Academy of St. Martin's in the Field: A Review

 

rom Lincoln to living rooms: Academy of St. Martin in the Fields delivers warmth in Lied Center livestream

CONCERT REVIEW:

Academy of St Martin in the Fields
February 19, 2025
Lied Center for Performing Arts, University of Nebraska–Lincoln
Lincoln, Mebraska – USA
Academy of St Martin in the Fields, Stephane Gonley, concertmaster; Inon Barnatan, piano; Mark David, trumpet.
C.P.E. BACH: Symphony in G Major (1741)
Dmitri SHOSTAKOVICH: Piano Concerto No. 1 in C minor (1933)
Leoš JANÁČEK: String Quartet No. 1 (1923)
W.A. MOZART: Symphony No. 15 in G major, K. 124 (1772)

William Ford | 21 FEB 2025

Universities across the United States play a pivotal role in enriching their local communities by hosting touring ensembles that might bypass larger metropolitan areas dominated by major classical music organizations. The University of Nebraska–Lincoln exemplifies this through its Lied Center for Performing Arts, which brings a diverse array of classical music artists to the region. These events provide residents with unique cultural experiences that might otherwise be inaccessible locally.

Last evening, the Lied Center, a 2,258-seat auditorium, hosted the Academy of St Martin in the Fields (ASMF) chamber orchestra. Renowned globally, ASMF was founded in 1958 by Sir Neville Marriner and is one of the world’s most frequently recorded chamber orchestras. Its current music director is superstar violinist Joshua Bell. ASMF performs without a conductor on this U.S. tour, with principal violinist Stephane Gonley providing the downbeat. Given that the temperature in Lincoln was a record -2°F, it was quite wonderful to sit in relatively warm McDonough, GA, and enjoy the video feed of the concert.

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Since the pandemic, many music organizations and venues have continued to provide video streams of their concerts, allowing them to reach their local communities more effectively. However, these noble outreach efforts are sometimes marred by poor camera work and non-optimal microphone placement. In contrast, the technical quality of the Lied Center feed was outstanding. The videography was intelligent, featuring at least three cameras, with only one being slightly off-axis. Microphone placement around the ensemble perfectly captured the rich colors of ASMF’s sound. Equally impressive was how the microphones captured the warm acoustics of the Lied Center, which has a relatively long sound decay time. The acoustical richness made the 20-member ASMF sound much larger than it is. Such reverberant spaces are relatively forgiving of mistakes, although few, if any, were noticed.

The evening’s program appeared designed to present works that each represent a significant departure from the established musical norms of their time, showcasing the composers’ innovative spirits and contributions to the evolution of classical music.

The first work on the program was C.P.E. Bach’s Symphony in G Major (1741), a three-movement piece (“Allegro di molto,” “Largo,” and “Allegro assai”). This work marks a movement away from Baroque period ornamentations and intricate polyphony. It is characterized by sudden changes in mood and dynamics, features typical of the emerging “sensitive style.” Notably, the symphony is “through-composed,” meaning each section presents new material without reference to previous themes. In contrast to his famous father’s music, C.P.E. Bach’s work sounds flatter and simpler, with fragmented phrases and irregular rhythms. The ASMF performed this piece competently; despite the absence of a conductor, the all-string orchestra was well-balanced. It quickly became apparent that this is an ensemble truly deserving of its fine reputation.

The second work was Dmitri Shostakovich’s Piano Concerto No. 1 in C minor (1933). In a surprise substitution for an ailing soloist, renowned pianist Inon Barnatan joined ASMF. Barnatan, well-known to Atlanta audiences from his appearances with the Atlanta Symphony and as a soloist at Spivey Hall, delivered a performance lauded for its technical brilliance and expressive nuance. The ASMF strings were augmented by guest trumpet soloist Mark David.

The concerto’s four movements (“Allegro moderato,” “Lento,” “Moderato,” and “Allegro brio”) showcase Shostakovich’s early style. While the melancholic second movement hints at the turmoil that would dominate his later works due to conflicts with Soviet officials, this piece remains relatively light-hearted. Barnatan played enthusiastically, occasionally facing the ASMF behind him and “conducting” them. This performance demonstrated ASMF’s technical brilliance, regardless of the period in which the music was composed. Barnatan’s performance was stimulating and compelling, highlighting his exceptional talent.

Pianist Inon Barnatan, trumpeter Mark David (right) and the Academy of St Martin in the Fields perform ‘Piano Concerto No. 1 in C minor’ by Dmitri Shostakovich. (video still / Lied Center)

After the intermission, ASMF played a string orchestra arrangement of Leoš Janáček’s String Quartet No. 1, commonly known as “The Kreutzer Sonata.” Unfortunately, I could not determine who arranged this emotionally charged work for string orchestra. Composed in 1923, Janáček drew inspiration from Leo Tolstoy’s novella The Kreutzer Sonata, itself a reference to Beethoven’s Violin Sonata No. 9. The story revolves around a woman trapped in a loveless marriage, leading to tragic consequences. Janáček musically portrays the protagonist’s inner turmoil and suffering with remarkable compassion. The composition uses a technique that captures the natural rhythms of spoken language.

For me, the arrangement used by ASMF seemed to hyperinflate the music’s emotionality. Combined with the Lied Center’s rich acoustics, the performance created an overload of latter-day Romanticism. I believe I would have preferred the original string quartet version.

The final work on the program was Wolfgang Amadeus Mozart’s Symphony No. 15 in G major, K. 124, composed in early 1772 when Mozart was just 16. The symphony’s four movements (“Allegro,” “Andante,” “Menuetto and Trio,” “Presto”) reflect the orchestral practices of the time, scored for two oboes, two horns, and strings. Some of Mozart’s early works exhibit a certain “sewing-machine” quality—quick bowings, punctuated rhythms, and terraced dynamics. However, the Lied Center’s acoustics added a richness that softened these mechanical aspects. The ASMF’s performance wasn’t as though they were playing Mozart as if it were Rachmaninoff, but the interpretation felt smoother and richer than it might have in a drier acoustic.

The Academy of St Martin in the Fields certainly deserves its place in the classical music hall of fame. Its musicians are technically brilliant, and their sound is rich and vibrant. This was an exceedingly well-played concert, livestreamed in a competent, professional style—a demonstration of how effective livestreaming can be when done right. ■