by Derek Lim

I like attending concerts by amateur performers – there is often a certain spark that is missing by performances by professionals jaded by the demands of regular performances.

I nearly missed this one though – having rushed over from the previous concert at the VCH (concert-hopping, as it were) we were told that tickets had been sold out, but a friend playing in the orchestra managed to secure a pair twenty minutes before the performance. Lucky, lucky.

The Chamber Players is a smallish ensemble with about 6 to 7 players each for the upper strings and cello and 2 double basses. This concert also featured two oboes, two horns, two trumpets, a harpsichordist, a bassoonist and a recorder player. The ensemble is conductorless and was lead on this occasion by concert master Chan Yoong Han.

We started off with Elgar’s lovely Serenade for strings – a fine rendition, if rather unrestrained and rough-edged. Because of the small nature of the concert hall, there were times where individual string instruments were able to be distinguished. Tonal quality on the whole was rawer than would have been ideal. Perhaps if we had chosen seats further away from the front row this would not have been a problem. These problems quickly became unimportant as the concert went on and everyone started listening more to each other. Their enthusiasm more than made up for it, though obviously finer points on tempi and dynamics could not be made for the lack of a dedicated conductor, fine though the concert master was at providing important cues. I also missed the quieter moments in the work.

Rutter’s popular Suite for Strings, featuring English folk songs, was next. Again the enthusiasm from the ensemble was palpable and the concertmaster’s numerous solo parts were deliciously played with a sweet refinement that I don’t remember having heard before.

Dragonetti’s double-bass concerto was undoubtably the highlight of the evening. Soloist Jacek Mirucki, a member of the Singapore Symphony Orchestra, played the demanding solo part, not only accurately but with charm and humour to boot. Here he took over the task of leading the orchestra in temporarily. There is a devil-may-care aspect of his playing that does not descend into vulgar showmanship, which is very appealing. It was a pleasure listening to his refined double bass tone (he plays an 18th century instrument) from the lowest notes to the highest harmonics, which in this piece extends beyond the fingerboard. More remarkable still was the ease with which he did this.

Handel’s Water Music was meant as ceremonial music. I haven’t heard the work in its entirety for a long time, and now I know why – it’s just too much - for me anyway. Twenty-two movements may pass by quickly when one plays the music while doing some writing or reading but sitting down to listen to it is something rather different.

Still there was much to enjoy, and this came mostly from the lovely contributions by the winds, particularly oboist Helen M. Rhodes, who blended beautifully with Sakashita Koichi. The general approach was rather heavy – I would have loved to hear more of the harpsichord, and could have benefited from a more transparent sound, but on the whole it was enjoyable and appropriately festive. On recorder was Silke Stevens, who has probably better finger work than breath control, but who nevertheless had an appropriately sweet tone. The two horns likewise played their parts valiantly.

I do suggest a larger venue as in parts the sound emerging from the orchestra seemed too large to be contained by the Recital Studio.

The Chamber Players have another concert planned in September which will most likely feature a Mozart piano concerto with Toh Chee Hung and other chamber music. I look forward to hearing them again then.

Derek Lim

 

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