The New Century Chamber Orchestra’s concertmaster-conductor search has brought forward some of the classical music world’s top violinists as candidates to lead the ensemble. The search has also highlighted the concertmaster’s role. Is he/she a conductor? A soloist? A member of the first violin section? A chamber musician? These are the questions the organization will have to weigh as it chooses its next leader. Meanwhile, the 2007-2008 lineup of guest conductors includes more great names, such as Nadja Salerno-Sonenberg and Margaret Batjer.
The fourth and final guest concertmaster for 2006-2007 was Cho-Liang Lin, in a program of two serenades, a contemporary concerto, and a Mozart symphony. Throughout the Sunday afternoon concert in Marin, Lin’s violin could be heard distinctly, his playing full of crisp and resolute articulation. His sound could always be distinguished from the other players based on his attack and personality. In the concerto, this proved ideal. But in the symphony, for example, Lin’s violin could still be heard apart from his section. He did not make the transition from soloist to orchestra member. Aside from that, the concert went well.
Mozart’s Serenata Notturna was played with great contrasts between the march and the playful sections. The timpani didn’t outbalance the strings, as is often the case with this piece. For Mozart, the playing was rather rough and heavy, laden with open strings and accented phrase endings. But given the work’s name, it was appropriate — as if a band of musicians had left the bar on a summer evening to serenade a lucky girl’s window. The quartet of soloists played with great energy, but again Cho-Liang Lin tended to overpower the rest.
Elgar’s Serenade for Strings was paired with Mozart’s serenade. The Elgar serenade rarely fails to please, with its gorgeous melodies and fleeting charm, and this performance was no exception. The same goes for Mozart’s Symphony No. 29. In these two orchestral pieces, the absence of the usual baton-wielding conductor was not felt. The orchestra performed on their feet (with the cellos mounted on pedestals), and phrased with near flawless ensemble.