Three Reeds are Riveting

Typically, you hear the oboe’s beautiful song in brief passages of larger pieces. The exception is oboe concertos, but even then its sound is embraced by the orchestra. Which is why I always thought of the oboe as transcendent: that where strings and winds primarily ‘make’ the music, the oboe enters to temporarily carry the sound—and its effect on the listener—to special melodic heights.

Perhaps that’s because the oboe’s tonality conveys as no other instrument can—even the violin—a special range of human emotions. It ‘sings’ with the most sorrowful sorrow, the most mystical mystery. It is sweet, melancholic, and haunting all at once. And since none of these experiences are frequent, it seems appropriate that the oboe makes its appearance only rarely. But thanks to the College of Charleston’s March 16 Monday Night Series, I have a fresh outlook on the capacities of this marvelous instrument and those who play it.

The recital hall in the Simmons Center seats about 250, which is ideal for chamber music. The crisp acoustics accentuate the silent pauses as well as the music. The stark stage and walls, however, make you feel like you’re in a classroom or laboratory. (I couldn’t help but imagine a large tapestry on the rear stage wall, beautifying and softening the ambiance.)

Luckily, my aesthetic preferences were quickly forgotten during the stellar performance of “The Reeds of Charleston,” who are members of the reed section of the Charleston Symphony. Led my Mark Gainer, the trio (which included Christine Worsham, oboe, and Nicholas Masterson, English horn) began with two contemporary pieces, one of them (Ditty RAM) just written for this group by College of Charleston professor, Dr. Trevor Weston.

Mark Gainer, principal oboist

The highlight for me, though, was Beethoven’s Trio in C major, originally written for oboe and English horn in the 1790s when, according to Mr. Gainer, there was an “upsurge in writing for reeds.” He also mentioned that Beethoven later transcribed the piece for 2 violins and viola, which helped me appreciate even more Nick Masterson’s rich rendering of the bass tones on his English horn.

Beethoven clearly gave his all to the intricate construction of this piece, as did Mr. Gainer and friends to their playing of it. And they obviously know each other well, as evinced by their perfect timing, subtle visual communication, and warm mutual support. Their visible pleasure in playing together only enhanced an already articulate performance. (Listen to a nice snippet from my iPhone.)

When it was over, I knew my instincts were right—that we had heard something special—when Mr. Gainer stood up with a smile and in one hand raised his oboe with a few triumphant ‘pumps’ of celebration. No question, he and his partners had even more fun playing than we did listening.

(You can read Lindsay Koob’s Eargasms.com review here.)

Monday Night Series
College of Charleston
Simons Center for the Arts
54 Saint Philip St
(843) 953-5927
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