Ronen extends long history with expanded artistic direction
"Galore" is one of those odd adjectives that's always used postpositively, instead of in front of the noun it modifies (like "attorneys general," though some no longer consider "attorney generals" a mistake).
"Galore" is from the Irish and it means "abundant" and "plentiful," so let's concede that three quartets making up a full concert program are enough to justify the title "Quartets Galore." It opened the Ronen Chamber Ensemble's 2023-24 season Monday night at the Indiana History Center.
And, if you'll forgive the pun, I intend to post positive thoughts here about the performance I heard. Music-lovers who missed it ought to put a repeat of the program on their schedule: October 30 at Second Presbyterian Church.
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| Gregory Martin talks about Schumann at "Quartets Galore." |
For the season launch, the flutist and oboist's Indianapolis Symphony Orchestra colleagues Li Li, viola, and Sam Viguerie, cello, fill out the personnel, along with violinist Park. Howlett gets a showcase in the Flute Quartet in D major, K. 285; Christen is first among equals in the Oboe Quartet in F major, K. 370.
After intermission, Martin and the three string players brought the small audience to its feet with their performance of Schumann's Piano Quartet in E-flat major, Op. 47. The first movement was played with authority and conviction, spearheaded by Martin. The second-movement Scherzo pattered along brightly, perhaps too brittle in sonority despite its coordination. The lyrical third movement stood out for me because fine cello and viola melodies gave the audience a chance to appreciate two ISO players that are familiar only as section players.
A sweet ensemble sound brought it to a close, with the energetic finale ensuing. Both stately and exuberant, this performance brought to my mind for the first time suggestions of the Handel chorus style, with brief phrases in assertive imitation of one another, and their overlay balancing tension and release. Had Schumann been studying the great Saxon's oratorios during his chamber-music year (1842)?
Martin gave brief oral program notes that built anticipation well. In a similar manner, Howlett and Christen read program notes before the pieces that featured them. The flutist noted drolly Mozart's success in writing for the flute, despite a disdainful remark about the instrument in a letter to his father. What should be taken away from this famous dismissal is that Wolfgang's correspondence, in addition to its occasional vulgarity, took on the offhand conversational pitch of many letter-writers before and since. He said what he felt like saying, with little notion that posterity might be looking on. By their fruits shall ye know them, the Bible reminds us, and in the case of Mozart and the flute the harvest was pretty good.
The performance was blithe but never careless, and Howlett's phrasing was full, well-controlled and shaped appropriately. The strings maintained good rapport with him.
The more substantial piece that Christen played was delightful in this performance, not only for the lovely
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| Oboe quartet rehearsal: Jennifer Christen, Jayna Park, Sam Viguerie, and Li Li |
Adagio she drew attention to in her opening remarks, but also (and especially) for the strongly projected fast playing in the finale.
The movement swaggers into a tricky mixture of meters during one episode. It sounded in good shape among these four musicians and served the expressive whole well. It was virtuosity galore, you might say, to put a postpositive stamp on it.
[Photo credit: Ronen Chamber Ensemble]
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