Chamberfest: Berg's Lyric Suite and Gellman's Musings.

Today at noon marked the third to last concert of this year’s Chamberfest, which included not only Alban Berg’s Lyric Suite performed by the St. Lawrence String Quartet, but a world premiere of Steven Gellman’s Musings, commissioned and performed by none other than this year’s Chamberfest artistic directors, the Gryphon Trio. Hosted by Gary Kulesha, there was chance for the performers and Mr. Gellman to illuminate different aspects of the works presented.

The concert began with Steven Gellman introducting his work, giving the audience a chance to see into the inner workings of the composer. Gellman expounded on his phases as a composer, ranging from the extremely experimental, to his current take on creating works of greater depth and accessibility. While I disagree with the notion that experimental composition lacks depth, I understand his desire to more readily connect with his audience. With that in mind, his work showed a heritage of experimental practice combined with a sensibility of accessibility. Although I wasn’t that ‘into’ the work in it’s entirety, feeling like some things did not really come together, there were many interesting ideas in contrast and texture, and I found that the slow movement, a duet between the violin, stood apart from the rest.

The second piece on the program, Berg’s Lyric Suite, began with St. Lawrence String Quartet’s own Geoff Nuttall detailing not only the inner compositional workings of the piece, but also the ’secret’ programmatic aspect. Basically, nearly fifty years after the work’s inception, a score was discovered amongst Berg’s possessions that contained a detailed programme outlining how the piece relates to his love affair with a woman named Hannah Fuchs-Robettin.

The Lyric Suite being amongst my favourite works, I was excited and pleased to hear the St. Lawrence String Quartet perform. They attacked the music with the sort of intensity required to draw out its passion, moving from idea to idea, contrast to contrast in nearly seamless transition. To add to it, they also played with a sort of dramatic flair that much of the standard string quartet repertoire does not allow for.

Finally, the audience, as was my listening partner, seemed a little shaken by the police sirens and loudly revving motorbike accompinament provided by the street outside. However, it may be seen as testament to St. Lawrence’s engaging performance that the audience truly wanted to stay focused. I also cannot help to add that we do live in a loud modern world, and that post-John-Cagean philosophy tells us to embrace all listening moments, especially when we can’t to anything to change them!

Craig Pedersen
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www.newmusicottawa.blogspot.com
www.chamberfest.wordpress.com