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CHAMBER MUSIC REVIEW
July 8, 2003
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By Nikki Buechler
Toward the end of his life, Johannes Brahms wrote two Sonatas for clarinet, Op. 120. These are not ordinary sonatas, where the pianist plays a supportive role to a soloist. The Sonatas may be better described as piano concertos with clarinet (or viola) accompaniment. Brahms was a large man, with large hands. Much of his piano music is literally out of reach for most people. These later works of his are as demanding as they could possibly be for the pianist, and not easy for the 'soloist' either. On Sunday, at Old First Church in San Francisco, the three members of Strata performed a collection of chamber works, all of which featured pianist Audrey Andrist. Strata chose to take on the beautiful and technically challenging Brahms Sonatas in their afternoon program.
It is difficult for a violist to admit, but hearing Williams and Audrist perform this sonata made it clear that the piano/clarinet instrumentation is how Brahms meant it to be played. Originally written for piano and clarinet, the viola adaptation was transcribed by Brahms himself, making the combination at least a close second. Their interpretations were sensitive and energetic. Even the dreaded introduction to the last movement, a lively, technically difficult piano opening, was attacked with energy and articulation. Her gestures were at times more like those of a hockey goalie making an impressive save than those of a musician performing a piece. Such was her reaction to the demands of this sonata and her ability to compensate for physical size.
A stunning musician with incredible dexterity, Andrist performed the first Brahms sonata, Op. 120 No. 1 in F Minor, with such sensitivity and clarity that the clarinet seemed to be carried as if on top of a cloud, the clarinet part weaving and floating in the atmosphere created by her touch. It was surreal. Clarinetist Nathan Williams produced such variations in sound that, with one's eyes closed, one might be convinced he was playing a trumpet in certain sections. He combines excellent sound and breath control with a good sense of what the music requires. The acoustics at Old First were truly perfect for this combination of instruments. With Williams positioned directly in front of the fully open grand, the two artists produced a clear, resonant sound that was tonally flawless and consistently beautiful. The conversational second movement literally brought a tear to my eye.
The highlight of the program was definitely the Brahms, sandwiched between pieces involving violinist/violist James Stern. Opening the concert was Benjamin Britten's Three Pieces, the March, Lullaby and Waltz, from Suite for violin and piano, Op. 6, with Stern on violin. Communication was not as secure between violin and piano as it was between piano and clarinet, possibly owing to positioning. With Stern standing behind Audrist (Williams was in front) they were unable to make the necessary level of contact. The sounds also did not blend as well as if he had been standing directly in front of the piano. Though Stern's playing is solid, it is difficult to imagine why he would perform on both violin and viola in the same program. Usually players decide between the instruments, since there are crucial, though subtle, differences involved in achieving characteristic sounds from each. The violin requires considerable finesse, as it reacts to nuances more readily than the viola. Stern's vibrato tended to be automatic at times and liberally applied, such that it was not of musical benefit in some passages. Though each note sounded beautiful, the overall phrasing suffered in these cases. Schuman's Märchenerzählungen (Fairy Tales) for clarinet, viola and piano, Op. 132 was affected by balance issues. Owing to the clarinet's ability to clearly penetrate all other sounds and the viola's tendency to do the opposite, the viola's sound and articulation were lost every time the clarinet was present. Alexander Arutiunian's Suite for violin, clarinet and piano worked better owing to the change in instrumentation, and this was a successful performance of this work. The group, in this format, worked best, with excellent communication and clear, resonant sounds.
(Nikki Buechler is a PhD student at the music department at Stanford University. She has a Master's degree from St Catherine's College, Oxford, and spent 5 years working as a viola player in chamber groups, orchestras and as an occasional soloist in London, England.)
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Strata