SoNoRo Festival Bucharest
Ensemble Raro:Diana Ketler, piano; Alexander Sitkovetsky, violin; Razvan Popovici, viola; Bernhard Naoki Heidenborg, cello; Roxana Constantinescu, guest mezzo-soprano Zankel Hall at Carnegie Hall New York, NY February 16, 2010Formed in 2004, Ensemble Raro (named after Master Raro, the wise old arbiter of Schumann’s imaginary Davidsbündler) must be one of the best, most versatile young groups before the public. Resident Ensemble of the SoNoRo Festival, founded in 2006 by violist Popovici, the group appears in concert halls world-wide; this was its New York debut. SoNoRo has released two recordings, and fosters living composers through performances, and young musicians through scholarships.
The players of Ensemble Raro, who also pursue individual, solo, chamber music and teaching careers, are splendid technically, musically and communicatively, making this a true collaboration of equals. Although they were born and trained in different countries, their rapport is so close that they seem to share and anticipate one another’s whims and wishes; the strings’ tone, which is warm and expressive, blends together without losing its variety or individual timbre, and their intonation is impeccable, as they take over lines imperceptibly on the same note. Totally immersed in the music, they never call attention to themselves by sound or gesture. The only flaw, endemic to this combination, is the balance, which favors the (wide-open) piano, despite pianist Ketler’s obvious sensitivity.
Their program featured two novelties by Enescu and Peteris Vasks. Enescu’s Sept chansons de Clément Marot combines Romanian folk melodies with medieval modes and elegant French sophistication. Mezzo-soprano Constantinescu and pianist Ketler brought out the songs’ different character and moods beautifully. Born in 1946, Peteris Vasks gained recognition in the 1990s and has received several European honors and prizes. His Piano Quartet (2000-2001) is extremely difficult and almost unremittingly intense. The strings often alternate with the piano in textures featuring solos, duets, chordal unisons, long glissandi, double stops, and drones. Some of its six movements flow together, some are obsessively repetitive, and all have powerful climaxes (Vasks calls one “a black hole”). The Raro Ensemble introduced it in Germany and England; in this New York premiere, their performance was committed and authoritative.
The players’ youthful romanticism showed to fine advantage in a wonderfully spontaneous, exuberant, expressive but unsentimental performance of Schumann’s Piano Quartet. But the playing of the slow movement of Brahms’ C Minor Piano Quartet as an encore was even more impressive for its deeply felt inwardness.
