November 16, 2024
Modern Art Museum of Fort Worth
Fort Worth, TX – USA
CMSFW Ensemble: Danbi Um & Paul Huang, violins; Paul Neubauer & Michael Klotz violas; Edward Arron, cello.
Antonín DVOŘÁK: Terzetto in C, Op. 74
Wolfgang Amadeus MOZART: String Quintet No.2 in C minor, K.406/516b
Ludwig van BEETHOVEN: String Quintet in C major, Op. 29 (“Storm”)
Gregory Sullivan Isaacs | 21 NOV 2024
Ever since its first performances in 1989, the Chamber Music Society of Fort Worth (CMSFW) has presented a fascinating series of concerts featuring some of the best artists the world of music has to offer. Currently under the artistic direction of the highly respected concert violinist Gary Levinson, this presenting organization continues to routinely fill the auditorium at the Modern Art Museum of Fort Worth for its concerts.
This Saturday afternoon concert was entitled “Unexplored Journeys”, although that moniker was a bit of a head-scratcher. There was little unexplored about the composers on the program, although two of the selections are not played as frequently as the third.
We heard masterworks by three household-name and oft-performed composers — Antonín Dvořák, Wolfgang Amadé Mozart, and Ludwig van Beethoven. Dvořák’s Terzetto in C, Op. 74 is less well-known than Mozart’s String Quintet No. 2 in C minor, K.406/516b and Ludwig van Beethoven: String Quintet in C major, Op. 29, entitled the “Der Strum” (“The Storm”). But, giving the concert’s title its due, the performances brought us on exploratory journeys through all three compositions.
Each artist on the program is internationally recognized and noteworthy, which created some buzz among music fans in the area. Noteworthy are the two excellent violists, Paul Neubauer and Michael Klotz, and the equally talented cellist, Edward Arron. All three have international credits, busy concert touring schedules, distinguished academic positions, and gobs of glowing reviews.
The two young violinists, Danbi Um and Paul Huang, are as well-known for the historically significant violins they play as for their spectacular technique and musicianship. Mr. Huang plays the most celebrated one — the “ex-Wieniawski” violin, made by Giuseppe “del Gesù” Guarneri in 1742. Ms. Um plays the older (1683) “ex-Petschek” violin, made by Nicolo Amati.
(Both instruments are beyond priceless and make for a savvy investment. They are always appreciating in value, insured to the gills, maintained by others, and made more and more famous by the activities of the entrusted artists.)
l-r: Danbi Um, Paul Neubauer, and Paul Huang. (credit: Alton Adkins.)
The program opened with Antonín Dvořák’s Terzetto in C, Op. 74, written for the unusual combination of two violins and one viola. This eliminates the need for a cello, which is present in the more standard string quartet. It is a charming work that received an excellent reading by three superb artists.
The first noticeable aspect of the performance was that all three performers had such a distinctive sound that they were easily recognizable in the texture of the sound. Further, the performance was so tightly precise and together that they sounded like an ensemble that frequently tours together.
The Terzetto was fiercely played throughout. The third movement actually had some pizzicati that would not have been out of place in Bartok. But it relaxed for a lovely reading of the third movement — marked dolce, molto espressivo (sweetly, very expressively). The last movement is a set of short variations. The performers hooked them together in a continuous stream instead of setting them apart, as sometimes happens.
Although rarely heard, probably because of the unusual combination, this Terzetto is certainly worthy of more frequent performances.
After the Dvořák, the ensemble launched into Mozart’s String Quintet. Mozart expands the more usual string quartet with a fifth player, another viola, which nicely fills out the texture by adding another middle voice.
Interestingly, this work was originally written for an eight-player wind ensemble — 2 oboes, 2 clarinets, 2 natural horns, and 2 bassoons. However, this version for strings is so successful that, on hearing it, the previous incarnation is hard to imagine.
The ensemble launched into the first movement with such vigor that you might have thought they had changed the program and were playing something by Beethoven instead. However, they relaxed for the lovely and more lyrical second movement, and Mozart reappeared.
Mozart shows off his counterpoint skills in the third movement, a Menuetto. The first section is a canon (the voices play the same tune, entering one after another — think “Row, row, row your boat”). The contrasting trio section is even showier. It is a double “mirror Canon” where the echoing voices play the subject upside down. The performance was so clearly played that these compositional complexities were easy for all to hear.
The final movement is a set of variations. Even though they address the theme quite freely, in the hands of this ensemble, they were also clearly discernible.
When Beethoven finally arrived with his String Quintet in C major, Op. 29, there was little doubt about the composer’s identity. This work is not performed as frequently as others from this time of stylistic transition to his middle period, such as his second symphony and his third piano concerto. The work gets its “storm” nickname from dramatic thunder and lightning effects in the last movement, created mainly by dramatic tremolos in the lower strings.
The two violin and viola players switched places from where they sat for the concert’s first half. Huang moved to the first chair from his earlier place as second violin, and Um moved to the second chair. The same switcheroo took place with the two violists. That was quite interesting for the audience because it allowed us to hear the considerable difference between the players.
Um was somewhat stronger in the first chair. But when Huang took his turn in the chair, he was subtler and sported a more mellow sound. However, Huang had some very minor intonation troubles. He was never actually out of tune but occasionally landed on the lower edge of the correct pitch. On the viola front, Neubauer was the more assertive player. But Klotz took better advantage of the soaring melodic materials when they were assigned to him.
l-r: Danbi Um, Paul Huang, Edward Aaron, Michael Klotz, and Paul Neubauer. (credit: Alton Adkins)
The first movement received a full-blown, almost symphonic reading, while the last, stormy movement received the afternoon’s most dramatic and exciting performance. However, the sensitive revelation of the second movement was the most memorable music of the concert. It was saturated with noble lyricism, tinged with a soupçon of sorrow, and caught the audience unawares.
It was a wonderful performance of the quintet, with the five players taking full advantage of Beethoven’s concise, dramatic, and brilliant writing.
The next CMSFW concert, on January 4, promises to be exceptional because it features the Johannesburg-born and much-lauded concert pianist Anton Nel. Equally in demand as a soloist in concerti, recital, and chamber music, Nel holds the distinguished Joe R. and Teresa Lozano Long Endowed Chair at the University of Texas at Austin. Not to be missed! ■
EXTERNAL LINKS:
- Chamber Music Society of Fort Worth: michellecann.com
- Danbi Um: danbium.com/
- Paul Huang: paulhuangviolin.com
- Paul Neubauer: spiveyhall.org
- Michael Klotz: carta.fiu.edu/music/michael-klotz
- Edward Arron: edwardarron.com
Read more by Gregory Sullivan Isaacs.
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