Olmos Ensemble
A Glazunov Idyll and a magnum of wit
November 8, 2011That Jean Françaix was a card. The French composer (1912-1997) was known for scattering huge dollops of wit and playfulness throughout many of his works. The Olmos ensemble presented one of his most delicious examples, Octuor (Octet for Winds and Strings), to conclude its Nov. 7 concert at the First Unitarian Universalist Church.
That is not to say that humor was lacking in Mozart’s Quartet for Oboe and Strings, K. 370, which was given an especially warm, sunny reading. And even though the opening Alexander Glazunov “Idyll" for horn and strings was wholly graceful and serene, with no funny business, we know that in other works he often showed an impish side. “Thoughtful and humorous” was the concert’s theme, which applied to both the program and its well-balanced, fluent traversal.
The excellent musicians included oboist Mark Ackerman, clarinetist Ilya Shterenberg, bassoonist Sharon Kuster, hornist Jeff Garza, violinists Sayaka Okada and Renia Piotrowsky-Shterenberg, violist Lauren Magnus, cellist Morgen Johnson and bassist Zlatan Redzic.
All held forth in the Françaix, a score whose demands are deceptive -- a scherzo with themes that ping-pong about in various combinations, elaborate counterpoint , skittering passages, or a bassoon interlude that is downright funky. The final waltz movement was LOL funny, beginning elegantly, then whomping into an odd, slightly off-kilter dance reminiscent of Ravel’s chilling “La Valse.”
Mr. Garza and the string quartet delivered a vibrant, richly hued account of the Glazunov. Pastoral in flavor, it features an opening horn phrase, echoed by strings and repeatedly transformed before reaching a carefully sustained, tranquil climax, then reverses the process. Mr. Garza delivered a ripe, expertly controlled tone, nicely matched by the strings.
Mr. Ackerman was joined by Ms. Okada, Magnus and Johnson for an altogether charming view of the Mozart. The piece was written in 1781 for a prominent oboe virtuoso, Friedrich Ramm. It is, therefore, a showpiece with operatic style, the oboe offering aria-like material with strings responding or conversing similarly.
The reading was very expressive, by turns limpid, sprightly and, well, humorous. The musicians clearly were having fun, especially in the finale’s swirling oboe roulades and skipping, quasi-boisterous passages.
And, as in the past, Mr. Ackerman’s skill at circular breathing still boggles this non-reed player.
Diane
Windeler
