Sophisticated VentiCordi Pleases Kennebunk Fans

By Mary Elizabeth Nordstrom
Classical Voice of New England

Kennebunk, ME. 4 August 2011.  Against a verdant background – pale green gilded harpsichord accented by a lush potted white hydrangea – the two virtuosi who warmed up the audience were virtual silhouettes in the ensemble’s uniform of orchestra black (Dean Stein, violin; William Blossom, double bass). The sophisticated string players drew the attention of the audience with ever-increasing intensity of a sensitive classic interpretation of the opening work. The piece was billed as “Duet with two obligato eyeglasses for Violin and Double Bass”, woo 32, by Ludwig van Beethoven, (1770-1827). The movements were marked: 1.Minuet; Allegretto and 2. Allegro. It was lovely. The audience let them know it immediately following the first movement.

The other work prior to Intermission was “Sonata for Oboe and Harpsichord with Basso Continuo” BWV 1030b, by J. S. Bach (1685-1750). Oboist Kathleen McNerney’s assertive statement, with its plaintive urgency, changed the mood of the evening artistically . The first movement was untitled, by Bach. Ray Cornils, known to Mainers as Portland’s Civic Organist, played the harpsichord. Cornils is a master of the instrument maintained by Friends of the Kotzschmar Organ, fondly known as FOKO. His keyboard material, always beautifully executed, enhanced the ensemble. However, he seemed less at home at the harpsichord than the pipe organ, inasmuch as rather than the natural lift of a follow-through, the right hand seemed self-consciously affected throughout much of the piece. After intermission, that was not an issue. Cornils had relaxed and continued to perform the keyboard material beautifully as a part of the ensemble. The second movement of the “Sonata for Oboe and Harpsichord…”, Siciliano, was more like a stately Bach organwerke, with the double bass noticeably simulating organ tones on strings. In the third movement, the oboe concluded its pleading above the harpsichord and double bass, all bringing the piece to a delightful climax that justified a strong applause before Intermission.

The work for flute, oboe and harpsichord that followed intermission was introduced with a few words by Dean Stein. Although born in Connecticut, composer Kelsey Jones (1922-2004) grew up primarily in Portland Maine. He was taken to the Sunday afternoon performances of the Portland Symphony Orchestra, which was at the time a PWA project orchestra. He was a terrible student, but thanks to his very accomplished violinist sister, he was able to enter conservatory in Canada. Thankfully, he became a composer and hence we have this wonderful piece, Sonata Da Camera. 

The Jones Sonata for flute, oboe and harpsichord offers four movements: Praeludium, Corrente, Andante, and Giga. With the Praeludium, the ensemble delighted the audience with a shrill modernistic sound contrasting artistically with the classics of Part I of the evening’s program. It was extremely well played, immediately engaging, although it must have been the first time most of the thirty-something (count) audience had heard it. Listening to the first movement, one might imagine a squeaky door; the second, a strong wind blowing. The Andante was a blur of sound from the other two instruments above the significant harpsichord part that was in this instance much more cerebral than continuum; the final movement, Giga, must have resembled the dance because I didn’t make a note of it and must have considered it obvious; I know I was intrigued by the entire work.

Erwin Schulhoff (1894-1942) died in a German concentration camp during World War II. Dean Stein came across his instantly fascinating music when he was performing with the prestigious Eastern Music Festival at Guilford College near Greensboro, North Carolina. Stein is rightfully proud to have brought this Holocaust music to Maine, using it for the final work on this VentiCordi program. Entitled “Concertino for Flute, Viola & Double Bass,” its four movements are Andante con moto; Furiant: Allegro furioso; Andante and Rondino; Allegro galo. Dean Stein, violin, William Blossom, double bass, Timothy Macri, flute, were the three artists featured in this finale. They brought to life the yearnings of the doomed composer. Picture the musicians standing in the order just mentioned, left to right, with the huge double bass as the focal point, itself an artistic arrangement.

VentiCordi is relatively new as an ensemble, but they bring from tremendous life experiences a serious professionalism that includes every aspect of presentation, from the graphics and composition of the program, to the careful costuming and arrangement of each ensemble, and even the touch of hydrangea! They do need a volunteer stage hand to handle placement of stands and arrangement of music, when a union stage hand is not available with the hall rental.

Pianist Pamela Mia Paul joins VentiCordi in Program III, the final performance of the 2011 summer season  on August 18 at 7:30 p.m . Also playing that evening at South Congregational Church, Kennebunk, are guests, Flutist Erin Lesser, Clarinetist Mark Simons, and Cellist Jennifer Combs.

For further information, contact VentiCordi directly through their web page, www.VentiCordi.org . Founders and principals of VentiCordi are Kathleen McNerney and Dean Stein.

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Pamela Mia Paul’s Piano Enhances VentiCordi

By Mary Elizabeth Nordstrom
Classical Voice of New England