By Dana Abbott
ENSEMBLE MONTEREY opened its November program, “Songs for Winter,” with local oboist Peter Lemberg (pictured) performing the Oboe Quartet by James Chaudoir along with string players David Dally, Susan Brown and Margie Dally. The piece is built on astringent melodic fragments that resist resolving in a traditional manner. This was a score from a modern academic. In four movements, composed in the 1990s, its main interest comes from tempo and rhythm rather than varied harmony and tune. Lemberg was in full control of his part.
The modern, wispy melodic figures and tart harmony used by Chaudoir are similar to those of Samuel Barber’s 1931 setting of Matthew Arnold’s poem, Dover Beach, for baritone and string quartet. But Barber integrates and develops his materials in support of a more ambitious goal. (He was s a student at the time, and the piece was revised several times before its premier in 1933.) Barber later called the poem, “one of the few Victorian poems which continues to hold its stature; it is a great poem.” The soloist was Burr Cochran Phillips. His singing was clear with fine tone and superb enunciation in projecting text. His collaboration with the quartet, now with second violinist Shannon D’Antonio, was seamless and focused, fully realizing the intended chamber music intensity. Arnold’s image of a personal pursuit of center hold in a world that has “neither joy, nor love, nor light nor certitude, nor peace nor help for pain,” was captured in the controlled turbulence of Barber’s writing. The audience reacted warmly to this emotional center of the concert, a moment where a vivid text, an intense and evocative setting and powerful performance convinced many in the room that they were in the presence of a multifaceted masterpiece.
Vittorio Rieti was born in Egypt of Jewish-Italian parentage, later resulting in his emigration to the United States as the ominous 1930s became the 1940s. He studied under Casella and Respighi. His music is consistently neo-classical, which seems to have enjoyed a brief popularity post-World War I and a quick passing from the limelight. Rieti’s Partita for harpsichord, flute, oboe and string quartet dates from 1945. Its layout is traditional with five movements The music has recognizable themes, often with contrapuntal development and notes chasing each other about with drama and structure. Conductor John Anderson led the ensemble. This piece had charm, with modern tartness, moments of inventive tune and even humor. Vittorio Rieti is not in the first rank of popular concert composers yet this Partita displayed capable invention.
The inventive program, heard in Monterey, opened with three pieces written after 1930. It proceeded in reverse chronological order with the music of Handel from the 1700s with one short exception. From the beginning, a variety of styles and performers were in the “spotlight,” as Anderson put it.
Choral conductor Cheryl Anderson opened after intermission utilizing only Con Brio, a select group of teenage singers from her Cabrillo College Youth Chorus. Handel’s “O Lovely Peace” for female voices was performed well.
“Art Thou Troubled,” also by Handel, was performed SATB with the whole mixed chorus. Marta Keen’s Homeward Bound, a choral folk song features a heart-tugging lyric. Leah Zumberge supported the group at piano.
The final work was Handel’s “Laudate pueri Dominum,” from Psalm 113. (The program handout said Psalm 112.) Written in 1707 by the young German composer who moved to Italy seeking opportunity for opera commissions at a time when opera was banned in Rome. Romans still wanted vocal drama and Handel responded to demand for the large scale with this impressive oratorio on Latin text. Lori Schulman, Santa Cruz coloratura soprano, was the soloist, spinning out Handel’s copious melismas with fluid clarity and exquisite phrasing. Anderson’s chamber musicians provided a strong foundation. Zumberge was the harpsichordist and partnered often with Margie Dally on cello in continuo. Cheryl Anderson’s Cantiamo Cabrillo delivered the dramatic chorus work with sonorous accuracy. Handel divided the psalm into eight sections, a veritable catalogue of Italian musical forms for each. As an achievement of a 22-year-old, the piece is stunning, a precursor of wonders to come.
The program order had made its point. It started with modern, sometimes austere musical materials but ended with the warm choral display and harmony of an 18th century master which retains its richness for modern ears.