There was a terrific concert last night presented by the Philadelphia Chamber Music Society: music by Philip Maneval and Richard Wernick as played by the Daedalus Quartet and pianist Charles Abramovic. This was, as Miles Cohen, the Society’s artistic director put it in his pre-concert remarks, the “exclamation point” to last season’s celebration of the Society’s 30th anniversary, with the impetus being the presentation of music by Philip, the executive director of the Society. Philip suggested adding music by Richard Wernick to the program; Dick was one of Philip’s teachers when studying at Penn, and the Society has long championed Dick’s music with commissions and performances.
Philip’s pieces – a piano sonata and a string quartet – were both substantial multi-movement works. I was particularly taken with the piano piece, not least because of the superb playing of Charles Abramovic: exquisitely balanced chords, a multitude of colors, the long line of the piece elegantly projected. It’s interesting to compare Philip’s compositional voice with that of his teacher. Both are working with a mostly dissonant post-tonal vocabulary, made coherent by the careful deployment of referential harmonies and motifs. But their gestural languages contrast. Philip’s voice is more rhapsodic, more directly related to older musics, while Dick tends to be more terse, with sharply etched shapes contrasting with lyrical music that often springs from an uncanny stillness. The music of both men is superbly crafted, and richly satisfying.
The Daedalus was its usual shining self in Philip’s new string quartet, and quartet members Min-Young Kim and Thomas Kraines joined Abramovic for a sizzling performance of Dick’s Piano Trio Nr. 2. (I linked to a video of the trio in this post.) The characterful epigrams of Pieces of Eight, a set of brief piano pieces by Dick, rounded out the program. It was nice to see a full house in the Curtis Institute’s Field Hall to celebrate the Society and two eloquent composers.