Chatham Baroque Closes Current Season With Postponed Guest Artists, Well Worth the Wait
By George Parous
Chatham Baroque ended their current series of programs Saturday night (April 30), by presenting guest artists in two concerts at the ensemble’s new home base, the Pittsburgh Theological Seminary. Like so many events, musical and otherwise, Saturday’s remarkable performances by East of the River came after a long period of schedule conflicts and wearisome pandemic delays. Only one date was simpatico for all, so 5 and 8 pm concerts were arranged to meet schedules and the demand for tickets. I can attest that the 8 o’clock audience was large and loud in their appreciation. They also left the venue enthusiastically engaging strangers in conversations about what a wonderful time everyone had the good fortune of experiencing. It was, indeed, a concert like no other I’ve ever attended, one that practically hypnotized me with pleasure, and left me in a state of relaxed contentment to a degree I’ve not felt in quite some time – all from enjoying a completely new (to me) musical venture.
Founded by Nina Stern and Daphna Mor, both internationally renown recorder players with extensive musical backgrounds, East of the River presents the gems that survive from Medieval European classical days, and the virtuosic, haunting (and hypnotic) melodies from the traditions of the Middle East, Armenia, North Africa and the Balkans. Saturday’s program contained music from Turkey to Morocco and other areas of the Sephardic Diaspora, while several of the works were settings of the texts of Jewish liturgical poems (piyutim). Their music is arranged and interpreted by musicians with backgrounds in classical, jazz and folk traditions. Stern and Mor have been called “recorder virtuosos” by The New York Times, and East of the River’s artists heard last night have recorded and performed with such diverse musicians as Yo-Yo-Ma, Sting, Joyce DiDonato, Aerosmith, Philip Glass and many others. Recorders are a family of woodwind musical instruments in the group known as “internal duct” flutes. Ms. Stern also played the chalumeau, a predecessor to the modern-day clarinet.
The program was neatly arranged, focusing on the ensemble, but at the same time allowing one number to cast each performer into the limelight. There was a great deal of talent to display, a fact made obvious by the very first number, and continuing through to the graciously added encore, after the tremendous ovation the musicians deservedly received. To give an example of the distinctly unique nature of the program, the first number, Ein K’Eloheinu, is one that uses as text a rather ancient piyutim; one first mentioned in the 9th century writings of R. Amram Gaon. The rendition given was sung to a Moroccan melody, alternating between Hebrew and Ladino, in the tradition of Sephardic communities, and it displayed the talents of the full ensemble. The piece includes an instrumental interlude by Ms. Mor, who also provided the enchanting vocals, her sweet voice enhanced by the allure of her facial expressions and hand gestures, here and in other numbers on the program.
Among these on the generous program that seemed to flash by in a moment – Achot Katana, text by R. Abraham Hazan Girundi (Spain, 13th century), sung on Rosh Hashanah, with the concluding message: May this year and its curses end and may the new year and its blessings begin; Yigdal Elohim Chai, sung to text by R. Daniel ben Yehudah, a 14th century Judge of Rome, the poem of which lists the Thirteen Principles of Faith as written by Maimonides; Una Tarde de Verano, an early ballad with original variations by Ms. Stern, and Rast Sirto, an Ottoman Dance. The notes explain that the unifying principle of the program was the use of a modal system known as Makam (plural Makamat), used in most parts of the Near East and North Africa, and known as Mugam in Azeri tradition, and as Dastgâh in the Persian tradition. With no knowledge of these styles or tradition, mesmerizing and captivating are easy to remember words that sum up the music heard.
Another pleasing voice heard was that of Ronnie Malley, as he accompanied himself on the oud, a short-necked, lute-type, pear-shaped, stringed instrument. He’s a multi-instrumentalist musician, performer, producer and educator with a lengthy and impressive resume. Shane Shanahan, the percussionist of the evening, has studied drumming traditions from across the globe, and let his background in jazz, rock and art music create his own style. He was another audience favorite, if, indeed, anyone could be singled out of such an excellent ensemble. Tal Mashiach, who was Saturday evening’s bass player, is a Grammy-nominated multi-instrumentalist, performer and composer with a remarkable list of accomplishments for a man not yet thirty.
As already mentioned, the group received such an ovation that they kindly granted an encore. Considering the fact that they had been playing almost continuously since 5 p.m., this was indeed very gracious and much appreciated. As for the Chatham Baroque ensemble, Patricia Halverson, Scott Pauley and Andrew Fouts – they were lucky enough to be in the audience, with the rest of us.
If you were interested in attending but were unable, or if you’d like additional information regarding East of the River, their recordings or the individual artists, visit any or all of the following:
Special thanks to Chatham Baroque for allowing us to be a part of the wonderful experience your concerts consistently provide, with sincere best wishes for the seasons to come.
Categories: Reviews
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