March 13, 2013

This Year’s Concerto Winners Perform With Princeton University Orchestra

One thing the Princeton University campus has no shortage of is talented student musicians. In the second performance of concerto winners this season (winners of the 2013 Concerto Competition), the Princeton University Orchestra presented a concert this past weekend of two student pianists and a bassoonist who demonstrated the ability to maintain a high level of performance throughout an entire concerto. The three soloists — pianists Paul von Autenried and Jeff Li, and bassoonist Louisa Slosar, no doubt have been heard in smaller venues on campus (and in Ms. Slosar’s case within the University orchestra), Saturday night’s performance (the concert was also presented Friday night) in Richardson Auditorium placed these three individuals front and center with an audience thrilled with every note coming from the stage.

Freshman Paul von Autenried has not been on the University campus long enough to decide a major, yet his keyboard skills and intelligent exuberance at the piano place him way beyond his academic grade. Mr. von Autenried’s concerto with the orchestra was Bach’s Concerto No. 5 in F minor, BWV 1056, a work composed for the harpsichord, but Mr. von Autenried’s interpretation on the piano brought out drama which Bach may well have intended but did not have the instrumental technology to achieve. Conductor Ruth Ochs led a small orchestra accompanying the concerto, which Mr. von Autenried opened with dynamic effects difficult to realize on a harpsichord, with a cleanly ornamented line in the right hand and even running notes. Throughout the work, Mr. von Autenried clearly enjoyed playing, always in control of the music and communicating well with Ochs.

The second movement Largo provided a delicate melody against pizzicato strings providing a typically Bach “walking” bass. Mr. von Autenried found a great deal of expression in the music, always playing with a bit of a smile which permeated what was coming from the keyboard. Strings and piano came together for a lively third movement Presto full of well-executed running notes in the left hand of the solo part.

The other pianist featured on the program, senior Jeff Li, brought a seasoned performing background and four years of varied University musical experience to his interpretation of Beethoven’s Piano Concerto No. 1 in C Major. Mr. Li’s University musical background ranges from the Princeton Composer’s Collective, to the Opera to the Laptop Orchestra. This broad approach to music, as well as clean technical proficiency, enabled Mr. Li to find the breadth of musical innovation into which Beethoven was just beginning to tap when he composed this concerto.

Conductor Michael Pratt opened the symphonic extended orchestral introduction in a crisp Viennese style, and Mr. Li began the solo line gracefully, effectively bringing out the sforzandi of the first movement. A smoothly rolling left hand marked a more lyrical section, and Mr. Pratt returned to the opening statement boldly. Mr. Li’s cadenza to the first movement was a piece unto itself, clearly transcending the early 19th century with its length, drama, and improvisatory nature. Mr. Li essentially toyed with the audience in extending the cadenza with dynamic variation and melodic force.

This was a substantial concerto for a college-age student, but Mr. Li had no trouble with the technical difficulties, musical stamina, or the elegance required to perform a Viennese work of this period. The closing Rondo was marked by chipper thirds and graceful arpeggios in the keyboard solo line against perfectly-matched flute scales played by Marcelo Rochabrun and a pair of oboes played by Katrina Maxcy and Alexa McCall.

The bassoon soloist for the evening provided a different musical experience than the two piano soloists, but showed no less stamina and command of technique. Sophomore Louisa Slosar has provided solos within orchestral works with the orchestra in numerous performances, but demonstrated the true range of her playing in Antonio Vivaldi’s 18th-century Bassoon Concerto in E minor. Vivaldi wrote close to forty concertos for the bassoon, yet one does not often hear this instrument in a substantial solo work. Under the leadership of Ruth Ochs, the strings allowed the music to essentially play itself, while Ms. Slosar offered seamless yet difficult coloratura lines with ease. Ms. Ochs cleanly played the harpsichord to accompany the solo bassoon, as Ms. Slosar played the long melodic lines with musical direction and sensitivity.

Mr. Pratt brought the full orchestra together for the closing excerpts from Richard Wagner’s Tristan und Isolde, eliciting a full and rich sound among a large group of winds. Clean horns and especially lush lower strings provided a contrast to a light timpani accompaniment by Karis Schneider and wind solos by clarinetist Ryan Budnick and oboist Bo-Won Keum. From light airy Baroque to opulent 19th century, this concert not only brought out students in droves to support their own but also community residents supporting a University orchestra always playing at a high level.