Tag Archives: Rota

VentiCordi Explores the Unusual

VentiCordi
Studzinsky Recital Hall, Bowdoin College
Oct. 29, 2016
by Christopher Hyde

While the musical avant garde set off in various directions, some rewarding and some not, many composers continued to write good, solid and interesting music in traditional forms, while also taking advantage of what Schoenberg called “the liberation of the dissonance.”

Last night’s concert by VentiCordi (wind and strings) at Bowdoin’s Studzinsky Hall, provided substantial proof of just how rewarding this style of music can be. All of the works were thoroughly enjoyable and some broke new ground with old tools, like St.-Saens. It is doubtful that anyone in the audience had heard these works before, but they were all readily accessible, beginning with a fine Trio for Flute, Oboe and Piano by British composer Madeleine Dring,(1923-1977) who wrote it for her husband.

It explores (very) close harmony between the woodwind instruments, and their subtle differences in timbre. One sometimes felt that the oboe became less “reedy” in close collaboration with the flute. It was given an outstanding performance by Bridget Convey, piano, Sarah Brady, flute and Kathleen McNerney, oboe.

McNerney appeared again, with noted double bass player William Blossom, in “Three Songs for Oboe and Double Bass, after poems by Pablo Neruda,” by Andrea Clearfield (b. 1960). The combination of instruments, as unusual as it is, was ideal for exploring the interplay of male and female as portrayed in Neruda’s erotic poems: “Body of a Woman,” “The Light Wraps You,” and “Every Day You Play.”

Erwin Schulhoff (1894-1942), who died of tuberculosis in a Nazi concentration camp, was once known for a relatively few works and the tragedy of a career cut short. Now that more of his compositions have been uncovered, he seems rather like Prokofiev, both daring and playful. As VentiCordi co-founder, violinist Dean Stein, said in opening remarks, Schulhoff wrote a piano piece consisting entirely of rests and indications, long before John Cage’s “4-33.”

His Concertino for Flute, Viola and Double Bass, played by Stein, Brady and Convey, sounded a bit like Prokofiev, without the Russian influences, especially in the comically quick-step Rondino that ends the work, in which the flautist switches to a piccolo for the final squeak.

I had heard the “Schilflieder” (Songs of the Reeds) for Oboe, Viola and Piano of August Klughardt (1847-1902) once before and remarked that it sounded like Brahms after one too many steins at the Red Hedgehog. Convey muted the piano part a bit this time, for a better balance of the parts, and a more lyrical, less bombastic, feel. No matter how interpreted, it is a thoroughly enjoyable piece of late Romanticism, full of Brahmsian harmonies and gentle melancholy.

The Trio for Flute, Violin and Piano (1958), that ended the program, was a virtuosic tour de force by Nino Rota, composer of the first two “Godfather” scores. Not very emotionally moving, without the images on the screen, but exciting throughout, concluding with a fantastically rapid Allegro vivace con spirito.

The program will be repeated Sunday, Nov. 6, at 2:00 pm. at Woodfords Congregational Church in Portland.