Netherlands Wind Ensemble unconventional, different

When the members of the Netherlands Wind Ensemble made their entrance onto the stage of Finney Chapel this past Tuesday, one was immediately struck by the array of colored shirts. For example, one horn player sported bright fuschia, another wore purple, one bassoonist wore deep maroon and another wore a red spotted scarf.

This is, of course, of minimal importance in terms of their abilities, but it does serve as a symbol of their diverse and youthful character. It also set the tone for what was to be a refreshingly different concert experience.

One needed only to look at the program to get a sense of their unconventional style, one which has no problem in juxtaposing tradition and innovation. Sandwiched between Rossini and Mozart were Kevin Volans and Paul Termos, two lesser-known late-20th century composers. The ensemble actually gained their popularity through this unique approach; it defines their concert series in Amsterdam.

Their specialty in nonconformist programming tactics, however, is a side issue to their playing abilities. The group, founded in 1959, is composed of 13 principle wind players from the best orchestras of the Netherlands, and they are considered one of the premier ensemble groups of Europe.

The Ensemble is currently on a North American tour, with ten days in the United States. Before the performance began, oboeist Bart Schneemann, the "leader" of the group, made some candid opening remarks. He expressed the group's pleasure in making a stop at Oberlin, which he found to be a charming place right down to the brilliant changing of the leaves. He then followed with a more significant announcement of a program change. Of the planned six movements of Rossini's Il Barbiere Di Siviglia, they were only going to play the Ouverture.

As it turns out, the program did not suffer after such a large chunk being cut out. On the contrary, the pace was just right and the performance would have gone on far too long with Mozart's entire "Gran Partita" to be had in the second half. And frankly, the Ouverture was enough to satiate the appetite for that piece. This was, naturally, an arrangement (by Wenzel Sedlak) of Rossini's famous work for an octet of winds. They played it well, but one couldn't help but wish for the full force of an orchestra to provide the thrill and intensity the piece calls for.

It was with the next two pieces that the ensemble would really find its strength. Schneemann described them as being created under similar pretenses but sounding like night and day. The first, a world premiere by Dutch composer Paul Termos, was entitled "Nonet." It opened with the alarming blasts of french horns, like big ships coming into bay. The alert was fitting for the piece, which was a chaotic ride full of aggressive outbursts, squeals, discord, mimesis, and unpredictable changes. It had a complex, improvisational feel to it, which makes sense given Termos's experience in experimental jazz and improvisation.

This was followed by "Leaping Dance," by South African composer Kevin Volans, also a premiere, new for the United States. With its "abrupt tempo changes, extremely high speeds and interlocking patterns," it found a lot of influence from ethnic South African music. The ensemble handled both pieces - difficult in terms of their complex, multilayered style - with confidence and control. Timing and communication seemed to be crucial elements, and they did well to listen to each other and play with a high level of balance and group coherency.

The contemporary gave way to the origins of the tradition with Mozart's "Gran Partita" for thirteen winds. It was here that the players could really shine both as soloists and as a tight ensemble. The piece calls for strength from each particular instrument in what is a meticulous yet seamless composition. The group handled the well known work with grace. The breathtaking beauty of the "Adagio," with its patient conversations, slow crescendos and humbling, sweet melodies, was almost enough to make the entire evening worth it. Gorgeous solos were given by all, but Schneemann and clarinetist Harmen de Boer stood out with their awe-inspiring tone and clarity.

Overall, it was an evening of both brilliant music and brilliant playing. The turnout was not overwhelming, but the reception was extremely enthusiastic. Upon the conclusion of the Mozart, the older gentleman sitting across the isle pounded his feet in sheer delight. With the non-stop applause from the audience, the ensemble came out for several bows and finally conceded to an encore, which was an understated little piece also composed by Volans entitled "White Man Sleeps." With their humor, talent and versatility, an evening with the Netherlands Wind Ensemble was indeed a rare and special occasion.