SEEN AND HEARD INTERNATIONAL

Bernstein,  Gershwin, Copland  and John Adams: Nash Ensemble, Ian Baker - piano/director, Queen Elizabeth Hall, 13.4.2010 (JW)

Bernstein – Clarinet Sonata; Three Meditations from Mass

Gershwin – Lullaby for String Quartet; Promenade 'Walking the Dog'

Copland – Sextet

John Adams – Shaker Loops


An all-American programme is a departure from usual repertoire for the Nash Ensemble, and perhaps hard to imagine suiting their particular sound very easily or readily. The results were a little mixed, with the pattern of the slower works being more problematic, but there were some real hits and an interesting and informative musical evening on offer. This concert part of a Bernstein project – showcasing this composer's works on an intimate scale rather than the large one he  for which he is better known and placing his music in a context of 20^th century American composition:  alongside Gershwin – whom Bernstein greatly admired – and Copland.

The performance opened with a lively rendering of Bernstein's own Clarinet Sonata, which was in fact the best piece of the evening. Richard Hosford was particularly good in the faster first and third movements, and performed this strongly jazz-influenced work with obvious passion and gusto. His enjoyable playing was further showcased in an arrangement for clarinet and piano of 'Walking the Dog' from Gershwin's Shall We Dance ? The audience – which included a very distinguished clarinettist – were rightly very appreciative of this talented performer's offerings.

The other work which showed both a strong performance and was  intriguing was again by Bernstein, the arrangement for cello piano and (a guest appearance in the last section) bongo drum of 'Three Meditations' from Bernstein's Mass, a work which will be the culmination of this South Bank series (performed July 10-11). The strongly contemplative third part worked especially well.

John Adams' Shaker Loops – the concluding work – was performed at a very slow tempo. Used by and set for  a contemporary dance group,  it did not show the pulsing rhythmic energy needed for that use to make any sense until the last movement, which by contrast was taken rather fast. Claire Finnimore on viola replaced Lawrence Power, who was indisposed due to a hand injury. Her playing stood out and the commendation she deserves is all the more worthy as she had to take the part on at short notice. Graham Mitchell on double bass was also particularly good.

Julie Williams