Pontiac Enchanté hosted members of the Ironwood String Quartet on Saturday night: violinist/violist Carissa Klopoushak and violinist Jessica Linnebach played . . .

chamber music with pianist and host Carson Becke and clarinettist Sean Rice. The concert was streamed online after the decision was made to eschew a live audience gathering in consideration of COVID prevention measures. A full day of inclement December weather made this decision seem prescient.

Knowing ticketholders would be disappointed by the cancellation of in-person attendance, refunds were offered and the concert was accessible to everyone, online, for free. Watching a concert online is a relatively new phenomenon, but one worth experiencing. The Pontiac Enchanté production and sound capture was very high quality. Every nuance of the instruments was crystal clear. The camerawork was attuned to capture moments of musical interest and communication between players. This attention to detail was helpful in bringing the online experience closer to the dynamic energy of being present at the venue. Overall, very little of the ‘concert hall energy’ was lost, if any.

A robust selection of music was performed, starting with Robert Schumann’s whimsical Märchenerzählungen (Fairy Tale Narrations), op. 132. A trio for clarinet, viola and piano, it is a collection of evocative and charming pieces.

There are some opportunities for violists to play chamber music without violinists, but not many. The combination of viola and clarinet is auditory magic — the sounds of these instruments occupy similar pitch ranges, and are so close in timbre they often cause moments of confusion as the sounds blend together. The effect is mesmerising.

The program included powerhouse composers like Brahms, Bartok and Schumann, but it was Rebecca Clarke’s Nocturne for two violins and piano that merits special mention. Co-director of Pontiac Enchanté and pianist Becke, who was hosting the event, introduced this piece as “absolutely stunning.” He was not exaggerating.

The interplay between violin and viola in this work creates a splendid auditory special effect. Both string instruments are playing in parallel octaves for the introduction section, such that it sounds like one, strong voice. There is a sublime moment when the instruments depart from each other — one voice blossoms into two, and the effect is a polyphonic, mellifluous cascade. As the subsequent melodic lines weave between each other, it becomes clear how present and engaged the musicians were throughout the entire performance.

It is unusual to see a chamber musician switch between violin and viola during a concert. The size difference between the instruments requires a slight adjustment with the distance between finger placements so most players will avoid having to switch. But Klopoushak was unperturbed. She is a very confident player — her command of the upper register is quite impressive, on both instruments.

By far, the most dazzling display of finger gymnastics, musical coordination and aesthetic flexibility can be seen in Béla Bartók’s Contrasts, Sz. 111, which is a notoriously challenging and moody piece. And technically difficult, especially for clarinet. Sean Rice gave a brilliant performance. Making it look easy is another illusory effect. It’s not easy.

The concert is still available online, and it is well worth listening and supporting. The organization is requesting donations to help pay for future events. The Saturday performance is available to watch for free: https://www.pontiacenchante.ca/virtual-concert-hall

Register or subscribe to read this content

Thanks for stopping by! This article is available to readers who have created a free account or who subscribe to The Equity.

When you register for free with your email, you get access to a limited number of stories at no cost. Subscribers enjoy unlimited access to everything we publish—and directly support quality local journalism here in the Pontiac.

Register or Subscribe Today!