Richardson Chamber Players is moving into its second decade, and the ensemble has settled into a smooth-running chamber music machine. Sunday afternoon’s performance at Richardson Auditorium reaffirmed the ensemble’s mission to present, as co-founder Michael Pratt described, “Unique pieces that are well-known but rarely heard live.”
The Chamber Players devoted the first half of Sunday’s concert to the late 18th and early 19th century. The chamber music of Wolfgang Amadeus Mozart is well-researched and performed, but the early 19th-century Italian guitarist and composer Mauro Giuliani (who had almost as short a life) is a little-known treasure in chamber music repertory. Giuliani was considered a virtuoso in his time, joining a rich musical tradition and history when he moved to Vienna in the early 1800s. Giuliani’s Gran Duetto Concertante for Flute and Guitar, Opus 52 was full of the light and crystalline clarity of the late Classical era, and one can easily envision listening to this work in a Viennese salon or outdoor concert. Guitarist Laura Oltman and flutist Jayn Rosenfeld maintained a consistently crisp dialog, with both instruments speaking very clearly in the hall. When accompanying, Ms. Oltman’s guitar chords were supportive of the lyrical flute melody, and Ms. Rosenfeld varied sequential passages well in dynamics. The third movement in particular resembled a youthful Mozart, with precise dotted rhythms in the flute and extremely quick fingering from both instruments.
Mozart’s Quintet for Piano and Winds in E-flat Major, K. 452 was called by the composer the “best thing I’ve ever written,” and came during his highly prolific decade of the 1780s. In this work Mozart experimented with innovative forms of instrumentation, compositionally pairing up oboe, clarinet, bassoon, and horn in different combinations to create a wide range of sonorities. Oboist Matthew Sullivan and bassoonist Robert Wagner sat across from clarinetist Jo-Ann Sternberg and hornist Chris Komer, passing musical thoughts and melodies across and diagonally to one another, all ably accompanied by pianist Margaret Kampmeier.
Throughout the three-movement work, the instrumentalists punctuated the piano phrases well, as Ms. Kampmeier conveyed fluidity from the typically Mozartean piano accompaniment. Mr. Komer provided consistently clean and solid horn playing, and duets among all the instruments were well timed and lyrical. There did not seem to be a real leader among the players; they all seemed to work together with ease. By the 1780s, Mozart had many coloristic choices in continually evolving orchestra instruments, and unique sonorities continually held the audience’s attention, especially delicate passages from the flute and upper register of the piano, and oboe and clarinet colors that were almost interchangeable.
A short but jewel-like piece allowed Ms. Oltman to show the full range of the guitar, playing Francis Poulenc’s Sarabande for Solo Guitar with every note resounding in the hall. This 1960 work, composed a few years before Poulenc’s death, incorporates early 20th-century impressionism into a 17th-century form. Using the slightest amount of vibrato, Ms. Oltman brought out both melody and poignancy. Poulenc’s Sextet for Winds and Piano, composed significantly earlier than the Sarabande but far more complex, seemed to divide the participating instruments into two forces — flute and oboe versus clarinet, bassoon, and horn, all again accompanied by Ms. Kampmeier. When playing together, the instrumentalists’ collective sound was jarring, and the players brought out a great deal of drama from the work. Both bassoonist Mr. Wagner and hornist Mr. Komer provided very lyrical melodies, while flute and oboe passages in thirds from Ms. Rosenfeld and Mr. Sullivan were haunting in sonority. This three-movement piece covered a wide range of moods, with the six players working together well to shift musical gears quickly.
Richardson Chamber Players seems to have programmed the current season around musical “treasures” and “jewels.” The roster of players who comprise this ensemble are no doubt enjoying this season’s journey into the more unknown chamber works in the repertory.
Richardson Chamber Players’s next performance will be on Sunday, March 1, 2015 at 3 p.m. Titled “Pierrot’s Stage,” the concert will feature Schoenberg’s “Pierrot Lunaire,” and other chamber works. For information visit www.princetonuniversityconcerts.org.