenely into the hall, with his phrases subtly and beautifully turned. An elegant cadenza was movement's the crowning touch. In the concluding Allegro assai, the flautist's florid passages were so alive and fell so graciously on the ear.
For the concert's grand finale, what could better serve than Antonio Vivaldi's weather-appropriate "Winter" from The Four Seasons (1725)? Ani Kavafian took center-stage, looking petite but playing large, relishing every bar of this fine and familiar music. The beloved violinist dazzled in the virtuoso passages, and brought her sweetest tones to the Largo, where her colleagues - playing pizzicati - created a really lovely.
The concert seemed all too soon to be drawing to its end; and here I must again commend Kenneth Weiss and Edgar Meyer for their invaluable playing. As Ms. Kavafian led the Vivaldi to its virtuosic conclusion, a feeling of grace and goodwill filled Alice Tully Hall.
~ Oberon