Kimmel concert a starting point for Curtis Chamber tour

Jennifer Koh (Curtis '02) performed Bach's "Concerto in D minor" for two violins with Jaime Laredo (Curtis '59).
Jennifer Koh (Curtis '02) performed Bach's "Concerto in D minor" for two violins with Jaime Laredo (Curtis '59).
Jennifer Koh (Curtis '02) performed Bach's "Concerto in D minor" for two violins with Jaime Laredo (Curtis '59).GALLERY: Jennifer Koh (Curtis '02) performed Bach's…
Posted: March 14, 2013

Curtis Chamber Orchestra is hitting the road with its customary vigor and intelligence, though its program - performed Monday at the Kimmel Center, subsequently in Washington and New York - was a this-and-that calling card perhaps aimed more at establishing the Curtis Institute identity than at making a cohesive artistic statement.

The exterior conceit in this concert, presented by the Philadelphia Chamber Music Society, was a musical meeting ground between two starry Curtis graduates from different generations, violinists Jennifer Koh (2002) and Jaime Laredo (1959), the latter having taught the former.

The likely starting point was Bach's Concerto in D minor for two violins, which revealed their contrasting tone quality (hers darker and husky, his lighter, more treble), but in performance had only a general connection with the music's idiom and content.

Three modern double concertos followed, capably conducted by Vinay Parameswaran (Laredo led Tchaikovsky's concluding Serenade for Strings). Philip Glass was his typical self in the 1995 Echorus, though with an attractive melancholy undertow, aided by Koh phrasing in ways that showed what a difference a single changed note can make.

Anna Clyne's Prince of Clouds was often as impressionistic as its title suggests, showing that Kaija Saariaho isn't the only composer who creates music that seems alluringly static on the outside, but has much forward motion within.

Curtis faculty composer David Ludwig unveiled his Seasons Lost, conceived as a counterpart to Vivaldi's Four Seasons, but turned elegiac amid current climate changes. It's full of beautiful ideas contrasting with playful/menacing Vivaldian gestures, progressing from winter to fall with music that grows richer and more intricate. It's a revision away from being all it can be.

Most of the orchestra stood when playing Tchaikovsky, encouraging more soloistic playing with a sound that was imposing indeed. Laredo's rubato unfortunately made the music trip rather than lilt, but overall, the piece was thoughtfully contoured, revealing a richness of content justifying its place in the concert's prime slot.


Contact music critic David Patrick Stearns at dstearns@phillynews.com.

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