Concert Date: April 13, 2003
Location: Los Alamos, New Mexico
Performing: Camerata Sweden
Program:
Biber's Battalia in D major for Strings and Continuo
Roman's Violin Concerto in F major
Lidholm's Music for Strings
Intermission without Refreshments, Op.0
Nielsen's Little Suite for Strings, Op.1
Bartok's Divertimento for Strings
Although Los Alamos has a population of under 20,000 residents, it has
hosted a series of concerts every year since the mid-1960's. Its high
concentration of scientists and the dedication of particular individuals
have insured the participation of well-known music groups and soloists.
Los Alamos is a stunning spot in the Land of Enchantment, being located
at the top of a Mesa about 1 1/2 miles above sea level. Although
travelling there must have been quite a burden in the 1940's when the
U.S. atomic program was initiated, there is now a fine network of roads
leading to this small but musically progressive community.
The April 13 concert was given by the Camerata Sweden, an ensemble of
about 12 performers which plays without benefit of a conductor. Except
for the cello and bass players, all members continuously stand while
performing. Since they are young and appear to be in good shape, I
assume that standing is not a problem. There was one particular young
female violinist who looked the best and was also the most physically
expressive of the group - I concentrated on her.
Concert attendance was at 75% of capacity, and the bulk of the audience
was elderly or getting close. Where were all the young and middle-aged
adults? Probably waiting to turn 55.
The Camerata Sweden plays modern instruments, and this was a little
problematic concerning the Biber work. However, the muscians were charged
up and energetic for this battle-laced work, almost making me forget
that period instruments would be advantageous.
The lack of period instruments was more significant for the Roman Violin
Concerto. He may be Sweden's best composer from the Baroque period, but
he can't hold a candle to the Bachs and Handels of the time. The Violin
Concerto in F minor sounded rather ordinary, and I couldn't help but
think that pungent period strings would have greatly jazzed up the
lackluster-sounding music.
The last work before the Intermission was Lidholm's Music for Strings.
Nothing against Lidholm, but listening to Bartok's Divertimento clearly
reveals the difference between an excellent composer and a master. I
particuarly love Bartok's 2nd Movement 'Molto adagio' which is so
forbidding yet pulls me into its chamber of horrors every time. The
Camerata Sweden played this Movement and the outer movements in exceptional
fashion.
My wife Ellen Jane most liked the Nielsen work for its lyricism, simplicity,
and accesibility on a first hearing. I told her my favorite work on the
program was the Bartok, and she indicated that my preference didn't
surprise her in the least.
There were no refreshments at Intermission except for a water cooler
which wasn't easy to get to with folks lingering around it in case they
felt parched. I really don't understand the logic. Serve them, and
they will come. Refreshments are a good way to make some money and
please the audience members.
So, my only musical complaint about the concert is the weak Roman
Concerto and the lack of period strings. My wife figured that the reason
the group does not play period instruments is that each member would
have to carry at least two instruments on every tour. She doesn't hold
with the notion that any performance principles might carry some in the
decision making - it's just a matter of luggage.
The primary plus for me of attending the concert was to make me more
aware than before that I've slighted Bartok for much too long and need
to redress the situation.
As an aside, no discs were being sold. Does the Camerata Sweden have
any recordings on the market? When I attended the Angela Hewitt concert
last year, there were discs all over the lobby and patrons were flashing
their paper money with gusto.
Don Satz
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