Olmos Ensemble
In elegantly crafted new Lyric Quintet, Ross
extends neoclassical, neoRomantic traditions
May 22, 2009(The linked sound files require Quicktime player. If it's not already on your computer, you may download it free here.)
The Olmos Ensemble’s closing concert of the season, April 28, coincided with Jon Nakamatsu’s Tuesday Musical Club Recital. A metaphorical coin toss sent me to the latter, but John Carroll’s excellent live recording of the Olmos concert landed in my mailbox the other day.
This is not, strictly speaking, a concert review, which would require my physical presence, but William James Ross’s new Lyric Quintet for oboe and strings is too fine a piece to go unnoticed. The Ross premiere was the zenith of a program that also held works for solo wind instrument with strings by the 20th-century Frenchman Jean Francaix and late-18th century contemporaries Francois Devienne and Giovanni Punto.
Ross’s Lyric Quintet, in four compact, neatly structured movements, draws equally from the neoclassical and neoRomantic traditions of the early 20th century, though Ross brings some distinctive melodic turns and crunchings of rhythm here and there. The harmonic idiom is broadly modal, sometimes recalling Ravel or Vaughan Williams. Ross deploys enterprising and delightful counterpoint in lively sections -- the second movement (Scherzo Polifonico) and the finale’s concluding fugue -- and sinuous, somewhat Italianate and deeply felt melodies in the opening Romanza, the third movement (Aria) and the slow introduction of the finale. Apart from a momentary loss of focus in the middle of the Romanza, the music always has a clear sense of direction, purpose and dramatic arc. It is a pleasure to hear, but it also rewards close attention. It gives each of the five players a juicy part, and they responded with a superb performance. Mark Ackerman was the oboist, and the string quartet comprised violinists Matthew Zerwick (listen to his intensity and polish near the end of the fourth movement’s introduction) and Renia Piotrowski-Shterenberg, violist Matt Diekman and cellist Trevor Fitzpatrick.
To judge from the recording, clarinetist Ilya Shterenberg was a deliciously spirited, insouciant soloist in Francaix’s Quintet for clarinet and strings. Bassoonist Sharon Kuster delivered her customary elegance and singing line in Devienne’s Quartet in C, Op. 73, No. 1. Hornist Jeff Garza displayed commanding technique in Punto’s Quartet, Op. 8, No. 1. The aforementioned string players were splendid partners throughout.
Mike
Greenberg
