Review

February 16, 2004

R. M. Campbell Seattle Post-Intelligencer Music Critic
Chamber Players’ fest covers impressive ground

A sense of adventure and courage have been a part of the
daily language of the Seattle Chamber Players for nearly 15 years.

In its regular concert season, the ensemble of four musicians offers as routine some of the most intriguing and least predictable programs in the area, if not the nation. The music and music-making are current and alive.

Two years ago, the players — flutist Paul Taub, violinist Mikhail Shmidt, clarinetist Laura DeLuca and cellist David Sabee — organized a forward-thinking festival devoted to modern music from Russia, calling it “IceBreaker: New Voices from Russia.” Not only were guest artists invited to participate — standard for Seattle Chamber Players concerts — so were composers and musicologists.

Not content to rest on its accomplishments, the group immediately began to think of mounting another festival. Northern Europe came to mind and before long “Icebreaker II: Baltic Voices” was born. The international festival was held over the weekend: three concerts at Nordstrom Recital Hall and a series of papers by leading composers and musicologists read at Soundbridge, the Seattle Symphony Orchestra’s handsome educational facility, also part of Benaroya Hall.

Nine countries touch the waters of the Baltic Sea, and so there was a lot of ground to cover. All the nations — Germany, Russia and Poland; Finland, Sweden and Denmark; Estonia, Latvia and Lithuania — have active music scenes, supported by their governments.

The music of some 21 composers was performed, eight of whom who were in residence.

They were joined by six musicologists and nine guest artists, including the Seattle Pro Musica, conducted by Karen Thomas, which provided some of the weekend’s most powerful music.

This smorgasbord was quite lengthy, perhaps too much so, with the music of more than a half-dozen composers offered at every concert.

Some of the composers are well-known, among them Einojuhani Rautavaara of Finland, Arvo Part of Estonia and Henry Gorecki of Poland.

The age range was equally impressive, with the elders including Ester Magi, born in 1922 in Estonia; Rautavaara, 1928; Dieter Schnebel, 1930 in Germany; Bronius Kutavicius, 1932 in Lithuania; Gorecki, 1933, and Part, 1935. A number were middle-aged, and the young crowd, in their 30s, consisted of Uljas Pulkkis of Finland, Peter Bruun of Denmark and Helena Tulve of Estonia.

Not surprisingly, Finland was well-represented, as well it should be. This country is made for music and musicians and lavishes government money on the like without apology. It is no coincidence that extraordinary people are coming out of that country. Note that three conductors of leading North American orchestras — Los Angeles, Toronto and Minnesota — are led by Finns, and some of the most important music being written today is done by Finns as well.

Saturday afternoon’s concert practically took the day with its offerings of 10 composers. The variety was impressive: a cappella singing by Part and Gorecki and a small ensemble, led by newly appointed SSO assistant conductor Christian Knapp, for music of Anders Nilsson of Sweden to a cello sonata by Rautavaara and a set of variations for prepared piano by Wieslaw Rentowski of Poland.

Not all the music was entirely engaging. Part’s “Magnificat” and Gorecki’s “Totus Tuus” were among the most, particularly with the voices of Seattle Pro Musica. Singing this music without any instrumental accompaniment cannot be easy. The harmonies are often quite close together, actual dissonances in some cases. The chorus, led carefully and precisely by Thomas, its music director, swam through the treacherous waters with aplomb. The difficulties were swept aside, leaving only the haunting music itself.

Also worth mentioning was Nilsson’s “Divertimento,” scored for flute, clarinet, string quartet and piano, from 1991. With its quick-silver temperament, this was very lively music indeed and was given a vivid performance. Remigijus Merkelys’ “MiKonst,” for string quartet and piano, went back and forth in mood and energy. It was a good start to the afternoon. Krzysztof Knittel’s Trio, for flute, clarinet and vibraphone, was less so, with its exploration of timbres. No one broke the silence of the musicians’ exit until the time was obviously ripe. That sustained quiet was remarkably effective. Rautavaaara’s Cello Sonata, well-played by David Sabee, was a disappointment

R.M. Campbell can be reached at 206-448-8396 or rmcampbell@seattlepi.com