Review of Concert

Alea III: The Contemporary Contrabass

Wednesday February 4, 2004, 8:00 PM
Tsai Performance Center, Boston University, Boston, MA

February 2^nd is Groundhog Day in the United States, a time when a below-ground dwelling critter traditionally pokes its head out into the daytime and plays weather prognosticator, by its actions forecasting whether spring is on the way or more hard winter days are in store. The contrabass is the string section’s subterranean member and, on February 4^th’s Alea III concert, it got a chance to bask in the spotlight courtesy of Edwin Barker’s performing talents.

Of the four works encountered, the only solo opus heard was Tom Johnson’s Failing (1975). This wonderful piece is arguably the most endearing—and enduring—utterance to emanate from the post-1960’s Downtown New York scene. The soloist here is required to play a fetching melodic line of gradually increasing difficulty while speaking a lengthy monologue (both humorous and reflective) that addresses success and failure and the philosophical influences thereof. Unlike some other such works, verbal and musical aspects both mesh perfectly and stand alone well.

Music for Double Basses (2003) by Samuel Headrick, while scored for eight bull fiddles, configures its performers in unusual fashion. Here, one player is the soloist while the rest form an accompanying entity sectioned off into a trio plus a quartet. The work’s two interlinked movements respectively traffic in neoclassic vim and elegiac expression. Written as a memorial tribute to recently deceased Boston University musicologist John Daverio, the finale is particularly lovely.

The other two selections, Concerto for Double Bass and Chamber Orchestra (1987) by James Yannatos and Concertino for Contrabass and Percussion Ensemble (2000) by Theodore Antoniou, share similar traits. Both possess three-movement fast-slow-fast layouts, with busily bustling outer sections surrounding soulfully warm centerpieces. Thanks to its more consistent harmonic language, tighter structural sense, more thorough internalization of influences, and more focused manner of speech, the Antoniou proved the stronger listen.

Barker’s playing was absolutely top-drawer, filled with clean digital technique, splendid linear shaping, and a sound both warm and penetrating. Conductor Antoniou drew solidly secure backing from the ensemble.

Although the contrabass may not be able to forecast the weather, with Barker at the helm, one can confidently predict a wonderful listening experience to come. Greatly enjoyed from this corner.

--David Cleary