Harrell takes charge in Laguna

01.23.09
Lynn Harrell
Orange County Register

For me, the iconic picture of Lynn Harrell is from an album of Haydn concertos with Neville Marriner. There he is, long red hair, turtle neck sweater, a mixed expression of modesty and swagger. Decades later, he remains one of the premiere cellists of our generation, and while he doesn't have the same quasi-rock star appearance anymore, his technique remains a model of emotional accessibility and a sort of winking mastery. He doesn't agonize, and after a half century of performing has nothing left to prove. There's hardly an honor he hasn't received, hardly a stage he hasn't appeared on, hardly a major work he hasn't recorded. He's the balding elder statesman now.

Harrell is the featured artist for this year's Laguna Beach Music Festival, continuing through Sunday. That he has the time, energy, and willingness to spend a week teaching and performing in Laguna Beach is a testament both to him and to the Philharmonic Society of Orange County and Laguna Beach Live. Harrell has made himself generously available to a number of young performers this week and the Philharmonic Society has got itself another coup. They have a peculiar knack for drawing top performers who for some reason are willing to make the trek to Laguna Beach High School and perform in its cricket-infested theater.

Thursday night, Harrell appeared with pianist Victor Ascunsión and the Colburn Conservatory String Quartet. The first half was given to works for piano and cello, the second half to larger forces. "The Romantic Cello" wasn't the greatest title for the evening (not a single work from the Romantic era on the program) but no faulting the performances. He may not carry himself with a swagger anymore, but he plays with one. He still has the phenomenal technical security at the far edges of the instrument's demands, the singing tone, and the sphinx-like smile.

Debussy wrote his brief (11-minute) Sonata for Cello and Piano as the first of a series of six sonatas for diverse instruments. He only completed three before he died, but those he finished are fixtures in the chamber repertoire. The Cello Sonata took its inspiration from Commedia dell' arte, and the same poem that inspired Schoenberg to write "Pierrot Lunaire." Debussy's abrupt changes in mood and tempo, and constant shifts between unrelated tonalities, creates a milder version of Schoenberg's unhinged, "moony" effect.

Thursday, Harrell launched into the dramatic opening fanfare with deliberation and established careful, steady pulses when the mood struck him, but in general the whole of the sonata carried an improvisational, freewheeling spirit. As demanding as this piece is, he looked to be having the time of his life: nodding at his partner, discovering new moments mid-stream, unfazed.

He took the same open and transparent approach with the second work on the program, Stravinsky's "Suite Italienne" for cello and piano. Transcribed from the ballet "Pulcinella," which itself was based on works by the 18th century composer Pergolesi, this is charming, classical, almost ceremonial Stravinsky. There's nothing harsh or clashing until the gritty rapid fire conclusion. Everything emerged clean and deft, a light touch of humor throughout, complete conviction at the center.

The Colburn String Quartet, comprised of students from the Colburn School of Music, took center stage after intermission with a solid, elegant run-through of Beethoven's String Quartet No. 2 in G. The most Haydnesque of his works in this genre, it carries the unfortunately precious nickname of "Komplimentier-Quartett," the "quartet of bows and curtsies." The performers - violinists Ryan Lee and Nigel Armstrong, violist Juan-Miguel Hernandez, and cellist Paul Wiancko - gave it a relaxed and collegial performance, mature and studied. Lee provided confident leadership throughout, the players showed a good sense of unity and poise.

Harrell joined the Colburn to bring the evening to a close with Boccherini's String Quintet No. 5, the one with the ubiquitous minuet (trust me, you've heard it). Armstrong took first chair and played brilliantly. Being 30 years older than the other players, Harrell was clearly the odd man out, but blended beautifully. Wiancko showed no self consciousness at performing next to one the instrument's universally acknowledged superstars.

If there was one fly in the soup, it was the cricket in the rafters, who happily chirped along for two straight hours. Bug spray is cheap. If the producers need directions to a garden supply store, I'll be happy to provide them.