I was fortunate enough to catch the Boston Symphony Chamber Players in a performance this afternoon at the New England Conservatory’s exquisite Jordan Hall. Andre Previn was a guest performer/composer, as they performed Previn’s Trio for piano, flute, and bassoon. Previn also featured on the Poulenc Sextet for piano, flute, oboe, clarinet, bassoon, and horn. Other pieces in the program included the Debussy Sonata for flute, viola, and harp and Brahms’ String Quintet No. 2 in G Op. 111.
The Previn trio was surprising — it was my first encounter of the BSO doing anything modern — Previn wrote it in 1994, which is safe to call modern. The movement tempi are aptly updated in modern English: they are named Lively, Slow, and Jaunty, and the musicians were quite true to the composer’s direction. Featuring a piano, oboe, and bassoon, it was the first time I had heard this variation of a piano trio. It’s stunned me to hear, for the first time, the similarities of tone present in the bassoon and a cello. While there are obvious differences in string vibration and resonance, it was still an appropriate sound. An oboe as a substitute for the violin was far less appropriate but not unheard of. (The flute is another poor sub for the violin.) The performance itself was different, and interesting. It was clear that Previn has a sense of humor – definitely a treat to catch him in performance.
While mildly surprised by my enjoyment of the trio, I cannot say that I was very happy with either the Debussy trio or the Poulenc. I had a hard time dealing with the sounds, as I found the combination of sounds unpleasant. I found the combination of sounds on the Poulenc especially tiresome on my ears – perhaps I am not quite tuned for a combination of wind instruments playing constantly together. In the process of the Debussy, however, it was clear to me that violist Steven Ansell is incredibly talented. It’s sometimes difficult to hear violas in the full symphony, so it was nice to get a hint of Ansell’s virtuosic capabilities.
This was further evidenced by the Brahms String Quintet, in which the principals of the Boston Symphony Orchestra were all on stage for this stellar performance. Concertmaster Malcome Lowe, along with Assistant Principal Violinist Halden Martinson, Cellist Jules Eskin, and Cathy Basrak rounded out the quintet. Each member of the group shone, though I admit that I was focused on Lowe, Eskin, and Ansell primarily. Ansell had a moving solo during the Adagio, I believe, that reminded me what it was about the richness of the viola that has always intrigued me as a violinist. Rhythmically the quintet tackled several tricky passages with grace. These five voices were singing in harmonic unison – in its marvelous simplicity, the form of a small ensemble was almost entirely capable of capturing the grandeur of the larger symphony. Their performance, with near perfect execution, reminded me of yet another Brahms that I found that I enjoy tremendously.
While I had to wait patiently through the Debussy and Poulenc, I was treated with a gem of the Brahms that I’m very much hoping was recorded this afternoon, as I am already missing it as if I’ve known it forever.
