Bachanalia Chamber Orchestra in Review
Michael Avagliano, conductor; Emil Chudnovsky, violin soloist; Julia Zilberquit, piano soloist
Merkin Hall, Kaufman Center, New York, NY
March 7, 2020
A concert advertised as an “All J.S. Bach Program” was presented at Merkin Hall, March 7, 2020, by The Bachanalia Chamber Orchestra, marking the revival of the Bachanalia Concert Series that noted violinist Nina Beilina founded in 1988. This concert was organized in her memory by her son, violinist Emil Chudnovsky, who was host, teacher, storyteller, performer, and at all times loving son as he spoke of his mother. The full hall was witness to an evening full of emotion, along with some exquisite music making.
Scheduled soloist violinist Michael Guttman cancelled due to illness, so the originally programmed Concerto for Two Violins in D minor, BWV 1043, was replaced with the Violin Concerto in E major, BWV 1042. In addition, Michael Avagliano offered his talents as conductor. Regrettably, there was no list of the names of orchestra members in the program.
The Brandenburg Concerto No. 3, BWV 1048, opened the concert. The bold, assertive playing, combined with the impeccable articulation, precise intonation, and ensemble balance, made this listener sit up and take notice immediately. One can’t hide behind a large section in such a small ensemble – any weak players are immediately exposed. Rest assured, there are no weak players in this ensemble (and this listener was seated so close to the stage as to be able to focus on any number of individual players).
The second movement Adagio consists of a single notated measure of a Phrygian half-cadence, which invites improvisation (by harpsichord or violin), and in this case it was harpsichord. The (uncredited!) harpsichordist offered an elaborate and virtuosic cadenza, after which the orchestra launched the Allegro assai finale. The ensemble played with great brio. The audience was a bit late in reacting, as it seems that perhaps the 2nd movement confused some regarding the order of movements, but they applauded respectfully. If anything, this audience seemed a bit too restrained in their responses to these fine musicians, who deserved resounding ovations!
Mendelssohn’s Capriccio from Four Pieces for String Quartet, Op. 81, followed the Brandenburg. Wait, didn’t the publicity say “All J.S. Bach”? Mr. Chudnovsky explained to the audience about Mendelssohn’s leading role in the Bach revival, particularly the 1839 revival of St. Matthew Passion. The Capriccio prominently features a fugue. When one thinks of fugues, the name J.S. Bach is the gold standard and the undisputed master of the form. The programming of the Capriccio is what is nowadays would be called a “hat tip” to Bach. It was played with polish.
After the stage was rearranged and a piano moved to the center, Julia Zilberquit took the stage as the soloist for the Piano Concerto in D minor, BWV 1062, Michael Avagliano conducting. Your reviewer has had the pleasure of hearing Ms. Zilberquit in a past concert (Long Island Orchestra with Julia Zilberquit), so I was well aware of her qualities, both technically and artistically. I admired her approach to this work; it was free of the extravagances and eccentricities that beset too many performances. The outer movements were child’s play in her hands, but her artistry in the central Adagio was what won me over completely. It was moving without any “romanticizing,” just pure beautiful Bach. Ms. Zilberquit offered the Vivaldi-Bach Sicilienne, BWV 596, as an encore. Let’s not forget the orchestra and Mr. Avagliano – they were every bit as compelling as Ms. Zilberquit.
After intermission, the second half opened with the Violin Concerto in E major, BWV 1042, with Mr. Chudnovsky as soloist. Perhaps due to the short notice (Mr. Guttman cancelled five days before the concert), Mr. Chudnovsky used the music. As far as I could see, he never really looked at the music a single time (although Mr. Avagliano made a deft page turn for Mr. Chudovsky as he conducted!). Whatever the case was, Mr. Chudnovsky showed no signs of rushed preparation. He played with the confidence of one who knows he has everything under control. His tone was full-bodied, his intonation impeccable, and his ensemble with the orchestra superb. It was truly impressive.
The story behind the last work on the program, the Bach-Busoni Chaconne from Violin Partita No.2, BWV 1004, is too good not to relate (which I will do very briefly). Charles Jaffe arranged the Busoni arrangement of Bach’s monumental violin Chaconne to be played as a string quartet, then later arranged it further for string orchestra at the behest of Eugene Ormandy. When Jaffe left the Philadelphia Orchestra in 1945 to join Toscanini’s NBC Orchestra, Ormandy angrily cancelled the premiere. Fast-forwarding sixty-two years (2007) Michael Avagliano was asked to play violin at a 90th birthday party for a gentleman who “loves violin music.” That 90-year-old turned out to be…Charles Jaffe! Jaffe told Mr. Avagliano about his string quartet arrangement and gave him the music, with an additional fifth part for bass. Fast forwarding another eleven years (2018), Mr. Avagliano pulled the music out to prepare for performance, and this evening’s performance was scheduled – so, after seventy-five years, we heard the world premiere of the Bach-Busoni -Jaffe Chaconne! It was the highlight of the evening; effective, powerful, and maintaining all the grandeur of Busoni’s arrangement. Bravo!
