Canta Libre Chamber Ensemble (5/5/13)

This was a delightful program with Francisca Mendoza (violin), Veronica Salas (viola), Bernard Tomosaitis (cello), Karen Lindquist (harp), and Sally Shorrock (flute). The entire quintet played most of the works but there was also a variety of other groupings.

The Program

Cinq Sonates de Domenico Scarlatti (Alla burlesca, Andante mosso, Vivacissimo, risoluto, Pastorale, Vivo), Jean Francaix (1912–1997); Claire de Lune, Claude Debussy (1862–1918), arr. by Brian Noel; Prelude, Marine et Chansons (Ben moderato, Adagietto, Allegro giocoso),
J. Guy Ropartz (1864–1955); Deux Interludes (Andante Espressive, Allegro Vivo), Jacques Ibert (1890–1962); Passacaglia on a Theme by G.F. Handel, Johan Halvorsen (1864–1935); and Suite of Five Dances (Passepied-Promenade, Minuet, Samba, Waltz, Country Reel), Michael Amorosi (1947–2000).

The Francaix’s movements were (1) cheerful, slightly frisky, (2) chorale like—sober but not somber, (3) perky, with a sort of holiday vibe, (4) gentle and charming, and (5) pleasant. This work, and the entire afternoon, was generally very tonal with music that was fun to listen to. Clair de Lune, sans harp, was a nicely lush arrangement that didn’t go overboard at all.

The Ropartz had a rolling, forward movement feeling without being too frantic. In the second movement, there was a hint of darkness/danger followed by a return to lightness. The third movement had fragments of sea shanties, and a slightly spikier feeling that I bet seemed trés moderne to the original audiences.

The Ibert was a flute, harp, viola trio that had good interplay between the instruments. I especially liked the way that most of the phrases and sections ended fully, without fading away. The second movement had very rapid playing for harp and viola, then for the flute as well. There were also some Spanish influences toward the end.

The Halvorsen was a violin, cello duo, with a dramatic opening, shifting phrases, and variations being tossed back and forth. Though there was bravura writing and playing, this piece was not really my favorite of the afternoon.

The Amorosi dances were, respectively, (1) bright and brisk, but not taken too far;
(2) classical in form with sweet phrases; (3) driven by a Latin beat provided by pizzicato cello—no bow used throughout—themes with a Latin flair, and a nice flourish to end with;
(4) dreamy via themes at the opening and, per spoken program notes, bittersweet, brief, and pretty; (5) providing an almost-perpetual-motion feel, perking along but also with a few more relaxed moments along the way.

Throughout the afternoon, I really did get a chamber music feeling—these players were attuned to each others’ rhythms and performances. The concert was a great combination of instruments and a nice combination of pieces—some similarities but with the right touch of variety.

ConcertMeister