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Chamber Music--Concert-Hall Style: Ashkenazy and Harrell Elevate the Intimate
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14961 |
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Section : |
THE ARTS
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| Issue
Date : |
9 / 1988 |
2,018 Words |
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David H. Ehrlich
David H. Ehrlich, an avid theatergoer, is an independent
writer based in Washington, D.C. He has previously written
numerous essays for The World & I. |
When a pair of internationally renowned soloists like pianist Vladimir Ashkenazy and cellist Lynn Harrell work up a program of chamber music and take it on the road, as they did earlier this year, they easily fill the biggest concert room in town--both with their art and their audience.
Ashkenazy is a small, bespectacled, intense man with slightly graying hair. Ever since his much-publicized flight from his Russian homeland in 1963, he has been hailed as one of the world's great solo piano virtuosi.
Harrell, by contrast, is a great burly bear of a man, with a mop of strawberry blonde hair. An American by birth and an orchestra player by training and evolution, he is ranked among the world's leading cellists.
But when two performers of this magnitude pool their efforts, is the result invariably memorable? Do two stars always add up to two and a half when combined?
The answer to this question is not an automatic "of course they do." In symphonic music, the conductor is the undisputed leader; he inspires the orchestra to convey his interpretation of the piece. When a soloist is added, the conductor may choose to let the soloist lead to some degree, but this does not alter the essentially one-way nature of the orchestral experience.
Ensemble Rapport
Chamber music--whether played by two or three or several more individuals--is, however, a very different
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