The Knoxville Symphony Orchestra’s Chamber Classics Series on Sunday afternoons has become quite popular, with audiences gravitating to music that really benefits from the intimate acoustic environment of the Bijou Theatre. Perhaps a more important asset, though, is that the series is an enticing showcase for the orchestra musicians who are featured as soloists or ensemble members. This past Sunday’s concert, “Mozart & More”, took that idea even further than usual, featuring the KSO’s Principal Second Violin Edward Pulgar as soloist and conductor in an after intermission performance of Mozart’s Violin Concerto No. 3 in G Major, K. 216. The first half of the concert featured delightfully different programming with two ensembles drawn from members of the orchestra: a cello quartet and a brass quintet.
While cello ensembles have access to works that have been adapted from popular fare, ensemble pieces written specifically for four cellos are reasonably rare. The KSO placed two of them on the concert—the 1889 Elegie for Four Cellos by the German cellist, Josef Werner, and the Cello Quartet by the contemporary American composer Ken Benshoof. Both works explored not only the lyrical character and range of the instrument, but also its ability to communicate nuance and an intriguing and surprising versatility of tone. Well supported by the Bijou’s intimate acoustics—and taking full advantage—the quartet of players included KSO Principal Cello Andy Bryenton, Adam Ayers, Stacy Nickell, and Sarah Senn.
After a staging reset, a KSO brass quintet offered a pair of works, both highly accessible and entertaining. First came an arrangement of J.S. Bach’s “Little” Fugue in G minor (written originally for organ), BWV 578, a version no doubt familiar to those that follow brass ensembles. Next was a popular staple of brass players, the Brass Quintet No. 1 in B-flat minor, Opus 5, by the multi-talented Russian amateur musician and civil engineer, Victor Ewald. The quintet members were Kole Pantuso and Brian Winegardner, trumpets; Kelsey Bentley, horn; Sam Chen, trombone; and Mike Anderson, tuba.
The relationship of orchestra and conductor is one that traverses music history in the most interesting way. While organizations today like the Orpheus Chamber Orchestra perform without a conductor by definition, the idea of concert soloists leading the ensemble as well is certainly not new, nor strange.
In fact, it was a teenage Mozart that wrote his five violin concertos, more than likely for his own performance, one in which he almost certainly conducted as well. That was the background for Sunday’s performance of Mozart’s Violin Concerto No. 3 in G Major, K. 216, by violinist Edward Pulgar also leading the KSO Chamber Orchestra in 18th Century style. Pulgar’s performance showed confidence in his colleagues, while contributing a lyrically descriptive solo line; the orchestra appeared fully capable of adjustments in intent and accuracy of entrances into and out of the cadenzas. The change of tempos was mostly accomplished with a nicely controlled energy.
Most certainly, the KSO Chamber Orchestra continues to delight with its maturity and ability to take advantage of the Bijou’s acoustic clarity and support.
