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CHAMBER REVIEW

Academy of St. Martins in the Field Chamber Ensemble

OLD COMPOSERS INSPIRE A NEW OCTET AND RAVISHING PLAYING IN WEILL HALL CONCERT

by Sonia Morse Tubridy
Sunday, October 13, 2019

The Academy of St. Martin in the Fields Chamber Ensemble brought a program of provocative interest and beauty to Weill Hall October 13, giving an audience of 800 a musical afternoon to cherish. This ensemble draws musicians from the renowned chamber orchestra founded in London by Sir Neville Marriner in 1958 and currently led by virtuoso violinist Joshua Bell. It includes members from the orchestra’s principal players and is play-directed by violinist Tomo Keller. The program included a newly composed Octet and two beloved Romantic compositions by Brahms and Mendelssohn. 

Sally Beamish, a former Academy member, composed “Partita” for String Octet in 2019. It is inspired by Bach’s solo violin partitas and pays tribute to Handel and Mendelssohn as well as Bach. In some sense the whole program referenced Bach’s greatness and unequaled genius. The composer appeared on stage with the ensemble and gave an informative introduction and description of how she structured the movements of her partita. She explained that the tradition of a partita for a solo instrument worked for the string octet because such a group could “be seen as a single entity, almost like a bowed keyboard, as well as being an ensemble of soloists.”

The prelude first movement takes a five note fragment of Bach’s D minor violin sonata and weaves it throughout in polyphonic style. At first it is quietly mysterious, then gradually more agitated and complex until the instruments, having tossed fragments around, unite on a single note with tremolos. It was effective and intriguing.The fugue second movement is in eight parts and borrows, from Handel’s Oratorio Messiah, the motive “and he shall reign for ever and ever”. Mendelssohn used the same Handel motive, so Ms. Beamish pays tribute to Bach, Handel and Mendelssohn all together! This fugue starts in a high string range, continues into lush and lyrical harmonies and ends ethereally. The last movement is a Chaconne, eight variations with each player having a turn at being a soloist. The musical ideas borrow from Mendelssohn’s famous wedding march music, much disguised, with the instruments interacting energetically. Sometimes a little jazz energy is added into the mix. This composition, dedicated to the composer’s husband, was beautifully suited to the ensemble that commissioned it. Their playing was spirited and sensitive.

Next was Brahms’ String Sextet No. 2 in G, Op. 36. The opening Allegro non troppo juxtaposes wide open soundscapes with tight chromatic shifts. The musical figures evoke creation in all its splendor and mystery. Always present is the theme of separation and joining together, a natural flow of ecstatic virtuosity and intimate inner voices in duos, trios, and quartets. The rich varieties of tonal color were beautifully conveyed by this ensemble, sometimes sounding eerily like a pipe organ. The scherzo second movement is graceful and contains a raucous trio. The tender opening was played with great clarity, sighing and longing. The intricate rhythm patterns were clear and unforced, the brilliant playing by Mr. Keller swirled into a frenzy and then back to the darker colors.

The adagio movement was a set of variations, contemplative and introspective, often providing rich and vibrant pizzicato underpinning to soaring phrases. The final movement (poco allegro) was joyful. It drew upon the vivacious bubbling joy that Brahms often brought to his major key music. The fugal section initiated by the violinist Jennifer Godson was upbeat and featured Hungarian rhythms. This Brahms sextet is one of the treasures of the repertoire and was played with many nuances and layers of musical elegance.

The audience returned from intermission for the much-loved Mendelssohn E-Flat Major Octet, Op. 20, a remarkable piece composed at the age of sixteen. Youthful excitement permeates this octet which has the variety of chamber music and orchestral music in coexistence. The allegro moderato ma con fuoco was full of excitement, optimism and moving from sorrow into joy. The string intonation was accurate and inner instrumental rhythms were intricate and convincing. The concerto-like first violin part led by Mr. Keller was expressive and at times dazzling. The andante was played with delicacy and many subtle shadings, and full of endearing playfulness.

The scherzo brought us Mendelssohn’s signature of dancing spirits - quiet, quick and clear, with the power of string pianissimo. The playing was full of humor, and sporadically chuckles were heard from the audience. The final exuberant (presto) movement was riveting in its speed, precision, and drama, and sometimes melodramatic power.

The concert had been postponed for two years because of the 2017 fires and therefore seemed all the more poignant. At the conclusion the audience gave the performers a long and appreciative ovation. 

Nicki Bell contributed to this review.