The graceful and effortless motion of birds taking flight and swirling upward into the heavens was artfully conveyed in Kenji Bunch’s “Vesper Flight” by flutist Tara Helen O’Connor and pianist Monica Ohuchi in its world premiere performance on Saturday, July 10th, at Kaul Auditorium as part of the Chamber Music Northwest summer festival. Inspired by the common swift, a species of bird noted for its evening ascent to very high altitudes where it flies for long periods of time, “Vesper Flight” exuded a series of climbing runs that evoked a flock on its way into the skies. As a kind of underlayment against the rising, fluttering tones, Ohuchi would lay down a bass line that may have been quoting Purcell’s “Evening Hymn.” (In his introductory remarks, Bunch said that he would quote from that Purcell piece), nicely tying a bow around the idea of a vesper prayer, which typically takes place at sundown. A rhapsodic passage ended with a loud, high sound from the flute followed by a whispery whistle that faded wonderfully into the distance, like swifts disappearing beyond the clouds.
“Vesper Flight” was preceded by a mesmerizing performance of “Louange à l’immortalité de Jésus” (“Praise for the Immortality of Jesus”) from Olivier Messiaen’s “Quartet for the End of Time.” Violinist Bella Hristova and pianist Gloria Chien (who is CMNW’s co-artistic director) created a soulful yet refined sound that transcended time and space. Absolutely ethereal!
David Ludwig’s “Les Adieux,” written in honor of David Shifrin, who helmed CMNW for 40 years and is now its Artistic Director Emeritus, featured clarinetist Shifrin as the soloist surrounded by a chamber orchestra of 17 musicians under the baton of Earl Lee. Divided into three movements: The Farewell, The Absence, and The Return, “Les Adieux” started with Shifrin modulating above and beyond his colleagues, who created a sound that was muffled and clouded in descending lines. This overall concept persevered into the next movement as well with Shifrin flawlessly executing a number of sustained runs and notes that he seemed to hold forever while the orchestra finally got to play an optimistic rising series of notes. In the last movement the pace quickens for a while but again settled into another slow dance that ended with Shifrin exhibiting incredible breath control with several long notes. Overall, it seemed that the piece didn’t really go anywhere, but it did showcase Shifrin’s amazing virtuosic talent.
An all-star ensemble gave a superb performance of Mozart’s “Viola Quintet in C Major” (K. 515) to close out the concert. Violinists Soovin Kim (who is also CMNW’s co-artistic director) and Rebecca Anderson, violists Paul Neubauer and Paul Laraia, and cellist Fred Sherry polished this gem of a piece with verge and terrific artistry. Highlights included the lovely conversational quality between Kim and Sherry in the first movement, the refined ebb and flow of the second with Sherry masterfully finishing phrases, Neubauer’s poignant viola solo and elegant duet with Kim in the third, and the robust and joyful playing by the entire ensemble – with pinpoint pauses – in the final movement. Kudos to the musicians for outstanding balance and dynamics throughout. Bravi!
Still, for this reviewer, it was the Messiaen piece that stuck with me the most and makes me want to hear it again and again and again.
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