Concert Review: The Scandia String Quartet at MOSA 4/18/10
Like their big sister the NY Scandia Symphony, the Scandia String Quartet dedicate themselves to popularizing Scandinavian composers who are too frequently unknown here. Violinists Mayuki Fukuhara and Elizabeth Miller, cellist Lawrence Zoernig and violist Frank Foerster are the orchestra’s power hitters. Conveniently and fortuitously, Foerster also happens to be a first-rate composer. This program at MOSA uptown Sunday evening featured several of his stark, dramatic arrangements of folk songs from throughout Scandinavia in addition to the world premiere of his composition Summer in Fort Tryon Park. Whimsical but hardly shallow, it painted a lively, multicultural weekend afternoon scene with latin, klezmer and Polish flourishes (the latter an ode the joys of morphine), a brief, torrential downpour and an ice cream truck. The central theme took the shape of a surprisingly somber canon, the audio equivalent of a Time Out NY cover collage by Diane Arbus.
Foerster and the quartet gave the folk songs a majesty that transcended their humble origins. Finland was represented by a heroic theme, a wistful waltz and a carefree dance tune, Iceland by a handful of striking, otherworldly modal numbers, a “winter dance” that moved from a disquietingly modal march to Vivaldiesque revelry, and a potently staccato interpretation of the famous Dangerous Journey on Horseback. Another contemporary composer, Zack Patten was represented, his warily atmospheric, aptly titled Kierkegaard floating uneasily on a series of ninth intervals up to a powerful crescendo sung by contralto Hanne Ladefoged Dollase, and then out much the way it came in.
All this made the big finale, Grieg’s String Quartet in G Minor, Op. 27. somewhat anticlimactic, testament to the quality of what had preceded it rather than the Quartet’s inspired performance as they played up its tensions for all they were worth. Written after the composer had left the city for the famous country fiddling town of Hardanger, it’s a tug-of-war, comfortably convivial urbanity (which eventually wins out in the end) versus the wild lure of the unknown. Zoernig described it beforehand as something of a missing link between the late Beethoven quartets and Debussy or Bartok, which vividly made sense, notably toward the end in the evil gnomish stampedes straight out of the Mountain King’s cave. This along with the heroic central theme (an Ibsen song) gave Zoernig and Foerster their chance to blaze through the darkness and they seized each moment as it came along.
The Scandia String Quartet’s next performance is May 13 at Victor Borge Hall at Scandinavia House, 58 Park Ave. featuring many of the most appealing works from this bill including the Foerster original, the Patten and Grieg along with works by Sibelius. And as they’ve been doing for the past few years, the Scandia String Quartet will present a series of outdoors concerts in Ft. Tryon Park this June on Sunday afternoons.
The MOSA series at Our Savior’s Atonement at 189th St. and Bennett Ave. continues as well; the next concert features avant garde adventures Ensemble ACJW on June 6 at 5 PM.
Concert Review: The New York Scandia String Symphony 2/11/10
Going to see a concert by the New York Scandia Symphony is something akin to being a member of a secret society. They are an organization after our own heart. The NY Scandia dedicates itself to popularizing Scandinavian works from over the centuries, some of which are well-known or even iconic on their native turf but completely obscure here. You can also count on them for at least one US or New York premiere at every show. Thursday night in the comfortable Victor Borge Auditorium at Scandinavia House in midtown they brought their smaller String Symphony chamber ensemble for a program that even by their exacting standards was riveting.
They took their time opening up with Swedish baroque composer Johan Helmich Roman’s Flute Concerto, whose highlights were a handful of dexterously ornamented yet understatedly precise solos by Lisa Hansen. As a composition, it shows its age, fugal and predictable, yet the ensemble lit into it with such insistent gusto that it was impossible not to believe: they completely sold it. By contrast, the largo from early 20th century Danish composer Poul Schierbeck’s song cycle I Was Born in Denmark was nothing short of transcendent. Schierbeck was an organist, and the string arrangement is unsurprisingly a lush blend of subtle textures, a perfect match for the stately longing and distant anguish of the melody. A piece by Norwegian Romantic composer Johan Svendsen contrasted with its attractive, comfortably steady ebullience.
Making his North American debut, hotshot Danish accordionist Bjarke Mogensen joined the ensemble for a richly genre-blending, emotionally intense yet frequently very playful US premiere of Anders Koppel’s Concerto Piccolo. Koppel began his career as a rock musician while still in his teens, playing psychedelic pop with popular Danish export Savage Rose, but in the following years he moved to film music. This three-part suite proved as fascinating as it was well-played, leaping from jazzy, bass-driven Mingus-esque suspense to macabre Bernard Herrmann atmospherics to a surprisingly upbeat, subtly amusing conclusion. Mogensen matched a whirlwind attack through a knotty thicket of accidentals to several wrenchingly beautiful, minimalistically ambient passages while conductor Dorrit Matson worked overtime but didn’t break a sweat. They closed with another string piece, Frank Foerster’s Suite for Scandinavian Folk Tunes, the composer himself the featured soloist on viola, a similar feast of contrasting emotions, timbres and attacks. The piece interpolated a series of rousing hardanger-style fiddle dances meant to symbolize the five Scandinavian nations against a haunting, ominous “song of the sea” theme that cleverly worked variations on a minor sixth arpeggio. In the depths of the sway and the swells of the string section, the heart of a very inspired noir garage band – or Norwegian surf band from the sixties – had come alive, in a very subtle way. The Scandia Symphony’s next full-orchestra concert is on March 9 at 1 (one) PM at Trinity Church playing yet another premiere-packed program.
And by the way, Scandinavia House’s cute, lowlit cafe makes a good date-night spot – the organization’s dinner-and-a-movie and dinner-and-concert packages are quite the bargain and the regionally-themed cuisine (notably: fish, berries and fresh greens) turned out to be a very pleasant surprise.