DaPonte String Quartet
25th Anniversary Concert
Studzinski Hall, Bowdoin College
May 18, 2017
by Christopher Hyde
I don’t know whose idea it was, but getting pianist Awadagin Pratt to play quintets with the DaPonte String Quartet for its 25th anniversary celebration was a stroke of genius.
A full house at Bowdoin’s Studzinski Recital Hall was treated to two masterpieces of the genre—the Dvorak Quintet for Piano and Strings in A Major, Op. 81, and the Brahms Quintet for Piano and Strings in F Minor, Op. 34.
The DaPonte was its usual energetic and thoughtful self, alternating between Ferdinand Liva and Lydia Forbes at first violin in the Dvorak and the Brahms respectively. Pratt, however, was phenomenal.
He was the first student at Peabody Conservatory to receive diplomas in piano, violin, and conducting, and it shows. There could not be a better partner for any string quartet. He is a virtuoso when needed and an equal partner at other times, with an uncanny ability to blend in, as if the piano were another stringed instrument. Above all, he listens.
Watching him at the keyboard, I thought immediately of Brahms, thinking through a multitude of permutations and dictating his comments from the piano. All that was needed was a cigar for the resemblance to be perfect.
Either one of the quintets could have degenerated into a piano concerto at any time, but Pratt never let that happen, even in the concluding movement of the Brahms, where there is an explosive passage that outshines, in terms of pyrotechnics, most codas in the concerto literature.
The two works on the program are very different.The Dvorak, which began the celebration, is the quintessence of melody, beginning with a ravishing first theme and never letting up. The Dumka was particularly fine, a reverie with fleeting images of past delights, all perfectly characterized.
The Brahms is more thoroughly composed, building on motifs rather than long-limbed songs, but equally effective and even more passionate. If there were balance issues caused by substituting a Steinway grand for a Graf wooden-framed piano (for which the quintet was composed) I could not hear them.
The most exciting section of the Brahms quintet was the Scherzo: Allegro, a tribute to Robert Schumann in the form of a ferocious march with cross-rhythms that could be one of the older composer’s odes to the Davidsbundler.
The concluding movement begins with a dirge-like theme which soon gives way to the triumphant piano part mentioned earlier.
Both performances received well-deserved standing ovations with unexpected cheers and whistles.
Must be something in the air section: In its July concert series, the DaPonte will play Samuel Barber’s Adagio for Strings, recently performed by the Portland Symphony Orchestra, while the August series will showcase soprano Kate Aldrich (who recently sang at a gala for Opera Maine) performing Dover Beach, featured at another gala for the Portland Chamber Music Festival. For details of these concerts, go to www.daponte.org.