Costa Blanca Arts Update, Claudi Arimany, Eduard Sanchez, Joaquin Palomares, Elena Segura

 

There are not many concerts around these days. In addition, audiences are reluctant to attend and the travel and accommodation restrictions make it hard for musicians to perform. Let’s hope things change sooner rather than later, because when music is shared it is truly capable of enriching lives. This was admirably demonstrated in the pair of concerts presented by Alfas del Pi Music Society on the weekend of 6 and 7 March.

On Saturday 6 March in Casa Cultura, the society presented a quintet of musicians led by flautists Claudi Arimany and Eduard Sánchez. The program was an intriguing mix of styles and genres, which would be suggested by the group’s title for the concert, Classic Meets Jazz. Now, anyone familiar with the flute knows the name Theobald Böhm. Indeed, without him the modern flute may never have existed, since it was his invention in the mid-19th century that established the modern fingering system for the instrument, the system that still bears his name. As a composer, Theobald Böhm may not be the most inventive, but he certainly knew his instrument and knew how to write for it. His Three Little Trios create an insider´s view of how the capabilities of the instrument can be best demonstrated and Claudi Arimany and Eduard Sánchez rendered these challenges with complete musicality, so the virtuosity blended into the music and made sense of it, rather than being an end in itself, as can be the case with such showcase pieces.

Haydn´s Duo No.4 is an arrangement of music originally composed for two violins. This version for two flutes is the composer´s own and is a substantial piece. The delicacy, skill and intricacy with which Joseph Haydn presents his ideas via this unusual pairing we probably take for granted, such is the composer´s stature. But this is music that is rarely heard in concert and so it is possible to approach the piece without the trappings and assumptions of familiarity. The restrained understatement of this music gradually grew to become its power. Well before the end, the playing and performance had completely outshone in ensemble and virtuosity the showpiece that had preceded it and the interpretation underlined Haydn status as one of the great all-time great composers.

The Andante and Rondo of Karl Doppler returned the audience to the familiar, at least those present with detailed knowledge of the flute repertoire, which probably wasn’t many! But this is a piece that is more familiar than its title or origin, since snippets of it often appear as call signs for radio stations, or advertisements.

And then the musicians reconstituted to form a jazz quartet fronted by Claudi Arimany to play the Suite for Flute and Jazz Trio by Claude Bolling. Now this is a substantial work that interleaves classical style ensemble with drum beats, jazz chords and a rhythmic, plucked bass. There is much that is familiar here, many quotations from popular song and folk melodies, as well as jazz standards and Broadway. But overall there is real compositional skill and invention, in this case not dissimilar in concept to Matisse´s collage-making, to bring everything together into a musically convincing whole. This is music that is original in style, if not often in content, but Claude Bolling´s skill in creating something greater than pastiche is considerable.

After the standing ovation and rapturous applause, the group offered two encores of Scott Joplin Rags and the concert without an interval closed over 90 minutes after it started, leaving attendees just 20 minutes to get home before the 10 o’clock curfew!

On Sunday 7 March, Alfas del Pi Music Society presented what was probably a first in the history of Spanish musical performance, and a program that has probably been replicated just a handful of times in its possible century and a half of existence. This was the coupling two great Romantic violin concertos, those of Beethoven and Brahms, in one program, played by the same soloist. It has to be said that on a Sunday lunchtime in lockdown the concert could neither accommodate nor afford to employ a full symphony orchestra, that part being performed in piano arrangement in the hands of Elena Segura. And this is music that was probably originally conceived on the piano, so the arrangement carried all the musical messages, though obviously not all of its orchestral timbres. What was unchanged from the full versions of these works was the challenge posed to the soloist, Joaquín Palomares. Now, in front of an orchestra, the soloist always does have the possibility, though none would admit to it of course, of playing a little softer here and there, to blend a little more with the orchestra, not to hide of course, but merely to rest.

When accompanied by a piano in a small auditorium, such opportunity does not exist. In such a setting, there is simply nowhere to hide. On stage with an orchestra, the soloist is ten metres or so from the nearest audience. In a small room with piano accompaniment, ten metres covers the entire audience! But under these conditions, the quality of the writing comes to the fore, and the musical communication becomes nothing less than intense, as long as the soloist has the skill, musicality and, not least, the stamina to do the job.

There is no need to restate the greatness of these two concerti, since the violin concertos of Beethoven and Brahms are unquestioned masterpieces. What needs to be recorded and in the most emphatic way possible was the playing, virtuosity, and the achievement of Joaquin Palomares. Superb. Superb. Superb. Da capo al fine.