Cellist rules cabaret setting in evening of serious music- making
ARIEL BARNES When: March 6 Where: The Cellar Restaurant & Jazz Club
It’s an idea both simple and sophisticated: Why restrict quality music to the concert hall?
Music on Main presents events that founder David Pay calls “music as a social experience” at The Cellar.
Fitting the bill, cellist Ariel Barnes performed all the Benjamin Britten suites for solo cello.
Cello at the Cellar is a good match. The low- ceilinged space holds at best under a hundred patrons, and complements more intimate instruments.
This acoustic environment gave Barnes full reign to explore the extensive vocabulary of colours and textures that are such an integral part of Britten’s suites without straining to project.
The novelty of serious music with the accompaniment of a drink and snacks might imply a certain level of audience informality.
However, the experience of listening to the works in a cabaret setting was anything but casual: the proximity of the performer plus the inherent drama of the pieces demanded heightened attention. The sold- out house was one of the quieter and certainly more attentive audiences I’ve encountered in recent months.
The three suites, written between 1964 and 1971, are another form of music as a social experience: the legacy of a remarkable musical friendship between the great English composer and the Russian cellist and activist Mstislav Rostropovich.
While known by all cellists concerned with contemporary music, the suites have yet to enter the standard repertoire.
Cellists possibly felt it was almost lese- majeste to perform compositions so clearly associated with the great Rostropovich; since his death in 2007, the works will no doubt receive wider attention.
Britten’s demands on his instrumentalist are considerable, but always well thought out and idiomatic.
Writing for a performer of Rostropovich’s stature inspired Britten to create music of commensurate status.
Barnes negotiated the virtuoso detail with considerable aplomb. He has a big sound — when he needs it — and an extensive palette of attractive string colours.
His assimilation of Britten’s often enigmatic style was mature; there was no sense of effects for the sake of effects, no untoward theatrics or cuteness.
His readings were bold and thoughtful and his spoken introductions on target.
In all, an evening of serious music- making given additional lustre by a fresh and creative presentation.