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Music Review from The Columbus Dispatch
NOTE: The following review is reproduced here by Chamber Music Columbus as a
public service with permission from the Columbus Dispatch. The views expressed
by the reviewer do not necessarily reflect those of Chamber Music Columbus or
its audience.
Think "concert presenter'' and the name Columbus Association for the Performing Arts immediately comes to mind. But the local arts scene has long been enlivened and given depth by the persistent efforts of several smaller presenting organizations. Two of these -- the Columbus Chamber Music Society and Early Music in Columbus -- came together last night to present a single performance that ended both organizations' 2002-03 concert series. They jointly sponsored the Nancy Hadden Baroque Trio in a program dubbed "To Touch the Heart'' at the Southern Theatre. Surely the Southern would be the only Downtown hall where this group could perform with any success. The modest projection of the ensemble's instruments -- baroque flute, viola da gamba and theorbo -- was damaged by a single cough (and there were an inordinate number last night), which had the audience paying rapt attention just to be able to appreciate the proceedings at all. The program alternated between music for the aristocracy and for the populace, beginning with selections from the French court, diverting to the Highlands and the Gypsy cave and then concluding with the German baroque. Hadden, the flutist, is joined by Erin Headley playing gamba and Lucas Harris alternating between theorbo and baroque guitar. What quickly became apparent was that Hadden's supporting cast actually gave the stronger and more musically persuasive performances. Lack of energy, intonation problems and a habit of toying with rhythms and tempos that became downright annoying continually undermined one's confidence in Hadden's musicianship. And while baroque flute cannot be expected to sound as brilliant as its modern counterpart, Hadden's playing proved far too introverted and dynamically one-dimensional. By contrast, the more Headley played the more one wanted to hear from her. She and Harris offered a strong enough foundation for Hadden that their participation elevated her performances. But the most musically enriching experiences of the evening came when Headley played alone or in partnership with Harris. Most notable were the selections by master gambist Marin Marais and their collaborations on the Scottish repertoire on the second half. Both Bach sonatas, alas, failed to impress. One couldn't help wonder whether this trio should consider a new name in order to represent its current state more appropriately. bzuck@dispatch.com |