One of the themes that musical Baroque-ophiles love to espouse about their adored Baroque era—after the impassioned joy it produces in them as musicians or listeners—is the inspirational effect that the music has had on subsequent composers. Without doubt, include in that group of unabashed lovers of the Baroque the Knoxville Symphony Orchestra concertmaster William Shaub, who opened the season’s Concertmaster Series of small ensemble works last evening at the Knoxville Museum of Art. For the program, Shaub and his orchestra colleagues hit a broad swath of the Baroque period with four works from Arcangelo Corelli, George Frederic Handel, and Johann Sebastian Bach, and took an enjoyable—and enlightening—side trip to the 20th Century for a glimpse of that inspirational effect from the Czech composer Bohuslav Martinů.
Adhering to the series’ usual programming arc of beginning with solo violin works, with or without keyboard accompaniment, Shaub offered Corelli’s sonata known as “La Folia” (Sonata in D minor, opus 5 no. 12) with Kevin Class on harpsichord. While Corelli has the unfortunate reputation of sedate and dignified elegance, Shaub clearly understood and demonstrated the textural passion—Baroque, not Romantic—that bubbles under the surface of this historic motif. And, as in past recitals, Shaub immediately opened the audience’s eyes and ears with his characteristic tone that is simultaneously warm but intense, carried out with impeccable intonation.
While the authenticity of some of the violin sonatas attributed to George Frederick Handel has been challenged, the Violin Sonata in D Major, HWV 371, is thought to be quite genuine, probably the last piece of chamber music the composer wrote around the age of 65. The work is a masterpiece of violin sonata construction, allowing Shaub and Class a fabulous arc from Corelli to the more elated Major flavor of Handel. Shaub captured both the Handelian details and emotions with a sense of edgy vitality that was visibly contagious in the audience.
Part of the enjoyment of the Concertmaster Series recitals has been Shaub’s insightful prefaces and explanations on music to be played, something that was a bit necessary with the Promenades for Flute, Violin, and Harpsichord by Bohuslav Martinů. However, on the heels of the Handel, the Baroque influence on Martinů’s 1939 work seemed rather obvious and cleverly appropriate. Joined by KSO principal flute Hannah Hammel, the trio captured the energetic, but slightly perverse side of the composer’s take on the Baroque in which dissonances and string effects play against the expected happy statements and resolutions. With the final poco allegro movement, Martinů let loose a tirade of craziness that seemed all the more delightfully loony with the background harpsichord. Throughout, Shaub and Hammel played as an articulate duo, tossing moods between them, challenging each other with outbursts, and reveling in the mocking textural repetitions that were so intensely enjoyable.
Enchanted by the Martinů, I would have been happy to call it a night, but, in truth, the delights of the evening were just beginning. On the second half of the concert, the performance space filled with a string ensemble for two of J.S. Bach’s Brandenburg Concertos, first the No. 3, followed by No. 5 that added Hammel’s flute to the mix.
The two allegros of the No. 3 in G Major seemed to gain momentum with the sets of three violinists, violists, and cellists, grabbing motifs, then shuffling them off to others, all underscored by the bass and harpsichord that unrelentingly kept everything under control. While the energy in the finale was palpable and addictive, the Bachian twists and subtleties still leapt off the pages of the musicians headed for eager audience ears.
The energy and razor sharp ensemble playing continued in the Brandenburg No. 5 with the solo violin and flute moving to the forefront of the balance. Shaub and Hammel worked well together, with the flute presence always just at the pinnacle of the ensemble focus.
While this was the second Brandenburg No. 5 performance I had experienced in the space of a month, I can say without hesitation that there is clearly no such thing as too much Bach. The combination of Bach, concertmaster Shaub, and his KSO colleagues, is one that truly worked for last evening’s audience. With one additional performance tonight (Thursday, October 10), no one would be blamed for attempting a return to the KMA for another listen.
Knoxville Symphony Orchestra musicians in the Brandenburgs:
William Shaub, violin
Gordon Tsai, violin
Edward Pulgar, violin
Sean Claire , violin
Kathryn Gawne, viola
Eunsoon Lee-Corliss
Jennifer Bloch, viola
Andy Bryenton, cello
Theodore I. Kartal, cello
Ildar Khuziakmetov, cello
Steve Benne, bass
Hannah Hammel, flute
Kevin Class, harpsichord [member of the UT School of Music faculty]
