In “Found Objects: Eyeglasses, Caprices, and Something Grotesque,” the musical journey began with the captivating Duet in G Major, Op 14, No 1 by Vaclav Pichl (1741 - 1805). The duo, consisting of violist Caitlyn Lynch and cellist Rafael Popper - Keizer, set out to give this rarely performed piece the recognition it deserved. And on December 16th at Music Mondays, an atmosphere of charm and cheeriness prevailed. The tunes seamlessly traded between the two instruments, with meticulous attention to articulation and dynamics. It was remarkable to observe how each instrument was acutely aware of its assigned role, gracefully receding into the background when in a supporting capacity, even when having more notes to play than the lead. Movement 2 was a stately Larghetto, and Movement 3 was a Rondo in 6/8, to which the performers added a joyful and gay swing.

Rebecca Clarke's Lullaby and Grotesque

This piece by Rebecca Clarke (1886 - 1979) was slow and tender, with a melody that moved in thirds and fourths. Despite the presence of a certain amount of dissonance, tenderness dominated. Both artists lingered over the poignancy of a rising arpeggio that led to the final pianissimo cadence. The motifs in Grotesque moved with leaps and were punctuated by double stops, usually of minor intervals. The diverse texture evoked the sounds of the city, and a section marked “Vigoroso” might have brought to mind the dawn of modern travel. Lynch and Popper - Keizer showcased their virtuosity by effortlessly executing rapid shifts in atmosphere. 1: The slow and tender nature of the piece allowed the artists to explore the subtleties of the melody and the emotional depth it carried. The rising arpeggio added a touch of poignancy, while the double stops and minor intervals gave the music a unique character. 2: The evocation of the city sounds and the sense of modernity in the “Vigoroso” section demonstrated the artists' ability to infuse their performance with a sense of context and meaning.

Joseph Dall’Abaco's Caprices

Popper - Keizer presented Caprices 1 and 4 from 11 Caprices for Solo Cello. Opening with the interval of a 10th, Caprice 1 brought to mind the Prelude from J.S. Bach's first Cello Suite. Surprisingly, the transition or bridge material (m. 24 - 30) also evoked the same Prelude. Although the composers' dates overlapped, it is highly unlikely that they ever met or were familiar with each other's music. Popper - Keiser imbued both Caprices with a sense of stateliness and gravitas. While some might have desired a few more playful moments, the overall performance was captivating. 1: The connection between Caprice 1 and the Bach Prelude was a fascinating aspect of the performance. It showed the depth of musical influence and the ability of the performers to make such connections. 2: The stateliness and gravitas added by Popper - Keizer gave the Caprices a sense of grandeur and importance, making them a memorable part of the concert.

Anne Leilehua Lanzilotti's Ko’u inoa

Anne Leilehua Lanzilotti's (1983 - ) Ko’u inoa explored her Hawaiian heritage. Lynch vigorously brought out the rhythm, harmony, and bowing technique (barriolage) specified by the composer. In addition, she gave the directive “with sound,” instructing the violist to sing at certain moments. Lynch created color by placing the bow against the bridge or over the fingerboard. Her low vocal tones added to the shimmering resonance, ultimately evoking nature and a feeling of infinite space. 1: The exploration of Hawaiian heritage through the music was a unique and enriching aspect. Lynch's interpretation brought out the essence of the composition and its connection to the composer's roots. 2: The use of different bowing techniques and the addition of vocal tones added a new dimension to the performance, making it a truly immersive experience.

Witold Lutoslawski's Five Bucolics

Inspired by Polish folk music and transcribed by the composer from the original piano version, Witold Lutoslawski's Five Bucolics offered short studies in texture and color. The viola and cellist brought out the moods perfectly. Staccato motifs opened the first number. When interrupted by a short dolce episode, the rapid change in mood was captured effectively. IV was possibly the darkest of the group, with a mood communicated through the deep resonance of Popper - Kaiser's cello and the woody sound of the viola. Despite the often contradictory meters of the viola and cello parts, Lynch and Popper - Kaiser's mastery ensured a smoothly coherent flow and a perfect ensemble. The final movement brought back the rambunctious feel of the first. 1: The exploration of different moods and textures in the Five Bucolics was a highlight of the performance. The contrast between the staccato and dolce sections was particularly effective. 2: The deep resonance of the cello and the woody sound of the viola added to the overall atmosphere of the piece, creating a memorable musical experience.

Beethoven's Duet With Two Eyeglasses Obligato

A jovial mood permeated Beethoven's Duet With Two Eyeglasses Obligato, WoO, leading one to speculate that the “eyeglasses” referred to an amateur cellist (Nikolaus Zmeskall) who was a friend of Beethoven's. The viola opened with a cheerful eight - bar theme that the cello picked up. A sort of chase ensued, with fragments played by one instrument and then the other until they united. The players' tones and texture matched beautifully. Popper - Keizer dispatched light and fluid arpeggios (m. 18 - 21), while the viola's cantabile moments possessed a deep resonance that equaled any sound the cello produced. A moment of melodic unity (m. 107) occurred with hushed reverence, embodying the spirit of camaraderie that prevailed throughout. 1: The jovial mood of the Beethoven duet added a light and cheerful element to the concert. The interaction between the viola and cello was seamless and engaging. 2: The moments of melodic unity and the deep resonance of the viola demonstrated the performers' ability to create a cohesive and emotionally resonant performance.Boston music lovers are well - acquainted with these two artists through their regular appearances with the conductorless orchestra, A Far Cry. It was a true treat to hear them as a duo and as soloists! We eagerly anticipate more performances from them in the future.