NOVA CHAMBER MUSIC SERIES, Libby Gardner Concert Hall, March 1
Sunday’s NOVA Chamber Music Series concert was originally to have included the world premiere of University of Utah composer Morris Rosenzweig’s String Trio. But apparently the work proved to be more complex than anticipated; it required more rehearsal time than scheduled, which ultimately forced it to be postponed to a later date.
The concert, therefore, only included the other two scheduled works — Mozart’s Divertimento in E flat major, K. 563, and Brahms’ Serenade in D major, op. 11.
Mozart’s K. 563 goes far beyond what was expected of a divertimento; rather than being pleasant background music, it has much more depth and substance which elevates it far above mere music for entertainment.
The trio of players — violinist Kathryn Eberle and violist Brant Bayless of the Utah Symphony and cellist Anne Francis Bayless of the Fry Street Quartet — gave a vibrant reading that underscored the subtleties of the music and brought out its many finely tuned nuances. The Adagio, the true highpoint of the six-movement work, was exquisitely played and captured the eloquence and beauty of the music.
Brahms initially wrote the op. 11 Serenade for nine instruments, but later orchestrated it, in which version it is best known today. However, in the 1980s Alan Boustead reconstructed the nonet version and it was this that was played Sunday.
The op. 11 is an early work and has all the lightness associated with a serenade; but, like the Mozart, it, too, is more substantial than the term “serenade” would imply. Yet, it retains a wonderful charm that makes it so appealing, and its true character comes through much better in this chamber version.
The work was given a wonderfully resonant and well crafted reading by the ensemble (the players in the Mozart were joined by Utah Symphony members Caitlyn Valovick Moore, flute; Lee Livengood and Erin Svoboda, clarinet; Lori Wike, bassoon; Ronald Beitel, horn; and Corbin Johnston, bass). They played with well defined clarity and expressiveness and captured the intimacy that lies at the heart of the work.