Violinist Daniel Hope

NEW CENTURY'S BRILLIANT STRING PLAYING IN WEILL

San Francisco-based New Century Chamber Orchestra has a long relationship with North Coast audiences, and Jan. 18 found their 18 musicians again in Weill Hall before an audience of 350, presumably mostly string afficionados.

Pianist Inon Barnatan joined the ensemble in C.P. E. Bach D Minor Third Keyboard Concerto, H. 420, originally written for the harpsichord but here splendidly played on the Hall’s concert piano. It received a brisk Haydnesque reading over 21 minutes. The use of a piano solo instrument in a large hall was needed, but with the pianist using ample damper pedal, his quick runs and trills were often muddy with unclear articulation.

The performance’s highlight was the fetching Adagio movement, the dynamic’s contrasts subtle and the phrasing achingly lovely, led by director/violinist Daniel Hope in perfect rapport with Mr. Barnatan. The concluding Allegro rolled on forcibly and a surprising dry pianistic touch. There was a slight menace that crept into the music, and a slight pause before the finish that heightened the drama. It was possibly a North Coast premiere of this beguiling work, revelatory in this rare performance.

From another musical world, Shostakovich’s C Minor Concerto from 1933 was preceded by Mr. Hope’s educational and brief spoken introduction and spotlighted the composer’s contrasting sardonic wit and lyricism over 21 minutes of novel music. The acerbic Allegro moderato featured Mr. Barnatan’s long swirling phrases and lots of potent octaves. Brandon Ridenour’s solo trumpet line easily cut through the string ensemble sound. In the second movement the pianist, playing without score, presented the inspired main theme with a lovely keyboard touch.

All through these movements Mr. Hope and his strings had superb dynamic control with pianissimo, shadowing the (muted) trumpet line and Mr. Ridenour’s long phrases in a slow waltz Lento ending. Trumpet Split or double tonguing was heard in the fast tempo Moderato movement, bouncing off the ever-present solo piano part.

The work closed with playing that was noisy, raucous at times, and always exciting. Mr. Barnatan’s playing featured rapid skips and scales, little off-beat accents and surprising volume in the top reaches of the piano. It was a brilliant interpretation that generated an explosive standing ovation.

Following intermission Bartók’s String Orchestra Divertimento occupied for 27 minutes the entire second half. It was a tour de force in luxurious string sound, low surging rhythms always in evidence. Here as before the players, save the cellists, stand and Mr. Hope moved to deftly supply cues with his bow and eyes. References to the composer’s fourth and fifth string quartets were heard.

The Molto Adagio was played with mutes and was lugubrious, the long climaxes, double stops and menacing string trills chilling. Slashing attacks and a short fugue characterized the concluding Allegro
Another loud ovation was heard but the New Century offered no encore.