Ronald Lantz and Laura Kargul appeared in recital at Woodfords Congregational Church on Feb. 17. The concert was given under the by-name “Baroque Pearls and Romantic Gems.” The program was given under the auspices of the Portland String Quartet, a venerable ensemble now in its 50^th year. (My how time flies.) Mr. Lantz, is the 2^nd violinist in the PSQ while Ms. Kargul is chairperson of the keyboard department at USM, and a distinguished pianist in her own right.

While it might be a slight exaggeration to state that violin playing doesn’t get any better than this as a reaction to the entire program, that observation however is “right on” after listening to what Mr. Lantz accomplished in his performance of the “Chaconne in g minor” by Vitali., the last piece performed on this exhausting program. His tone was ever rich and full, his intonation perfect and secure, and his musicianship (something one can’t teach), and above all his artistry, shone in each work he performed. As for Ms. Kargul, it took an experienced pianist (which she is) to be a colleague, a partner to Mr. Lantz (which she was).

To get down to the details of the program. The opening work was the beautiful (and familiar) “Adagio in g minor” by Albinoni, arranged by Giazotto. This is an 18^th century composition, and following the conventions of the time, the keyboard part only consisted of the bass line with numbers indicating what the harmonies should be. This is why a more modern arrangement needed to be made simply because different pianists could (and would) play the music differently.

This arrangement is an excellent one.

This duo sounded like one person playing two different instruments simultaneously.

While the music is not complex from a technical standpoint, it requires musicianship of the highest order to bring it off. This element was there and in abundance.

The next work to be performed was “Romance No.2” by Beethoven. Mr. B was not storming the heavens in this work. It is an expressive work that can simply be labeled Romantic. It is exactly what it is labeled. Whether Mr. B had a specific lady in mind when he composed this is unknown and perhaps irrelevant. I do know that listening to it was a sheer delight.

The longest and the most problematic work on the program was the “Sonata in f minor, Op.4” by Felix Mendelssohn. I wrote problematic simply because it does not sound like anything the young Felix wrote. On the other hand, it is likely that at least the first two movements were written by his older sister, Fanny. Ladies, particularly of the upper middle classes simply did not write music in the 19^th century. (They weren’t supposed to be able to among other fallacies.” There were some obvious exceptions, (Clara Schumann and Amy Beach are two notable exceptions.) It was only in the last movement that I heard phrases that sounded (to my ears) like it may have been written by Felix.

Regardless of who actually wrote it, the work was given a lyrical and musical performance and the performers got and received a few moments of respite known as an intermission.

First to be performed in the second half was “Noctrurne” written in 1914 by Lile Boulanger, the very talented sister of Nadia Boulanger, perhaps the most famous teacher in the 20^th century. The music is sweet, free-flowing and lives up to its title.

This was followed by “Vocalise” by Rachmaninoff. This is another example of a major composer being remembered for a comparatively minor work. The work sounds well being played on the violin. While the performance was more than correct, and highly musical, I did not feel a personal involvement in this one work.

A concert tango by Piazzolla called “Cafe 1930” received a joyful, spirited rendition.

The real fireworks occurred in the last work on the program, the “Chaconne” by Vitali. As I wrote at the start of this column, violin playing doesn’t get any better than this and I will stand by that. (Yes, it WAS that good.) 

The last concert by the PSQ will be given at Woodfords on May 12. One looks forward to that significant concert.

— Dr. Morton Gold is a composer/conductor, retired educator and arts reviewer for the Journal Tribune.