More Art / Music / Theatre / Events / Etc.

• The annual rite of dance passage
• Review: King of concertos, Shelley has played immense variety, conducts them, too
• Busting out the fun times at FGCU’s annual party

Tell us about it

• What would you add to this story? Tell us what we missed.
• Do you have photos from this event? Documents we need to see? Share with us.
• Upload photos & videos
• More ways to get your stuff online and in the paper.

STORY TOOLS

• E-mail story
• iPod friendly
• Printer friendly

Share and Enjoy [?]

Classical music really smokes when the choice is a Bach concerto. There were four of them on the program Sunday afternoon at the Philharmonic Center for the Arts, and the building was in danger of combustion.

Only one of these works — the “Concerto for Violin and Viola and String Orchestra” — wasn’t familiar fare. We’ve all heard the others countless times as subliminal music at nearly every black-tie reception or crystal-chandelier brunch, where a string trio is sawing away, trying to bulk up the “Brandenburg Concerto No. 3” or the “Concerto for Two Violins in D Minor.”

But watching Naples Philharmonic Concertmaster Glenn Basham and Principal Second Violinist David Mastrangelo storm through the final movement of the double violin concerto gave the music a lightning charge. The entire violin and viola section played on their feet, just a breath from breaking out in dance, for the Brandenburg No. 3.

It was not a perfect afternoon. Basham said he and Mastrangelo were excited about performing the work, and the first movement in the double violin concerto came off a bit too excited — somewhat rushed, with a few squeaks. In the second movement, the two began to breathe into its famous dialogue between the two personalities of the instrument.

By the final movement, rapport approached rapture. Mastrangelo couldn’t resist a tattoo of silent stomps during some emphatic moments. Behind them both, Ming Gao shepherded the first violins in disciplined volume and tempo that made the feat look natural.

“The Concerto for Violin and Viola” was the surprise of the concert. This work is actually cobbled from fragments of Bach’s “St. Matthew Passion” by Robert Bridges, a Bach scholar and violist who took no greater liberties than the master himself has. Bach, like many composers of his time, reinvented certain themes with new vocals or different instruments as the occasion required.

Bridge’s reconstruction debuted in 2002, so it’s not on many recording lists — yet. The evocative quality of it, taken from a vocal work, is well endowed emotionally but still rich with musical constructions. Basham had to fly through passages of the allegro without breaking a sweat because the intent of the movement is calming. Trading solos with him, Principal Violist Jessie Goebel stretched her notes sweetly and held her own on tricky passages.

Philharmonic Principal Oboe Judy Christy and First Violinist Patrick Neal opened the concert with the “Concerto for Oboe and Violin in C Minor,” another familiar work. It demands lots of breath control for Christy that was invisible under her clear, consistent tones. We would have liked to have heard a bit more volume from Patrick Neal, who had a rich tone in the tough long notes.

“The Brandenburg Concerto No. 3” gave everyone a moment in the sun. James Cochran, who was hidden away behind the harpsichord, offered a solo adagio interlude, and the cellos and bass came out from behind the soloists to perform with the visibility they deserved. Smiles were breaking out; every performance should be this much of a treat for both the musicians and the audience.

The more intimate Daniels Pavilion, with only about 120 seats and nearly all of them full Sunday — had a comfortable closeness to the performers. Another bonus is that it was easy for Basham to offer some helpful insights into each piece for the audience.

Contact Harriet Howard Heithaus at hkheithaus@naplesnews.com or 213-6091.