Elena Langer’s Five Reflections on Water, a 2019 BSO commission for winds and strings (Anna Handler, conductor; Lorna McGhee, flute; John Ferrillo, oboe; WIlliam R. Hudgins, clarinet; Richard Svoboda, bassoon; Richard Sebring, horn; Alexander Velinzon, violin; Tatiana Dimitriades, violin; Steven Ansell, viola; Blaise Déjardin, cello; Edwin Barker, double bass ), began the Boston Symphony Orchestra Chamber Players’ April 6^th concert with a rising arpeggio and tremolo in the clarinet, followed by a low alto flute trill. Violin II ricochets off the string, evoking the rippling of the water’s surface. Descending minor thirds and fifths (Violin I) conjure the aquatic depths. The ricochets and descending intervals are heard among multiple instruments, continually reminding us of water’s surface and depths. A horn call ushers in images of wildlife, followed by a dance. The movement ends when the stillness of the water’s surface is evoked one last time in the strings. Key to the musical flow were the musicians’ abilities to follow one another’s examples and highlight which elements were unchanged throughout the movement. In Mvmt II continual arpeggios in the strings evoke motion (now we have moved from pond to river). Although on paper the writing appears dense and thick, the strings played in a light, almost furtive manner, never overwhelming the winds. In the third movement, cantabile lines of flute and oboe float above the continued pizzicato in the strings. Are we swimming? Richard Sebring followed the composer’s directive in Mvmt IV (“like drops of rain”), his horn bringing a warm, focused sound to the opening. In Mvmt V, undulating motion of the woodwinds coexisted with the calmness of the strings. Are these river currents, or perhaps tides? It ended with a full evocation of the sounds of nature and wildlife.

Sofia Gubaidulina’s Sonata for Double Bass and Piano (Edwin Barker, double bass; Gilbert Kalish, piano) was presumably chosen for this concert because it was Edwin Barker’s final performance with the BSOCP after 47 years. The death of Gubaidulina, aged 93, on March 13^th of this year added even deeper poignancy. The most important Russian composer after Shostakovich is known for her spirituality and strong link to Christianity.

The double bass and piano do not create an ensemble in the conventional sense of a duo sonata, but throughout most of the work play independently of one another. The mood, however, envelopes both instruments. In its traditional role, the double bass adds depth to the orchestra, or chamber ensemble. In Gubaidulina’s writing however, we have a unique solo instrument. The bass opened with a series of two to three note p to pp phrases. Barker’s tone, making full use of the instrument’s resonance, seemed to come from somewhere deep within the earth. High tone clusters in the piano responded to the bass’s color and timbre. Unconventional techniques, such as col legno, ricochet and sol ponticello sound throughout. Kalish delivered the piano part, consisting either of clusters or single notes, in a crystalline and pristine manner. In the final section, he played in the piano’s uppermost and lowest registers. The bass emited gruff tones in its lowest register. Melodic material is nonexistent. The closing moments evoked infinity.

Shostakovich wrote his Piano Quintet in G Minor, op 57 (Alexander Velinzon and Tatiana Dimitriades, violins; Steven Ansell, viola; Blaise Déjardin, cello; Gilbert Kalish, piano) for the Beethoven String Quartet with himself at the piano. The quintet relies on traditional forms and modes of expression yet retains the head-spinning changes of mood and atmosphere at which Shostakovich excelled. The opening (Prelude:Lento) made a statement of drama and force, recalling Bach’s organ toccatas. The first movement’s lighter section (marked Poco piu mosso) relieved that mood and brought to mind Bach’s preludes which (among other things) explore the eloquence of the keyboard in a transparent way. The gravity of the opening then returned. The full, unified sound of the strings against the power of Kalish’s chords and left-hand octaves imparted a concerto like feel to the ending of the first movement. Continuing without pause to the second movement, a contemplative, slowly unfolding Fugue, the ensemble revealed its mastery of rapid mood changes. In the Scherzo, we delighted in the finger exercise quality of Kalish’s contrary motion eighth note scales, and the sparkling virtuosity of his 16^th-note flourishes. The first violin led a dance number with abandon, and the viola added to the glee. The coda, 13 measures of a B major chord, possibly alludes ironically to the cadences of the Classical era. The tight ensemble and restrained tempo allowed the audience to marvel at Shostakovich’s originality while appreciating his reference to Classical forms.

In the Intermezzo, the first violin offers a drawn-out theme to varying accompaniments from the rest of the ensemble, reminiscent of Bach’s orchestral suites, which often feature soloistic elements. In extended passages of violin and piano Velinzon and Kalish accompanied one another with warmth and musical receptiveness. In a section marked Appassionata we were struck by the strong ensemble work that characterized the first movement, with the piano tightly woven into the fabric created by the four strings. The piece ends with held notes in the strings, over arpeggios in the piano that clearly evoke church bells. One more brilliant atmospheric episode.

A songful three-note figure opens the finale, and throughout this movement we are treated to joy, love and humor. Here the piano is a fifth partner which interacts amongst the strings as an equal, lending a transparent and airy feel to the movement. Introduced in the upper strings is a delightful three note chromatic motif followed by a turn. All instruments and in varying combinations play this motif at some point. The strength of the ensemble lay in its ability to bring this out while having it blend seamlessly with other musical elements. The fifth movement ends as the motif disintegrates and its remaining fragments are swapped between piano and strings. This gave the audience one final moment to relish Kalish’s pristine sound and the cohesiveness of the strings. At the close, a collective sigh from the audience indicated a high level of engagement. The players acknowledged ample applause.

Retired medical biology researcher Dinah Bodkin is a serious amateur pianist and mother of Groupmuse founder Sam Bodkin.