| Grand Finale at Morris Museum–LOTS of Strings |
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(left to right) Renée Jolles-violin, Gregg August-bass, Eric Reed-horn, Frank Morelli-bassoon & Alan Kay-clarinet. Not pictured Dana Kelly-viola & Eric Bartlett-cello - photo by Sherri Rase
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On October 24, Morris Museum put its brilliant "Lots of Strings" series in the history books with a very grand finale. 2020 has been a banner year for creative people. Artists have reached deep to find new interpretations of their work, and new venues in which to display their derring-do. And when members of the Orpheus Chamber Orchestra are involved, then the celebration of Ludwig van Beethoven’s 250th Birthday is in full effect!
The program for the chilly evening included Franz Hasenöhrl’s distillation of Richard Strauss’ tone poem "Till Eulenspiegels Lustige Streiche," about the merry prankster, whom I consider to be the prototype for the late20th century Dennis the Menace. Hasenöhrl, whose name translates as “little rabbit ears,” takes merry devil Eulenspiegel to his most essential. He does in 8 minutes what took Strauss more than twice the time to do. First performed in 1954, this piece is almost tailor-made for the five-second news cycle we now experience and featured Renée Jolles, violin; Gregg August, bass; Alan Kay, clarinet; Frank Morelli, bassoon; and Eric Reed, horn. Gamboling from the get-go, the melody travels through the ensemble like a Whirling Dervish! This made a brilliant appetizer for what was to come.
Speaking of comestibles, many were again picnicking, this writer included! Hot tea, or toddies, and soup were definitely the order of the day, and thank goodness my companion had brought a hand warmer! Many in the audience had broken out down jackets and throws as well to stave off the starlit Autumn. And so worthwhile!
Beethoven wrote his Septet, Opus 20 and dedicated it to Empress Maria Theresa, first performed in 1820. To our previous ensemble were added Dana Kelly on viola and Eric Bartlett’s cello, for mathematic and musical perfection. The opening movement begins with a bold statement, open harmonie,s and then a glorious violin passage and movement through the ensemble, then the second movement, with the smooth and genteel pastoral beauty that Beethoven does so well, the ensemble moving as a single mind. Throughout all the movements to the finale, each instrument gets an opportunity to shine, but the best and boldest bravura is the province of the violin–either in duet with viola or other instruments or soaring above them–and Jolles had me imagining the investiture of all previous soloists focused in this grand finale. Overall, this was a thoroughly satisfying finale–satiating for now, while whetting the appetite for the next season in 2021.
Brett Wellman Messenger gave thanks to all who made the first installment of the series so successful earlier in the Summer that the Autumn series was added. Special thanks to Gary Knapp who made the vision real.
What’s in store for next season?! Check out www.morrismuseum.org–and start making plans for 2021! |
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