Review: The Chiltern Camerata (From Ealing Times)

Review: The Chiltern Camerata at The Free Church, Amersham on November 26

3:20pm Monday 5th December 2011 in Local Reviews

The Free Church, Amersham with its ideal acoustic was the venue for a concert given by the Chiltern Camerata, conducted by Sam Laughton. The programme entitled “Music from the New World” featured music by American composers born between 1874 and 1947 and during the evening provided considerable contrast in style substance, much enjoyed by a disappointingly small audience.

The “Hoe Down” by Aaron Copland (1900-1990) got the concert off to a vigorous and tuneful start, with images of the Wild West, perhaps helped along by Scottish and Irish folk tune influences. For many, Copland’s music is the very essence of America, conjuring up in the imagination what we come to expect from that country. Next came an exquisite and seductive “Melodia en la menor” by Astor Piazzolla (1921-1992). Sam Laughton drew sensuous warmth from the upper strings as the basses provided syncopated support. Rich harmonies abound in Piazzolla’s music and we were to be treated with his “Tres minutos con la realidad” later in the concert.

One can always be sure of being offered attractively planned programmes from The Chiltern Camerata and tonight was no exception with the inclusion of “Shaker Loops” by John Adams (1947 - ) as the centre piece of the concert. Generally considered to be one of the minimalist school of composers, John Adams composed this major work over thirty-five years ago, originally for string septet, in 1983 arranging the piece for string orchestra. Adams entitled this piece “Shaker Loops” because of the shaking of the strings as they oscillate between notes and of the Shakers as they dance to repetitive energetic music. Written in four movements, with just a break after the first, this work features repeated and rapid note patterns, which as they pass through the orchestra create amazingly varied textures and dynamics, testing the players to the limits of their technique and challenging the audience’s imagination throughout the course of the work. Upon listening for the first time, one could not predict what would follow, but there was certainly nothing minimalist about this piece. In less competent and brave hands, there would have been chaos! It was wonderfully played.

In some ways “Hymn” composed by Charles Ives, though short in duration, was more challenging for the listener, as the hymn-like style was more familiar on the ear than the Adams. However Ives inserts some uncomfortable twists. He and his father would often like to experiment by playing fairly conventional sounding music simultaneously in two different keys. “Hymn” was a typical example of Ives style which passed uneventfully, but gave some contrast.

The wonderful George Gershwin (1898-1937) who died so young was represented by “Lullaby” a little known piece originally for piano and later arranged as a string quartet. Its tender lyricism with sweeping melodies and gentle syncopation was a jewel in this programme, but all too short.

The final piece was the “Adagio for Strings” by Samuel Barber (1910-1981) from his string quartet. For many, the other movements of the quartet are probably unknown, but has become familiar the world over in its own right. Despite its many appearances, it never fails to be moving, providing of course it is played as well as did the Camerata.

In so splendidly performed a concert, it would be unfair to be too critical, as the evening was filled with many splendid moments, but I would just mention a couple of things. It is often more challenging to play very slowly than to play molto allegro – great care needs to be taken over the beginnings and endings of phrases especially when playing slowly, to ensure sections begin and end their phrases together. Additionally, some greater attention needs to be given to the tuning in the highest registers of the strings and to the playing of harmonics.

Sam Laughton and the Camerata are to be warmly congratulated on a challenging programme excellently prepared and performed – more please!

By Graham Davies