The String Sextet in D Major by Erich Korngold is a lengthy and taxing four-movement extravaganza that demands considerable energy from the performers – and a great attention-span from the listener. Korngold was known principally through his Hollywood film music, for which he won several Academy Awards. Still, he longed to return to his classical roots after emigrating to the US, yet could never shake loose from his Hollywood commercial identity.

Written when the composer was only 17 years-old, the String Sextet in D Major is a curious amalgam of late-German Romanticism, Strauss-ian chromaticism, Ravel-ian neoclassicism and Impressionism – all couched within an original, individual compositional style.

The deep alto and tenor timbres of Rachel Shapiro’s viola were strikingly beautiful in the Romantic opening movement, and helped contribute to the thick and lush blend of tone achieved by the larger ensemble. The seemingly endless second (Adagio) movement, based upon a motif of a split third scale-degree that blurs the boundaries of major vs. minor tonalities, likewise tests the patience and resolve of the listener – although the level of playing was so good it hardly seemed to matter. Concertante’s sense of pitch in this movement, and indeed throughout the evening, was beyond reproach. I especially enjoyed the haunting effect of the slow glissandi passages at the end of the movement.

The third (Intermezzo) movement, which may perhaps best be described as a waltz with a twist, reveals the composer’s fascination with Richard Strauss, while the energetic writing of the Finale brought the piece to a rewarding (if not long-overdue) conclusion.

As the true successor to Beethoven in the realm of chamber music, the archetypical Classic-Romanticist Johannes Brahms requires from his players a greater depth of emotion, passion and control than any other composer known to me. Concertante’s youthful exuberance captured much of the energy and muscle in the Sextet in G Major's opening movement – which carries the bulk of the weight in this piece – but the players ultimately lacked the depth of interpretation and emotional maturity to bring this movement to life.

I was disappointed, too, that the ensemble chose to ignore the repeat of the first-movement exposition, which Brahms clearly dictates with a repeat-sign. Perhaps these young players will learn that there are no shortcuts when it comes to Brahms, and that the proper balancing of form in Brahms’ opening movements is critical to the ultimate effect of the power unleashed within the body of the work. With age comes wisdom and taste, of course, and I look forward to the time when this capable ensemble reaches a different level of "spirit" – the one that comes with 18-year old scotch, not 10-year old scotch.

The three remaining movements, perhaps because they’re not as emotionally weighty as the opening movement, fared much better. The ensemble interplay between melodic phrases and pizzicato accompaniment in the wistful second movement scherzo sparkled, and the six players tore in to the spirited Hungarian dance-like Trio with panache. There were many exquisite moments in this movement, such as the softy conveyed octave-doubling between first violin and first viola.

The poignant sensitivity of the third (Adagio) movement, a set of variations, was a microcosm of the solid ensemble-work and persuasive individual efforts that for the most part defined Concertante’s manner of performance throughout the program. From the strongly dotted-rhythmic figures to the energetic middle section, this movement proved to be the singularly most memorable moment of the evening. It also afforded the listener a good opportunity to observe Xiao-Dong Wang’s formidable talents.

It’s rare to experience a performer who is able to produce, simultaneously, a technically flawless effort and a convincing level of spontaneity. Xiao-Dong does this, and with apparent ease of delivery and execution. His only shortcoming is that, unlike first violinists of many professional string chamber ensembles, he pretty much buries his head within his own music while playing and gives little in the way of body language that could help guide the other players during the performance.

Like the preceding two movements, the fourth (Poco allegro) movement was well-executed and musically rewarding, with lots of energy and passion. I especially enjoyed the razor-sharp execution of the fugal passage between the viola and two violins.

For this performance, Concertante – which morphs in size and personnel depending on repertory and players’ availabilities – comprised Xiao-Dong Wang and Lisa Shihoten, first and second violinists, respectively; violists Danielle Farina and Rachel Shapiro (who rotate first-and-second parts) and cellists Alexis Pia Gerlach and James Wilson (who also rotate parts).

It should be noted that the handsomely designed printed program booklet incorrectly lists the opus number of the Elgar Serenade (should read Op. 20, not 22), and the program notes also give the wrong date of composition.

Details box
What: Concertante (sextet)
Where: Lincoln Middle School, 1613 James Street, Syracuse
When: December 5, 2009
Time: 1 hour and 50 minutes
Information: call (315) 446-3424
Ticket prices: Regular $20, Senior $15, Student $10
Website: syracusefriendsofchambermusic.org
Next: A Treasury of Trios, Jan. 26, 2010 at 8 P.M.