February 27, 2024
McElreath Hall, Atlanta History Center
Atlanta, GA – USA
David Coucheron & Justin Bruns, violins; Zhenwei Shi, viola; Khari Joyner, cello; Elizabeth Pridgen & Julie Coucheron, piano.
Robert SCHUMANN: Fantasy Pieces
Florence PRICE: Adoration
Antonín DVOŘÁK: Slavonic Dances, Op. 72, No. 2 & Op 46, No. 8
Johannes BRAHMS: Hungarian Dances, Nos. 1, 5 & 6
Samuel COLERIDGE-TAYLOR: Piano Quintet in G minor
William Ford | 28 FEB 2024
Last evening, I was driving to see and hear the Georgian Chamber Players in concert at the Atlanta History Center’s McElreath Hall, looking forward to experiencing this wonderful assemblage of musicians in an unfamiliar space, at least to me. I was listening to my favorite classical music station (KVNO, from Omaha), and they were playing Dvořák’s Slavonic Dance No. 2 in a full orchestral version. I knew I would hear the same piece as a piano duet in a few minutes, so it seemed fortuitous.
I walked into the auditorium, and several things struck me within seconds. First, the space is simple, luxurious, and decorated in pleasant shades of blue. Second, the stage is elevated about six feet from the auditorium floor, putting about half of the rows below it; thus, half of the audience would be looking up at the performers. Third, and most important, was the sound deadening in the room.
With ample sound insulation on the walls, plush carpet, and a velvet proscenium curtain, noise from the adjacent lobby disappeared; they were absorbed by the almost anechoic properties of the auditorium. I realized that this extraordinarily dry acoustic was in marked contrast to Spivey Hall, where I attended another recital over the weekend.
Such an acoustic puts the spotlight on each performer during a performance. Every breath, every bowing error, every out-of-tune note will be heard. Instruments will not blend absent some reverberation. Further, every noise in the audience, such as an errant smart watch alarm, infant whimper, or whispered conversation, will be enhanced and focused.
So it was throughout the performance, and with the stage being so high, much of the music will float above the audience’s ears. But the auditorium was designed to flatter the human voice, and so it did.
The concert began with a brief introduction to the music by pianist Julie Coucheron. She noted that the program was designed with Black History Month in mind; it included works by two Black composers- American Florence Price and Englishman Samuel Coleridge-Taylor. She also recounted how she first encountered the latter’s music and initially guessed it was by Brahms. (More on that in a bit.)
The program began with Robert Shumann’s Fantasy Pieces for viola and piano (1849). Ms. Coucheron was joined by violist Zhenwei Shi. Three pieces comprise the entire work: the first is labeled “Tender with expression,” the second “Lively, light,” and the third “Quick, with fire.” The titles aptly describe the music; the work is Romanticism honed to fine art.
Violist Zhenwei Shi and pianist Julie Coucheron perform Robert Schumann’s “Fantasy Pieces” at the Atlanta History Center. (credit: Niki Baker)
Ms. Coucheron is usually a bold pianist, but here, her instrument (a Steinway Grand) sounded reticent and restrained. Mr. Shi’s viola was rich-sounding, but it was as if each musician was in a sound isolation booth — their instruments had no blend. Mr. Shi’s breathing was audible throughout the performance, and his viola seemed out of tune during the work’s climax.
Next was Florence Price’s Adoration, featuring Elizabeth Pridgen on piano and Mr. Shi again on viola. Price’s output is experiencing a well-deserved renaissance, and her music is being heard with greater frequency. Interestingly, much of her music was “lost” until 2009, when many of her works were found in an abandoned house in Illinois.
Price originally wrote this piece organ, and it has been arranged for various instruments since its publication. Adoration seems much like a fantasia, with the solo viola playing themes over piano accompaniment. It is pleasant and simple music. The same acoustical problems were apparent here, but both musicians played superbly.
Next were two collections of dances for piano four hands, played by Ms. Coucheron and Ms. Pridgen. The first set was from Dvořák’s Slavonic Dances (Op. 72, No. 2 and Op 46, No. 8). The second set was from Brahms’ Hungarian Dances (Nos. 1, 5, and 6). These oft-played dances, usually in orchestral arrangements, are staples of pop concerts and classical radio. Most audience members likely knew this music, and many were bobbing their heads or tapping their feet along with the beat of the dances.
This piano duo has been playing together for many years, and it shows. They share the keyboard with enthusiasm, and they know how not to get in each other’s way! Both are big players, but some of the robust sound they can generate was lost in this setting.
The final work on the program was Samuel Coleridge-Taylor’s Piano Quintet in G minor. Joining Ms. Coucheron were violinists David Coucheron and Justin Bruns, Mr. Shi on viola, and cellist Khari Joyner. Like Price, Coleridge-Taylor’s work is being played more frequently and for good reason. He was a skillful composer who spent most of his life in poverty, partly due to his giving up ownership of some of his works. He was famous during his lifetime and toured the US three times.
It is easy to hear the influence of Brahms in his music. It is full of rich thick harmonies a la Brahms and shows some melodic invention. I am reminded of composer Mathew Sheerin saying that he himself could write like Brahms up to about 80%; the remaining 20% was what made Brahms great. The same might be said of Coleridge-Taylor, whose melodic skills were not in the same league as his inspiration.
Nevertheless, the Piano Quintet is exciting; the “Scherzo” third movement does seem to draw directly on the energy and structure of Brahm’s Hungarian Dances.
Georgian Chamber Players perform the “Piano Quintet in G minor” by Samuel Coleridge-Taylor. (credit: Niki Baker)
In this performance, violinists Coucheron and Bruns did some wonderful unison playing. Their precision was remarkable and probably arose from their years of being standmates at the Atlanta Symphony Orchestra. Shi can make his viola sing, and Joyner knows how to draw out a musical line. However, the acoustics were devastating to this performance. The finale was so uncharacteristically strident (especially Coucheron’s violin) that it caused me to wince.
I admire that the Georgian Chamber Players choose to play in diverse venues around the community to ensure that Atlantans can hear quality music close to where they live. Usually, it works very well, but due to the strange acoustics of this hall, there might be better choices in the future. ■
EXTERNAL LINKS:
- Georgian Chamber Players: davidfinckelandwuhan.com
Read more by William Ford.
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