ProMusica Chamber Orchestra
Vadim Gluzman, violin & leader
Donna Conaty, oboe
Nadine Hur, flute
Aya Hamada, harpsichord

St Mary Catholic Church
Columbus, OH
February 25, 2024

Bach: Concerto for Oboe and Violin in C minor, BWV 1060
Silvestrov: Excerpts from Silent Music
Bach: Brandenburg Concerto No. 5 in D major, BWV 1050
Mendelssohn: String Symphony No. 10 in B minor

In his first appearance of the current concert season, ProMusica’s creative partner Vadim Gluzman led the ensemble in the Neighborhood Series, an event that sees the group perform outside the confines of their usual home in the Southern Theatre. Sunday’s afternoon performance in German Village drew a capacity crowd for a program that featured ProMusica players as soloists in Bach concertos, interspersed with works scored for string orchestra.

Bach’s Double Concerto for Oboe and Violin brought forth Gluzman along with oboist Donna Conaty. Gluzman served dual role as a dynamic leader and charismatic soloist, sparking a fine chemistry with Conaty. The pair gave the piece an energetic workout, though perhaps most touching was the slow movement’s singing line in the oboe deftly answered by the violin.

This weekend marked the two year anniversary of the Russian invasion of Ukraine, and meaningfully, a work from Gluzman’s Ukrainian compatriot Valentin Silvestrov followed, as the conductor-violinist put it, “in hope of a better tomorrow.” The deeply reflective Silent Music dates from 2002, and is cast in three movements – though ProMusica opted to play only the first two. Solemn strings opened the Waltz of the Moment, and a wistful waltz gesture eloquently took shape. Evening Serenade occupied a similar space, marked by a melody gently cascading.

Bach’s Brandenburg Concerto No. 5 was quite a contrast, being in the highest of spirits. It boasted substantial solo parts for flute (Nadine Hur) and harpsichord (Aya Hamada). The flute offered a lyrical presence throughout, and the sparkling, bright effect of the harpsichord captured one’s attention, above all, in the cadenza. One of the single most impressive moments in all of Bach’s keyboard writing (which is saying a lot!), Hamada purveyed a self-assured virtuosity.

Between the ages of twelve and fourteen, the astonishingly precocious Mendelssohn wrote a set of twelve string symphonies. No. 10 closed the afternoon’s program, a single movement conception that opened in the lushness of the strings. More animated material took flight, providing glimmers of the gossamer textures that would come to define the very word Mendelssohnian.