Highly acclaimed, always artistically superb and presenting varied and alluring innovative programs to full houses, Ensemble Liaison enchanted us again in the ambient natural bush setting of the McClelland Sculpture Park+Gallery. In the modern low-ceilinged room, with a full wall of glass doors and hard modern surfaces, the view of sky, bush and sculpture was peaceful, the acoustics rather neat, clean, clear and bright, ideal for a trio whose detailed performances thrive on nuanced dynamics and detail. Always there was a subtle ebb and flow in the trio’s teamwork as each member moved forward into solo roles or back into an accompanying texture.
A most “uncharacteristic” Beethoven Trio in B flat, Op. 11 opened the program with a very lightly airy and sunny piano part introducing a young composer in a happy, buoyant mood, showing the world that if Mozart and Haydn can set a high standard, so could he. Warm short cello and clarinet solos featured in this lightly spirited entertaining work, with a more virtuoso and busy piano accompaniment developing rhythmic drive in the Theme and Variations of the closing third movement. The enjoyment of composer, performers and audience was a given.
From Max Bruch’s Eight Pieces for Clarinet, Cello and Clarinet Op. 83, Piece No. 1 opened with shades of Brahms as long, languid melodic shapes rose from the depths, questioning, wandering, brooding and thoughtful. From the trio a new tone colour emerged with balanced and gentle poetic harmony and expression. In Piece No. 2, Bruch’s romantic and broad melodies were given expansive and beautifully projected tones on clarinet and cello, with a more animated and surging piano part building flow and dynamic. The Ensemble’s approach to piece No. 6 was quite unique, with a sad yet affective start – a light yet sombre pulse creating an almost funereal effect, and all instruments beautifully maintaining double pianissimo sensitivity. Strong aria-like melodies were introduced on clarinet with cello counter melodies entering, as a gentle nocturnal ballad developed. Bruch’s haunting theme became truly romantic and sorrowful with the trio’s extended broadening and ease of movement in a final long and gentle ritardando.
On a hot sunny day, arrangements of the Siete Canciones Populares Españolas (Seven Popular Spanish Songs) of Manuel de Falla, gave us a beautifully varied set of impressionist gems, where our imaginations were taken to exotic faraway places. Quite abstract and gentle, there were hints of melodic fragments of a nostalgic gypsy song, a lullaby, percussive suggestions from the piano, excitement in vocal imitation on free and passionate upper cello pitches, and the earthiness of folk-dance in sensuous clarinet melodies. The last dance No. 7 offered more intense syncopated and energetic rhythms to complete a colourful and contrasting set of small gems and impressions of Spain, which suitably whet our appetite for a cool drink at interval!
Next it was the music of the ever popular Piazzolla with two pieces from The Four Seasons of Buenos Aires: Autumn (1969) and Spring (1970), arranged by David Griffiths for this trio. These popular pieces are so full of human spirit, the sultry atmospheric of the tango, the thrill of the chase and the sadness of love found then lost, coloured by theatrical hot glissandos on piano keys, sliding and bent sounds on clarinet and cello strings. Added percussive sounds tapped on instruments or under the players’ feet all reflected truly the inner freedom and passion of Spanish music. Ensemble Liaison shared its spirit and colour without trying to imitate the larger original dance band style.
A change of mood came with the ensemble’s arrangement of Igor Frolov’s Concert Fantasy on Themes from Porgy and Bess. Gershwin’s best-loved and most enduring songs offer fine lyricism, superb harmonic structures and much potential for classical improvisation, jazz elements and rhythms, sentimental nostalgia and refreshing musical ideas for creative collaborations. Griffiths truly loves the best of many genres of music, and here he showed most exuberant and impressive improvisation with the classic blues song “It Ain’t Necessarily So”, as piano drove the acceleration with percussive and altered harmonies along the track to a celebratory Broadway finish.
Two encores were called for. As extemporisation and “re-imagining” known works gives fresh new performances to audiences, we are seeing more classical improvisation in the concert halls. Ensemble Liaison began their first encore with shadowy fragments of Gershwin’s “Summertime” and a sprinkling of Piazzola, expanding and improvising new designs from themes of this program – pleasant, calming and colourful, but taking the audience well into the unknown.
Griffiths described the second encore as “Good old Klesmer” – and it was exciting to close the occasion with a tribute to Giora Feidman, the King of Klesmer, with a brilliant, accelerating finale, showcasing the clarinet at its fiery best in this outstanding ensemble.
Photo supplied.
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Julie McErlain reviewed the recital given by Ensemble Liaison presented as part of the Music at McClelland series at the McClelland Sculpture Park+Gallery on March17, 2024
