A. Allrich and A. Wang (A. Wasserman Photo)

SPLENDID ECHOES ACROSS THE BAY

In what is hoped not to be a permanent departure, ECHO Chamber Orchestra moved its concert Feb. 9 from the First Presbyterian Church in San Anselmo to St. Paul’s Lutheran Church in Oakland. The churches are similar, both having high vaulted ceilings and good acoustics. ECHO, led by musical director Daniel Canosa, performs each program only once, and is beloved for its blend of traditional favorites with contemporary works by local composers, often from its own players. Also ECHO seems to program more music by female composers than other Bay Area orchestras, and this concert was no exception.

Alexis Allrich’s composition “Canoeing Silver Lake” drew me in from the very first bars. Originally composed for string quartet, her piece was expanded for this performance to five violinists and pairs of violas, cellos and double basses. The music was fascinating, as mysterious as fog slipping over hills and buoyant as a cloud. Shimmering violins gave way to growling double basses and lyrical passages punctuated with arpeggios. A section whirled with perpetual motion, followed by a wistful melody and dance, all surrounded by minimalist repeated patterns. A warm bass line introduced a singing melody that morphed into emphatic dotted rhythms. Finally, a slow ascending arpeggio brought the piece to a close. While all the players excelled, Lewis Patzner’s solo cello stood out. Ms. Allrich, who lives in Oakland, was present at the performance and received warm accolades from the musicians and audience.

ECHO’s strings were joined by flutes, trumpets, French horns, clarinets, oboes, bassoons, timpani and glockenspiel for the world premiere of Ariel Wang’s “Integration.” Ms. Wang, an Oakland resident and a member of the orchestra, introduced her piece as “an integration of parts of myself.” She was a year old when her family immigrated from China to the United States and she grew up listening to Chinese music as well as European classical and American folk music, and viewed Chinese musical films with strong female leads.
“Integration” was an intriguing blend of West and East with its Chinese tonalities a large part of the charm. Carol Adee and Jane Lenoir’s flutes soared; Margot Golding and Emilia Lopez-Yanez’ oboes thrilled, and the trumpets of Brendan Wihelmsen and Sean Lane-Bortell brought everything together. Throughout, there were harmonic riches and compelling rhythms. When the piece concluded, the audience showered praise on the composer and players.

Clarinetist Kyle Beard was the soloist in Carl Maria von Weber’s gorgeous Concerto No. 1, Opus 73. In this opera-like composition, the clarinet plays all the roles. Mr. Beard played the dramatic first movement with emotion, introducing the soprano and tenor voices with fluidity and grace. The tender second movement (Adagio ma non troppo) was particularly eloquent. Horn players Beth Milne and Ruth Wilson excelled in their duets and in a trio with the soloist. The Rondo Allegretto dance-like third movement featured impressive scale runs by the clarinetist, and he can shape a note beautifully, making it thinner or fatter, and he was admirably supported by the orchestra. Of special note were bassoonists Jay Benson and Lynn Hileman, but all the instruments shone. When it was over, applause resounded through the church.

Last on the program was Schuman’s Overture, Scherzo and Finale, Op. 52. A somber overture with lovely streaming melodies, It brought to mind images of rivers that run almost without a ripple, encounter rocks, turn tumultuous, and finally tumble over a waterfall. The Scherzo Vivo second movement introduced a galloping rhythm threaded with horn calls and stunning woodwind passages and ended with a dazzling single note from the trumpet, like the pop of a champagne cork. The ultra-rapid last movement developed into a fugue and ended with what struck my ears as a patriotic hymn.

My only quibble was that the violin section lacked the thematic projection that could have come with more performers, but all in all this was an admirable performance, and the audience responded with enthusiasm.