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NEW WORLD
SYMPHONY
COREY CEROVSEK
POULENC/ BARBER/ COPLAND/ CHAUSSON
CHAMBER WORKS GET BRAVURA ADVOCACY AT NEW WORLD MATINEE
By Lawrence
Budmen
In a brief creative life cut short by a bicycle accident, Ernest
Chausson conceived some of the most striking works of the French
repertoire. His Concerto in D Major for Violin, Piano and String
Quartet is a superb chamber score crafted in the hothouse of late
romanticism. The chromaticism of Richard Wagner pervades the piece
but the spirit of Gallic elegance and airy lightness shines through
every bar. Canadian violinist Corey Cerovsek essayed this neglected
gem at the New World Symphony’s matinee musicale on Sunday at the
Lincoln Theater.
Like Joshua Bell, Cerovsek’s tone glistens in waves of almost
balletic incandescence. His power and agile command of the
instrument met the challenge of this daunting showpiece. The
haunting melody of the Sicillenne was projected con amore. In the
third movement (Grave) Cerovsek traced a plaintive theme (over a
bass line in the piano) with eloquent fervor. The final Tres anime
was a sunburst of instrumental panache.
Cerovsek’s bravura performance was matched by the sensitive
pianism of Yukiko Sekino. In the final movement, her digital
dexterity was strikingly impressive in wide ranging octaves that
rang the house. The excellent New World string contingent of
violinists Cecilia Weinkauff and In Sun Jang, violist Dustin Budish,
and cellist Lars Kirvan soared in Chausson’s intense expression of
white hot passion
Aaron Copland’s Sextet for Clarinet, Piano and String Quartet
proved a lively confection in the composer’s Americana mode. Based
on Copland’ s Short Symphony, the score combines melodic lines of
the utmost simplicity with brashly astringent harmonics. Louis
DeMartino offered bright tone and exuberant musicality in the
crucial clarinet part. Pianist Ciro Fodere often seemed at sea,
failing to congeal with the ensemble.
Samuel Barber’s Summer Music for Woodwinds is a masterpiece. The
score, commissioned by the eminent musicologist Karl Haas over half
a century ago, alternates delicate shimmers of Debussy’s brand of
impressionism with elongated lyrical lines for the oboe. (Barber
used the instrument in a similar manner in his Second Essay and the
central movement of his Violin Concerto.)
Oboist James Button’s lovely stream of tone took full advantage of
the instrument’s star status. Flutist Michael Gordon negotiated
the high flying writing in his instrument’ s upper register like
child’s play. Raymond Santos’ plangent clarinet and Anthony
Anurca’s vital bassoon spotlighted the irony and wit of Barber’s
scoring while Roslyn Black’s sonorous horn offered firm support.
Copyright Sun-Sentinel
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